The Harlem Renaissance and Transatlantic Modernism Study Notes

THE HARLEM RENAISSANCE AND TRANSATLANTIC MODERNISM

INTRODUCTION

  • Edited by Denise Murrell.

  • Published by The Metropolitan Museum of Art, New York.

  • Distributed by Yale University Press, New Haven and London.

CONTENTS

  • Director's Foreword

  • Queer Harlem: Gay Sociability and Transatlantic Modernism

  • Contributors

  • Lenders to the Exhibition

  • The New Negro Artist and the Modern Black Subject

    • Denise Murrell

    • James Smalls

    • Ronald Moody, International Modernist

    • Ego Ahaiwe Sowinski

  • Notes to the Essays

  • Harlem and the Dutch Caribbean

  • The Boys in the Back Room: Gambling Imagery During the Harlem Renaissance

    • Richard J. Powell

  • A Certain Realism: The New in "The New Negro" Portraiture

    • Emily Braun

  • James Van Der Zee and the Global Mobility of Photographs in Interwar Paris

    • Christelle Lozère

  • Artists for Victory and the WPA at the Met: Catalytic Acquisitions of Work by African American Artists in the Early 1940s

    • Lowery Stokes Sims

  • The Harlem Renaissance in Exhibition

    • Bridget R. Cooks

  • A Political Pageant: The Harlem Renaissance on Parade

    • Claire Tancons

  • Photograph Credits

    • Included at the end of the catalog.

DIRECTOR'S FOREWORD

  • The Harlem Renaissance is described as a vibrant period of creativity in the early 20th century.

  • It coincided with the Great Migration, when many African Americans moved from the segregated South to better opportunities in urban areas.

  • This period marked the first African American-led international modern art movement.

  • The exhibition showcases over 160 artworks, aiming to provide a comprehensive survey of the Harlem Renaissance.

  • The movement is framed as a transnational spirit characterized by creative camaraderie rather than simply a historical moment.

  • Key figures: Alain Locke (philosopher), W. E. B. Du Bois (social thinker), and notable artists like Archibald J. Motley Jr., Aaron Douglas, and others.

  • The exhibition seeks to broaden perspectives on artists involved in the Harlem Renaissance from the United States, Europe, and the Caribbean.

CONTRIBUTORS

  • Stephanie Archangel: Curator of History at the Rijksmuseum, Amsterdam.

  • Emilie C. Boone: Assistant Professor in the Department of Art History at NYU.

  • Emily Braun: Distinguished Professor at Hunter College and the Graduate Center, CUNY.

  • Bridget R. Cooks: Chancellor's Fellow and Professor at UC Irvine.

  • Christelle Lozère: Associate Professor of Art History at the University of the Antilles.

  • Denise Murrell: Curator at The Metropolitan Museum of Art, New York.

  • Richard J. Powell: Professor at Duke University.

  • Lowery Stokes Sims: Independent curator and former curator at The Met.

  • James Smalls: Professor at the University of Maryland, Baltimore County.

  • Ego Ahaiwe Sowinski: Independent archivist and artist.

  • Claire Tancons: Curator and Art Historian based in Paris.

LENDERS TO THE EXHIBITION

  • Various museums and private collectors contributed artworks for the exhibition, including:

    • The Museum of African American Art, Los Angeles.

    • Howard University Gallery of Art, Washington D.C.

    • Private collections from individuals such as Walter O. and Linda Evans, Spike Lee, and others.

    • International lenders from France, the Netherlands, Norway, and the UK as well.

THE NEW NEGRO ARTIST AND THE MODERN BLACK SUBJECT

Overview of the New Negro Movement

  • The New Negro movement, synonymous with the Harlem Renaissance, surfaced in the 1920s pre-WWI.

  • Defined a cohort of African American artists and writers dedicated to modern portrayals of Black life.

  • Artists sought to reflect the experiences and cultures of emerging Black communities formed during the Great Migration.

  • The movement prompted a vigorous discussion regarding which values and ideals Black artistic expression should embody.

  • Key philosophers: Alain Locke promoted aesthetics influenced by African heritage and avant-garde styles, while W. E. B. Du Bois emphasized art for political activism.

Key Philosophical Debates

  • Harlem's status as a cultural center was highlighted by publications like "Harlem: Mecca of the New Negro" in Survey Graphic.

  • Locke's book "The New Negro: An Interpretation" collected essays on Harlem's socioeconomic profile and artistic community.

  • Emphasized contributions from both local and national Black artists and writers.

  • The debate over artistic representation included complex dynamics of pride, identity, and the expectations placed on Black artists by both Black and white communities.

Diversification of Artistic Expression

  • Harlem Renaissance artwork crossed diverse representational styles:

    • Blended African folkloric art with Western avant-garde strategies.

    • Addressed rigorously the historic exclusion and poor representation of Black lives in art.

    • Showcased both contemporary and historical scenes, contributing to a broader understanding of modernity from a Black perspective.

The Aesthetic Debate: Du Bois vs. Locke

  • Du Bois’ vision: Art should speak to the political aspirations of the Black community.

  • Locke’s vision: Emphasized an aesthetic that represented Black modernity on artistic terms, regardless of the theme.

  • This resulted in varied schools of thought within the movement, including varied styles from academic naturalism to abstract forms.

Key Artistic Works and Figures

  • Prominent works highlighted:

    • Charles Henry Alston - Girl in a Red Dress (1934): Represents the modern Black woman juxtaposed against avant-garde methods.

    • Aaron Douglas - Aspects of Negro Life (1934): Mural series depicting vital moments in Black history, embracing both ancient aesthetic symbols and contemporary styles.

    • Archibald J. Motley Jr. - Nightlife (1943) and Cocktails (ca. 1926): Capture the vibrancy of Black urban life during the era.

    • William H. Johnson - Street Life, Harlem (1939-40): A vivid representation of Harlem's nightlife and cultural zeitgeist.

Social Context and Commentary

  • Artists often used their platform to comment on social issues, particularly around race relations and identity.

  • Works like Meta Vaux Warrick Fuller's sculpture In Memory of Mary Turner articulate the racial violence endured by Black communities during their demographic transitions.

  • The Harlem Renaissance artists established a legacy that informed future civil rights movements, providing poignant representations of racial and social justice.

CONCLUSION

- The Harlem Renaissance was not only a pivotal movement in American art and culture, but it also laid the groundwork for dialogues on race, identity, and representation that resonate in today's artistic and social landscapes.

The notes provide an exhaustive overview of the content and themes presented in the text, summarizing key points, historical contexts, and the critical contributions of notable figures associated with the Harlem Renaissance.