African American Art in the 1960s

Overview of Course Material

• Discussion on various artists, artworks, collective themes, and assignments.

General Class Information

• The class covers culture and art, primarily focused on the West Coast.

• Everything discussed before the date of the quiz will be included in Quiz Number Three.

• Important reminders for students about upcoming events, extra credit opportunities, and assignments.

Extra Credit Opportunity

• Event at Fox Park Gallery tonight from 6 PM to 8 PM.

  • No food, but snacks and drinks will be served.

  • Students required to sign in for extra credit.

  • Students encouraged to stay for 25-30 minutes minimum.

Class Schedule and Breaks

• No classes Monday and Tuesday of next week (Fall Break).

• No Art 100 class on Thursday, but other university classes may still be in session.

• Assignment on D2L due Sunday, October 26. Students encouraged to ask questions before the deadline.

• Quiz Number Three will be available until October 31 and it is recommended to take it after the break while material is fresh in mind.

Recap of Previous Class Discussion

• Live music event and connection to previous artists discussed, specifically Wally Hedrick and Jasper Johns.

• Discussion on the artwork "Howl at Sixth Gallery" by Allen Ginsberg.

  • Relevant quote: "I saw the best minds of my generation destroyed by madness, starving, hysterical, naked."

  • The artwork performed in the context of freedom of speech and political commentary.

Highlighted Artists and Artworks

William Espero's Self-Portrait (1959)

• Medium: Ink on paper.

• Acknowledgement of personal experiences influencing the artwork—specifically drug use.

• Intersection of visual arts and literature, significant to the San Francisco art scene.

Jay DeFeo's "The Rose" (1958-1966)

• Characteristics: Physically and conceptually heavy, layers of mica, cement, and paint.

• Took eight years to create; unsold during DeFeo's lifetime, rediscovered in the 1990s.

• Dimensions: 129" x 92" x 11".

Bruce Connor and Assemblage Art

• Example: "The Temptation of Saint Barney Google"

  • Mixed media, combining pictorial and three-dimensional elements.

  • Associated with funk art, exploring themes of everyday life and waste.

Ed Keinholz - "The Portable War Memorial" (1968)

• Installation art, larger than life, commented on social decline and human decay.

  • Depicting simplicity of everyday life against the backdrop of war.

  • Highlights viewer's complacency toward violence and warfare.

Romare Bearden - "The Dove" (1964)

• Medium: Collage and synthetic polymer.

• Built on urban complexity to express fragmented African American identity.

• Created photo montages, implying a seamless presentation of chaotic urban life.

Faith Ringgold - "The Flag is Bleeding"

• Political engagement through textiles; part of the "American People" series.

  • Reflective of civil rights tensions in America.

• Utilization of the American flag in critique of social relations and violence.

David Hammonds - "America the Beautiful"

• Type: Lithograph and body print; an exploration of identity.

• Represents the merging of body and national identity using grease as technique.

Betty Saar - Artistic Thematic Elements

• Exploratory assemblage created within a window frame.

• Incorporates astrological and mystical symbols intertwined with personal identity.

Watts Uprising Contextualization

• Historical context behind artworks reflecting social unrest.

  • Discussion of the Watts Uprising of 1965: police vs. residents' interpretation of events.

  • Noah Purifoy's "Watts Uprising Remains" representing resilience and adaptation.

Conclusion and Class Dynamics

• Emphasis on the social responsibility of artists through their works.

• Encouragement for students to explore the ways art reflects societal and personal issues.

• Encouraged to think critically about the themes presented, to lay groundwork for future discussions on art's role in politics and community.