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Autor/inWhitehead, Jessie L.
TitelInvisibility of Blackness: Visual Responses of Kerry James Marshall
QuelleIn: Art Education, 62 (2009) 2, S.33-39 (7 Seiten)Infoseite zur Zeitschrift
PDF als Volltext Verfügbarkeit 
Spracheenglisch
Dokumenttypgedruckt; online; Zeitschriftenaufsatz
ISSN0004-3125
SchlagwörterElementary Secondary Education; Art Education; Artists; Racial Identification; African American Culture; Personal Narratives; Story Telling; United States
Abstract"Invisible" is defined as (a) unable to be seen, and (b) treated as if unable to be seen; ignored (http://www.askoxford.com/concise_oed/invisible). "Black" is described as (a) of the very darkest color, and (b) relating to a human group having dark-coloured skin, especially of African or Australian Aboriginal ancestry (http://www.askoxford.com/concise_oed/black). These two concepts are significantly connected to the art of the contemporary black American artist Kerry James Marshall. The content of his work derives from his personal knowledge as a black American in the United States--experience often related to race. Visual narratives of artists outside the margins need to be more fully incorporated in K-12 art classrooms, as well as possibly art education teacher programs. Introducing the counter-stories of artists such as Marshall into the classroom brings to the forefront the role that race plays in life, and also expands stories beyond those of European and European-American artists. This article focuses on the visual narratives of Kerry James Marshall that are informed by his personal experience. Marshall's narratives are examples of counter-stories that express his experience as a black American. The author shares Marshall's comments about the concept of blackness and how it relates to his work. (Contains 5 figures and 4 endnotes.) (ERIC).
AnmerkungenNational Art Education Association. 1916 Association Drive, Reston, VA 20191. Tel: 703-860-8000; Fax: 703-860-2960; Web site: http://www.NAEA-Reston.org
Erfasst vonERIC (Education Resources Information Center), Washington, DC
Update2017/4/10
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