{"title":"Shaping Words to Fit the Soul:","authors":"","doi":"10.2307/j.ctv16f6j99.6","DOIUrl":"https://doi.org/10.2307/j.ctv16f6j99.6","url":null,"abstract":"","PeriodicalId":371052,"journal":{"name":"Shaping Words to Fit the Soul","volume":"54 s186","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113953934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"CONCLUSION","authors":"","doi":"10.2307/j.ctv16f6j99.10","DOIUrl":"https://doi.org/10.2307/j.ctv16f6j99.10","url":null,"abstract":"","PeriodicalId":371052,"journal":{"name":"Shaping Words to Fit the Soul","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127922663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"INDEX","authors":"","doi":"10.2307/j.ctv16f6j99.14","DOIUrl":"https://doi.org/10.2307/j.ctv16f6j99.14","url":null,"abstract":"","PeriodicalId":371052,"journal":{"name":"Shaping Words to Fit the Soul","volume":"38 10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122509955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Life and Death in the Dirty South:","authors":"","doi":"10.2307/j.ctv16f6j99.9","DOIUrl":"https://doi.org/10.2307/j.ctv16f6j99.9","url":null,"abstract":"","PeriodicalId":371052,"journal":{"name":"Shaping Words to Fit the Soul","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123336233","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"WORKS CITED","authors":"","doi":"10.2307/j.ctv16f6j99.13","DOIUrl":"https://doi.org/10.2307/j.ctv16f6j99.13","url":null,"abstract":"","PeriodicalId":371052,"journal":{"name":"Shaping Words to Fit the Soul","volume":"154 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114525450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Life and Power Far Beyond the Letter:","authors":"","doi":"10.2307/j.ctv16f6j99.5","DOIUrl":"https://doi.org/10.2307/j.ctv16f6j99.5","url":null,"abstract":"","PeriodicalId":371052,"journal":{"name":"Shaping Words to Fit the Soul","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129049411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ACKNOWLEDGMENTS","authors":"","doi":"10.2307/j.ctv16f6j99.3","DOIUrl":"https://doi.org/10.2307/j.ctv16f6j99.3","url":null,"abstract":"","PeriodicalId":371052,"journal":{"name":"Shaping Words to Fit the Soul","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126682526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Truth showcases a multigenerational representation of key artists, many of whom studied or collaborated with one another. Some of the periods and movements surveyed are the Harlem Renaissance, AfriCOBRA and the black arts movement, fem inist art, color field painting, modernist abstrac tion, abstract expressionism, minimalism, and post mod ernism. In addition, this project highlights the broad creative talents of painters, printmakers, and sculptors who have studied, worked, and lived in Maryland and Washington, D.C. These artists, including Joseph Deweese Holston (who exhibited his paintings and prints at the Washington County Museum of Fine Arts in 2003), Curlee Raven Holton, David C. Driskell, Curtis Woody, and Schroeder Cherry, examine African American cultural heritage and memory through their paintings, prints, and mixedmedia compositions. The works of art in The Blues and the Abstract Truth present a remarkable range of subjects—from nature to the urban environment and daily life— mediums, and visual techniques that convey the ingenuity, adaptability, and ever-changing nature of African American creative expression. Although the works are executed in diverse styles and methods, many meld or strike a balance between abstract and representational artistic approaches. The inspiration for this exhibition’s title, The Blues and the Abstract Truth, derives from saxophonist Oliver Nelson’s seminal, enthralling 1961 jazz album.1 Nelson allowed the various musical ideas of each performer to drive the form and direction of the featured compositions. As he remarked in the record’s original liner notes, “The augmentation of the forms themselves comes from thematic motifs and melodic ideas.”2 In many regards, the works in this exhibition seek to achieve an aim comparable to that described by Nelson: the underlying themes and concepts of each piece often guide their content and execution. In a quest to find truth and meaning through the creation of their work, the artists confront and attempt to reconcile a variety of concerns, experiences, and emotions. However, as suggested by the words “abstract truth,” these artists often come to terms with these issues by employing nonobjective visual methods and techniques rather than traditional narratives and realist methods. Similarly, the musicians on Nelson’s album synthesized melodic and dissonant forms through the driving force of their probing, innovative improvisations. While the word “blues” has historically conjured associations with melancholy, loneliness, and personal challenges, it also came to define a form of music that emerged in the 1870s and that employed “blue” notes originating from African sources and African American spiritual, folk, and work songs. This type of music would eventually evolve into various genres, including jazz, rhythm and blues, and rock and roll, that we recognize today. Indeed, prints such as Faith Ringgold’s Mama Can Sing and Papa Can Blow (2004 and 2005, front and back
{"title":"Blues and the Abstract Truth:","authors":"David C. Driskell","doi":"10.2307/j.ctv16f6j99.8","DOIUrl":"https://doi.org/10.2307/j.ctv16f6j99.8","url":null,"abstract":"Truth showcases a multigenerational representation of key artists, many of whom studied or collaborated with one another. Some of the periods and movements surveyed are the Harlem Renaissance, AfriCOBRA and the black arts movement, fem inist art, color field painting, modernist abstrac tion, abstract expressionism, minimalism, and post mod ernism. In addition, this project highlights the broad creative talents of painters, printmakers, and sculptors who have studied, worked, and lived in Maryland and Washington, D.C. These artists, including Joseph Deweese Holston (who exhibited his paintings and prints at the Washington County Museum of Fine Arts in 2003), Curlee Raven Holton, David C. Driskell, Curtis Woody, and Schroeder Cherry, examine African American cultural heritage and memory through their paintings, prints, and mixedmedia compositions. The works of art in The Blues and the Abstract Truth present a remarkable range of subjects—from nature to the urban environment and daily life— mediums, and visual techniques that convey the ingenuity, adaptability, and ever-changing nature of African American creative expression. Although the works are executed in diverse styles and methods, many meld or strike a balance between abstract and representational artistic approaches. The inspiration for this exhibition’s title, The Blues and the Abstract Truth, derives from saxophonist Oliver Nelson’s seminal, enthralling 1961 jazz album.1 Nelson allowed the various musical ideas of each performer to drive the form and direction of the featured compositions. As he remarked in the record’s original liner notes, “The augmentation of the forms themselves comes from thematic motifs and melodic ideas.”2 In many regards, the works in this exhibition seek to achieve an aim comparable to that described by Nelson: the underlying themes and concepts of each piece often guide their content and execution. In a quest to find truth and meaning through the creation of their work, the artists confront and attempt to reconcile a variety of concerns, experiences, and emotions. However, as suggested by the words “abstract truth,” these artists often come to terms with these issues by employing nonobjective visual methods and techniques rather than traditional narratives and realist methods. Similarly, the musicians on Nelson’s album synthesized melodic and dissonant forms through the driving force of their probing, innovative improvisations. While the word “blues” has historically conjured associations with melancholy, loneliness, and personal challenges, it also came to define a form of music that emerged in the 1870s and that employed “blue” notes originating from African sources and African American spiritual, folk, and work songs. This type of music would eventually evolve into various genres, including jazz, rhythm and blues, and rock and roll, that we recognize today. Indeed, prints such as Faith Ringgold’s Mama Can Sing and Papa Can Blow (2004 and 2005, front and back ","PeriodicalId":371052,"journal":{"name":"Shaping Words to Fit the Soul","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114977278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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