Viewing page 57 of 57

This transcription has been completed. Contact us with corrections.

[[Image]]
Wifredo Lam. PLATE, 1959. Clay 20" diameter

American Art and Philosophy, pp 215-218.
27. Ibid, p. 228.
28. Ibid, 228-229.
29. See Robert F. Thompson, "From Africa," Yale Alumni Magazine, 34 (November, 1970), p.17.
30. For general survey of Afro-American art in the Americas, see Melville J. Herskovits, "Afro-American Art", Op. Cit. pp. 150-158.
31. See Pierre Monosiet, "A Chronology of Haitian Art" in Stebich, Op Cit., pp. 12-14.
32. Hundreds of artists were associated with Centre d'Art. However, Hector Hyppolite and Wilson Biguad are widely acknowledged to be the most talented of the artists who joined Centre d'Art soon after it opened. For a brief description of the evolution of Haitian art and the Centre d'Art see, Seldon Rodman, The Miracle of Haitian Art (Garden City, New York: Doubleday and Company, 1974), pp. 15-35.
33. Ulli Beire and Suzanne Wenger were the European artists who established the Oshogbo Workshop in Nigeria.
34. For a survey of the stages of Africanized literature in the Caribbean see Edward K. Brathwaite, "The African Presence in Caribbean Literature," Daedalus 103 (Spring, 1974), pp. 73-104.
35. See Lowery S. Sims, "Wilfredo Lam and Roberto Matta: Surrealism in the New World," In the Minds Eye: Dada and Surrealism (Chicago: Museum of Contemporary Art, 1985), p. 92.
36. Jeff Donaldson, "TransAfrican Art: An International Style in Contemporary Art History," The Black Collegian (October/November, 1980) p. 91.
37. Ibid, p. 91.

Floyd W. Coleman holds the Ph.D degree in Art History and Criticism from the University of Georgia, Athens. He is currently Chairman of the Department of Art at Howard University. He has conducted field research in West Africa and in Mexico. Coleman has published articles on African American art and has lectured widely on the art of African Diaspora. He is currently conducting research on African American art of the southern part of the United States.