African American Heroism : Art By Kehinde Wiley

During my early years of school, I remember being taught white accomplishments and wondering if blacks and other people of color had made any significant contributions to today's world. I noticed that television consist of all white people. Throughout my research paper I hope to cover certain aspects of African American heritage. Aspects such as blacks making up the largest minority group in the United States, although Mexican-Americans are rapidly changing that. The contributions blacks have provided to our country are immeasurable. Unfortunately though rather than recognizing these contributions, white America would rather focus on oppressing and degrading these people. As a consequence American

“Street art is omnipresent in urban streets and is a rish source of inspiration for artistic creativity. . . It possesses the aesthetic voices of the ordinary and enables resistance for the marginalized. Banksy’s street art, in particular, can guide students to think about various social and political issues and to reflect upon the immediate, if not unjust, world in which they live, to transform that world, and to

African-American history are those events that started with the first slave ships from Africa to the Caribbean Islands and carry through their journey as a people both individually and collectively to today's societies across the Americas.

Slavery began in the late 16th century to early 18th century. Africans were brought to American colonies by white masters to come and work on their plantations in the South. They were treated harshly with no payments for all their hard work. In addition, they lived under harsh living conditions, and this led to their resistance against these harsh conditions. The racism towards the African Americans who were slaves was at its extreme as they did not have any rights; no civil nor political rights.

As Americans, we are privileged with diverse experiences. With this comes a perceived understanding of many cultures and their influences but in fact full cultural literacy is impossible to achieve.

Meta Warrick Fuller’s sculpture “Ethiopia Awakening” served as a metaphoric yearning for African culture, a symbolic image of emancipation, an awakening of African Americans diaspora identity, resurgence of Fuller’s artistic career and as a self-portrait of Fuller. The Progressive era, from 1890 to 1920, forms the backdrop to Fuller’s life and art. This period has come to symbolize the reform efforts of the middle class. White middle class progressives sought to reengineer industry and government, pushed for economic and social reforms. The Progressive era was also a time of intense contradictions and ambiguities. Race was the blind spot of white progressives. 1 At the turn of the twentieth-century African Americans

I do believe that any obstacle or disadvantage can turn into something good. I know this because people learn from their mistakes. Some people give up or lose hope when they are encountering an obstacle. Anything can be make up by thinking or a wise decision.

The Negro Digs Up His Past by Arthur Schomburg is an article he wrote in 1925, in which he complaint that somehow through the years African American history has been questioned and denied as many claim that Africans have no history at all. He uses this paper to illustrate the importance of recording the collective accomplishments of African Americans and that we must at all costs save any evidence, so that things like this do not happen again in the future. He wants to make sure to leave no place for doubts that African Americans have a history and is irrefutable in the eyes of skeptics and the world. According to Schomburg, “Though it is orthodox to think of America as the one country where it is unnecessary to have a past, what is luxury for the nation as a whole becomes a prime social necessity for the Negro(Schomburg 231).” He emphasizes that blacks have to dig deep into their own history in order to hold their own against the current oppression. He wants to set the record straight and restore the history that was omitted, the history that was denied to them, a history that has somehow been stolen from them forever.

Injustice is a big problem in today’s society. Martin Luther King wrote the “Letter from Birmingham Jail” in which he addressed many forms of injustices that was present then and continue to be present in today’s world. Martin Luther King did a lot of things that still effect today. He got in trouble for some things as well; such as like protesting how blacks were treated. He was arrested and was sent to Birmingham City Jail. He wrote a letter to defend the strategies of nonviolent resistance to racism. He employs the use of pathos, ethos, and logos to support his argument that nonviolence resistance is definitive. Based on the pathos, ethos, and logos present in this letter, the article is overall effective to this argument.

The intersection of social movements and Art is one that can be observed throughout the civil right movements of America in the 1960’s and early 1970’s. The sixties in America saw a substantial cultural and social change through activism against the Vietnam war, women’s right and against the segregation of the African - American communities. Art became a prominent method of activism to advocate the civil rights movement. It was a way to express self-identity as well as the struggle that people went through and by means of visual imagery a way to show political ideals and forms of resistance. To examine how a specific movement can have a profound effects on the visual art, this essay will focus on the black art movement of the 1960s and

Nevertheless, I believed that I was limited in how I could be proactive. This belief stemmed from my inability to visualize myself expressing resistance through art. I knew art induced emotions within audiences that facts could not, and I knew combining art and information to create an argument that was both logical and emotional was an effective way to motivate audiences in support of social justice. However, before this class, I had never created protest art and believed only professional artists could make significant contributions to protest art. Due to this, I was unable to incorporate art in my own resistance against oppressive

The time period that the fiction sets is the 1920s, when the society was experiencing significant transformations in every aspect of life. The Progressive Movement, which aimed at eliminating various means of political corruption and illegal business practices, had just abated. Harlem Renaissance, a new element of the 1920s, took place in City of New York and its effect swept across the country. Harlem Renaissance, a rebirth of African American culture and art, exerted substantial influence on black people, regardless of the social status and wealth they had. Nevertheless, such splendid cultural explosion could not conceal the limitations and inequality of the 1920s. Gender and race restrictions were not uncommon across the nation. Based on her own experience as a mulatto, Nella Larsen showcased the struggling and miserable life of mixed-blood people.

In America, there was a painter named Kehinde Wiley, who was born in Los Angeles, California in 1977. As a little boy, his parents knew that he wanted to become an artist. His family supported him to achieve his dream, and he went to an art school in Russia at the age of 12. He went to both San Francisco Art Institute and Yale University to pursue art. Wiley has received numerous awards such as the “Rema Hort Mann Foundation Grant Recipient”, "Americans for the Arts, Young Artist Award for Artistic Excellence", "USA Network, Character Approved Award", "Canteen Magazine, Artist of the Year Award; New York City Art Teachers Association/United Federation of Teachers, Artist of the Year Award" and the “Pratt Legend Award”. His arts and studies

In general appropriation in the art movement of postmodernism, borrows, copies, and alters preexisting images and objects to challenge traditional notions in art. In artist Kehinde Wiley newest art exhibit, “Kehinde Wiley: A New Republic,” he appropriate cultural images, and characters from one context and places them it in another. Using juxtaposed inversions to challenge traditional elitist, white male-dominated, “high” historical art culture. As a self-identified homosexual African American man raised in Los Angeles in the 80’s, it is evident a significant part of Kehinde Wiley artists inventions derive from his own personal experiences and beliefs. By appropriate white

During the late 19th and 20th centuries Blacks in America were debating on the proper way to define and present the Negro to America. Leaders such as Alain Lock, W.E.B. Dubois, Marcus Garvey, and Tuskegee University founder Booker T. Washington all had ideas of a New Negros who was intellectually smart, politically astute, and contributors to society in trade work. All four influential leaders wrote essays to this point of the new Negro and their representations in art and life. In “Art or Propaganda”, Locke pleas not for corrupt or overly cultured art but for art free to serve its own ends, free to choose either "group expression" or "individualistic expression.” (National Humanities Center) In W.E.B. Du Bois speech "Criteria for Negro