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The focus is the study of black artists and their works of art in media such as painting, sculpture, craft, printmaking, video, mixed media, and performance art. The field is driven by the analysis of the meanings and contexts of the works of art, as well as the lives and experiences of the artists. Works vary in terms of content and style and the relationship to issues of blackness, African American history, and identity. There has been debate as to whether black artists whose work does not engage issues of blackness in America can be considered \u201cAfrican American\u201d artists. This issue has largely been discredited in favor of an understanding that any work of art by an African American, no matter the content, is a reflection of the lived experiences and multidimensional concerns of black artists in America. Critics have challenged the idea of this categorization by claiming that it creates an artificial segregation of artists and their work based on an ill-defined construct of race in America. They contend that individual artists create within the framework of multiple human identities. In spite of varying viewpoints and challenges to the delineation of the field along racial lines, the study of African American art has remained a viable mode of inquiry, in large part because of a lack of attention to black artist from mainstream histories of art. A few African Americans entered the world of professional art in the 19th century. In the early 20th century, a critical mass of black artists began to coalesce around the country. Many developed visual languages that spoke to the particular social, cultural, and spiritual aspects of black life in America. Black artists gained academic training and began to enter into the mainstream professional art world, albeit marginalized by racial strictures. During the black consciousness movement of the 1960s and 1970s, the study and analysis of the art of black Americans emerged as a cohesive field. Early literature was focused on recovering the artwork and biographies of artists lost to the indifference of the mainstream art world. Postcolonial criticism influenced the modes of analysis regarding study of the art of African Americans and the field gained new scholarly attention. The literature on this subject has grown since the last quarter of the 20th century. The sources cited in this article focus on broader thematic treatments of the field and less on the work of individual artists.<\/p>","DOI":"10.1093\/obo\/9780190280024-0027","type":"reference-entry","created":{"date-parts":[[2016,6,30]],"date-time":"2016-06-30T17:50:39Z","timestamp":1467309039000},"source":"Crossref","is-referenced-by-count":0,"title":["Visual Arts"],"prefix":"10.1093","author":[{"given":"Adrienne","family":"Childs","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2016,6,28]]},"container-title":["African American Studies"],"original-title":["Visual Arts"],"language":"en","deposited":{"date-parts":[[2021,9,23]],"date-time":"2021-09-23T19:21:24Z","timestamp":1632424884000},"score":20.238277,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780190280024\/obo-9780190280024-0027.xml"}},"issued":{"date-parts":[[2016,6,28]]},"ISBN":["9780190280024"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780190280024-0027","published":{"date-parts":[[2016,6,28]]}},{"indexed":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T04:15:25Z","timestamp":1743653725996,"version":"3.40.3"},"reference-count":0,"publisher":"Routledge","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.4324\/9780367199838-recw357-1","type":"reference-entry","created":{"date-parts":[[2025,4,2]],"date-time":"2025-04-02T14:39:00Z","timestamp":1743604740000},"source":"Crossref","is-referenced-by-count":0,"title":["Visual Arts"],"prefix":"10.4324","author":[{"given":"Michael L.","family":"Krenn","sequence":"first","affiliation":[]},{"given":"Simo","family":"Mikkonen","sequence":"additional","affiliation":[]}],"member":"301","published-online":{"date-parts":[[2025,3,31]]},"container-title":["Visual Arts"],"language":"en","deposited":{"date-parts":[[2025,4,2]],"date-time":"2025-04-02T14:39:03Z","timestamp":1743604743000},"score":20.065678,"resource":{"primary":{"URL":"https:\/\/www.taylorfrancis.com\/entries\/10.4324\/9780367199838-RECW357-1"}},"editor":[{"given":"Ruud","family":"van Dijk","sequence":"additional","affiliation":[]},{"given":"Simo","family":"Mikkonen","sequence":"additional","affiliation":[]}],"issued":{"date-parts":[[2025,3,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.4324\/9780367199838-recw357-1","published":{"date-parts":[[2025,3,31]]}},{"indexed":{"date-parts":[[2022,3,30]],"date-time":"2022-03-30T04:48:05Z","timestamp":1648615685438},"publisher-location":"Berlin, Boston","reference-count":6,"publisher":"DE GRUYTER","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.1515\/9783110874259.561","type":"book-chapter","created":{"date-parts":[[2011,12,1]],"date-time":"2011-12-01T17:35:07Z","timestamp":1322760907000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing Arts, Visual Arts"],"prefix":"10.1515","author":[{"given":"Andr\u00e9","family":"Helbo","sequence":"first","affiliation":[]}],"member":"374","reference":[{"issue":"1","key":"p_10","first-page":"1","volume":"7","author":"Delsemme Paul","year":"1984","journal-title":"Kodikas\/Code"},{"issue":"1","key":"p_17","doi-asserted-by":"crossref","first-page":"170","DOI":"10.3138\/md.25.1.170","volume":"25","author":"Fdral Josette","year":"1982","journal-title":"Modern Drama"},{"issue":"58","key":"p_32","first-page":"8","volume":"17","author":"Hess-Luttich Ernest","year":"1989","journal-title":"Degris"},{"issue":"3","key":"p_46","doi-asserted-by":"crossref","first-page":"413","DOI":"10.7202\/500525ar","volume":"13","author":"Osolsobfc Ivo","year":"1980","journal-title":"Etudes Littiraires"},{"key":"p_50","first-page":"49","author":"Ruffini Franco","year":"1986","journal-title":"A. 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Painters depicted conventional subject matter such as still life, landscapes, and portraits with the pictorial means of sculptural volume, perspectival space, natural proportions, and unbroken, evenly modulated tonal values which had dominated painting since the Renaissance but which had been systematically dismantled by Modernism.<\/jats:p>\n         <jats:p>The tendency received its name with an exhibition at the Mannheim Kunsthalle in 1925, organized by Gustav Friedrich Hartlaub, although art critics had sought to name and define it since 1920, and explicitly in opposition to an Expressionism widely perceived as moribund. Hartlaub described what he saw as a split in the overall tendency, with an inclination toward traditionalism and classicism on the \"right\" wing, and toward aggressively critical social commentary and a propensity to exaggeration and caricature on the \"left\" (although Hartlaub denied that there was any political significance to his terminology of \"left\" and \"right,\" the artists assigned to the \"left\" wing were either active in or openly sympathetic to the left wing of German politics).<\/jats:p>","DOI":"10.4324\/9781135000356-rem1596-1","type":"book-chapter","created":{"date-parts":[[2018,9,10]],"date-time":"2018-09-10T18:11:00Z","timestamp":1536603060000},"source":"Crossref","is-referenced-by-count":0,"title":["Neue Sachlichkeit in Visual Arts [New Objectivity in Visual Arts]"],"prefix":"10.4324","author":[{"given":"Michael","family":"Mackenzie","sequence":"first","affiliation":[]}],"member":"301","container-title":["Routledge Encyclopedia of 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Aesthetics, deriving from the Greek word for \u201cperception,\u201d attends to judgments of taste about artworks and other sensory objects. In sociology, aesthetic experience as a subfield developed from studies of taste and judgment and now extends to sophisticated analyses of materiality and material encounters, cultural consumption, and iconicity. As this article suggests, there is no single domain within sociology for the study of art. Sociology of art permits a diverse range of methodological and empirical approaches to the relationship between societies and cultural objects. What unites this broad area of work is the understanding that the arts and social theory are equal partners; art offers a source of \u201cexistential social knowledge that is of its own worth\u201d (Harrington 2004, p. 3 [cited under General Overviews]). In other words, art can reveal certain aspects of society that other social phenomena cannot.<\/p>","DOI":"10.1093\/obo\/9780199756384-0200","type":"reference-entry","created":{"date-parts":[[2017,6,27]],"date-time":"2017-06-27T10:13:35Z","timestamp":1498558415000},"source":"Crossref","is-referenced-by-count":0,"title":["Visual Arts, Music, and Aesthetic Experience"],"prefix":"10.1093","author":[{"given":"Fiona","family":"Greenland","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2017,6,27]]},"container-title":["Sociology"],"original-title":["Visual Arts, Music, and Aesthetic 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