"A landmark study addressing the need to focus on the rich heritage of minority ethnic groups, including Black, Hispanic, and Native American, among others. A compilation of 20 chapters on a variety of aspects of art education for students of varied ethnic backgrounds. Topics include the role of the minority family in children's education; portrait of a Black art teacher of preadolescents in the inner city; the art of Northwest Coast peoples; an Eskimo school; teaching art to disadvantaged Black students; and many others"--Http://www.naea-reston.org/publications-list.html.

Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics

During the 1920s and 1930s, American minority artists and writers collaborated extensively with the Soviet avant-garde, seeking to build a revolutionary society that would end racial discrimination and advance progressive art. Making what Claude McKay called "the magic pilgrimage" to the Soviet Union, these intellectuals placed themselves at the forefront of modernism, using radical cultural and political experiments to reimagine identity and decenter the West. Shining rare light on these efforts, The Ethnic Avant-Garde makes a unique contribution to interwar literary, political, and art history, drawing extensively on Russian archives, travel narratives, and artistic exchanges to establish the parameters of an undervalued "ethnic avant-garde." These writers and artists cohered around distinct forms that mirrored Soviet techniques of montage, fragment, and interruption. They orbited interwar Moscow, where the international avant-garde converged with the Communist International. The book explores Vladimir Mayakovsky's 1925 visit to New York City via Cuba and Mexico, during which he wrote Russian-language poetry in an "Afro-Cuban" voice; Langston Hughes's translations of these poems while in Moscow, which he visited to assist on a Soviet film about African American life; a futurist play condemning Western imperialism in China, which became Broadway's first major production to feature a predominantly Asian American cast; and efforts to imagine the Bolshevik Revolution as Jewish messianic arrest, followed by the slow political disenchantment of the New York Intellectuals. Through an absorbing collage of cross-ethnic encounters that also include Herbert Biberman, Sergei Eisenstein, Paul Robeson, and Vladimir Tatlin, this work remaps global modernism along minority and Soviet-centered lines, further advancing the avant-garde project of seeing the world anew.

Can low-riders rightfully be considered art? Why are Chicano murals considered art while graffiti is considered vandalism? What do Native American artisans think about the popular display of their ceremonial objects? How do the "middlebrow" notions of Getty workers influence "highbrow" values at the J. Paul Getty Trust? Looking High and Low attempts to answer these questions—and the broader question "What is art?"—by bringing together a collection of challenging essays on the meaning of art in cultural context and on the ways that our understandings of art have been influenced by social process and aesthetic values. Arguing that art is constituted across cultural boundaries rather than merely inside them, the contributors explore the relations between art, cultural identity, and the social languages of evaluation—among artists, art critics, art institutions, and their audiences—in the Southwest and in Mexico. The authors use anthropological methods in art communities to uncover compelling evidence of how marginalized populations make meaning for themselves, how images of ethnicity function in commercial culture, how Native populations must negotiate sentimental marketing and institutional appropriation of their art work, and how elite populations use culture and ritual in ways that both reveal and obscure their power and status. The authors make dramatic revelations concerning the construction and contestation of ideas of art as they circulate between groups where notions of what art "should" be are often at odds with each other. This volume challenges conventional modes of analyzing art. Its ethnographic explorations illuminate the importance of art as a cultural force while creating a greater awareness of the roles that scholars, museum curators, and critics play in the evaluation of art. Contents Introduction: Art Hierarchies, Cultural Boundaries, and Reflexive Analysis, Brenda Jo Bright Bellas Artes and Artes Populares: The Implications of Difference in the Mexico City Art World, Liza Bakewell Space, Power, and Youth Culture: Mexican American Graffiti and Chicano Murals in East Los Angeles, 1972-1978, Marcos Sanchez-Tranquilino Remappings: Los Angeles Low Riders, Brenda Jo Bright Marketing Maria: The Tribal Artist in the Age of Mechanical Reproduction, Barbara Babcock Aesthetics and Politics: Zuni War God Repatriation and Kachina Representation, Barbara Tedlock Middlebrow into Highbrow at the J. Paul Getty Trust, Los Angeles, George E. Marcus

The subject matter and iconography of much of the art in the U.S. Capitol forms a remarkably coherent program of the early course of North American empire, from discovery and settlement to the national development and westward expansion that necessitated the subjugation of the indigenous peoples. In Art and Empire, Vivien Green Fryd's revealing cultural and political interpretation of the portraits, reliefs, allegories, and historical paintings commissioned for the U.S. Capitol, the reader is given an enhanced appreciation for the racial and ethnic implications of these works. This latest contribution to the United States Capitol Historical Society's Perspectives on the Art and Architectural History of the United States Capitol series provides an affordable and accessible insight into one of our most visited, viewed, and revered national buildings. Professor Fryd demonstrates how the politics of our history is written in stone and painted on the walls of these hallowed halls.

This book provides an engaging introduction to aesthetic concepts, expanding the discussion beyond the usual Western theorists and Western examples.

The Palgrave Handbook of Race and the Arts in Education is the first edited volume to examine how race operates in and through the arts in education. Until now, no single source has brought together such an expansive and interdisciplinary collection in exploration of the ways in which music, visual art, theater, dance, and popular culture intertwine with racist ideologies and race-making. Drawing on Critical Race Theory, contributing authors bring an international perspective to questions of racism and anti-racist interventions in the arts in education. The book’s introduction provides a guiding framework for understanding the arts as white property in schools, museums, and informal education spaces. Each section is organized thematically around historical, discursive, empirical, and personal dimensions of the arts in education. This handbook is essential reading for students, educators, artists, and researchers across the fields of visual and performing arts education, educational foundations, multicultural education, and curriculum and instruction.

The book is a stimulating and inspiring collection which explores the often contentious themes of race, racism and culture in relation to the experience of art therapy, in a constructive way. Contributors examine the impact of racial perceptions in their own experience, their clients' lives, and on the interaction of therapist and client.