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Description: The Image of the Black in Western Art, Volume V: The Twentieth Century, Part 2: The...
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PublisherHarvard University Press
https://doi.org/10.37862/aaeportal.00146.013
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Index
A3 Blackface #20 (iROZEALb), 272, 273
Aboriginal Australians, 274–275, 275
Africa (French), 16–17, 17
African portraiture, 248–249, 248–249
Afro Love and Unity (Ofili), 257, 258–259, 259
After Black . . . (Charles), 256–257, 256–257
After Duchamp (Campos-Pons), 149, 149–150
Albany Institute of History and Art, The Negro Artist Comes of Age . . . (frontispiece), 50, 52, 52
Ali, Muhammad, 126–127, 128
Allen, James Latimer, Brown Madonna, 113–114, 114
Anderson, Hurvin, Peter’s Back, 299–300, 300
Antoni, Janine, Loving Care, 260–261, 261
April 4 (Gilliam), 195–196, 196
Askew, Thomas E., Four African American Women . . . , 105–106, 106
Askew, Thomas E. (attrib.), Untitled (African American Girl . . .), 58–59, 58–59
Aspects of Negro Life (Douglas). See Douglas, Aaron: Aspects of Negro Life
Autobiography . . . (Pindell), 171, 172, 174
Baby Back (Cox), 203, 206–207
Banjo Lesson, The (Tanner), 7, 12, 17–19
barbershops: Peter’s Back (Anderson), 299–300, 300
Rock Head (Hammons), 259, 259–260. See also hairstyles, black men’s
Bareroot (Saar), 254, 257
Barthé, Richmond, Green Pastures . . . , 82, 82
Basquiat, Jean-Michel, Self-Portrait . . . , 174–175, 176–177, 177
Battey, C. M., Portrait of Pal, 108–109, 108–109
Bearden, Romare: The Blues Has Got Me, 100–101, 101–102
Captivity and Resistance, 147–149, 148–149, 153
Mysteries, 144–145, 144–146
beauty, black men’s: Chester (Johnson), 24–25, 26–27
Muhammad Ali . . . (Robinson), 126–127, 128
Paul Robeson (Muray), 114, 114–115
Portrait of Pablillos de Valladolid . . . (Wiley), 266, 268, 268–269
beauty, black women’s: Bright Plastic Bodies (Bright), 215–216, 216–217
Courbet 3 (Sleep) (Thomas), 201, 203, 204
Homeward Bound (Mutu), 266, 266–267
Lawdy Mama (Hendricks), 158–159, 159–160
Lipstick (Gregory), 221–222, 222
Maudelle Bass Weston (Hagemeyer), 66–67, 66–67
Not Manet’s Type . . . (Weems), 200–201, 202–203
Portrait of Pal (Battey), 108–109, 108–109
Relate to Your Heritage (Jones-Hogu), 136–137, 136–137
Revolutionary (Jarrell), 137–138, 138, 140–141, 147
Wives of Shango #1 (Donaldson), 134, 135–136, 140, 147, 159
beauty, white women’s, 215–216, 216–217
Bedou, Arthur P., Booker T. Washington, 109–111, 110–111
Being Seen for the Camera (Roye), 218–219, 218–219
Bellows, George, Tin Can Battle, San Juan Hill, 75–76, 76–77
Benga, Feral, 71, 72
Between the Two . . . (Himid), 244–245, 244–245
Billops, Camille, I Am Black . . . , 163–164, 164–165
Bill Traylor—People’s Artist (Traylor), 11, 12–13
Birane, Diouf, 281, 282–283
Black Audio Film Collective, Seven Songs for Malcolm X, 235–236, 236–237
Black Light Series #11 . . . (Ringgold), 131–132, 132–133
Black Prince, The (Jarrell), 137–138, 138
Black Soldier (Wilson), 73–75, 74
Black Unity (Catlett), 140–141, 141–142
Bloch, Lucienne, The Cycle of a Woman’s Life . . . , 32–33, 33
Blues (Motley), 95, 97, 98
Blues Has Got Me, The (Bearden), 100–101, 101–102
Boakye, Lynette Yiadom, Kingfisher, 297, 298
Booker T. Washington (Bedou), 109–111, 110–111
Boss, The (Polk), 115, 116–117, 117
Bowling, Frank, Night Journey, 167, 168–169, 169
boxers: Jack Johnson (Saunders), 162–163, 163
Muhammad Ali . . . (Robinson), 126–127, 128
Boyce, Sonia, From Someone Else’s Fear . . . , 229–230, 230
Bradford, Mark, Ghost Money, 287, 288
Branded Head (Thomas), 209–210, 210–211, 213
Brandenburg, Marc, Untitled, 294, 294–295
Breakdown, The (Johnson), 45–46, 46–47, 52
Breitz, Candice, Ghost series: No. 4, 291–292, 292
Bright Plastic Bodies (Bright), 215–216, 216–217
Bright Sheila Pree, Bright Plastic Bodies, 215–216, 216–217
Brown, Iona Rozeal. See iROZEALb
Brown, John, 147–149, 148–149
Emancipation of the Negro Slaves (Ishigaki), 30–31, 30–31
Brown Madonna (Allen), 113–114, 114
Burra, Edward, Harlem, 80, 80–81
Cabaret (Smith), 98, 98
Cabinetmaking (Wilson), 239, 240–241, 241
Campos-Pons, María Magdalena: After Duchamp, 149, 149–150
Elevata, 253, 253
Captivity and Resistance (Bearden), 147–149, 148–149, 153
caricatures. See racial caricatures
carnivalesque theme: After Black . . . (Charles), 256–257, 256–257
Homeward Bound (Mutu), 266, 266–267
Rock Head (Hammons), 259, 259–260
Soundsuit (Cave), 270–271, 271
Carver, George Washington, 152–153, 153–154
Catlett, Elizabeth: Black Unity, 140–141, 141–142
Harriet, 146–147, 146–147
Cave, Nick, Soundsuit, 270–271, 271
Charles, Michael Ray, After Black . . . , 256–257, 256–257
Chariot (Thrash), 38–39, 39
Chester (Johnson), 24–25, 26–27
children, black: Black Soldier (Wilson), 73–75, 74
Brown Madonna (Allen), 113–114, 114
Chester (Johnson), 24–25, 26–27
Coretta Scott King (Sleet), 125, 125–127
The Cycle of a Woman’s Life . . . (Bloch), 32–33, 33
Fanny Lou Hamer . . . (Davidson), 122–123, 123
Mask (Johnson), 59, 61–62, 62, 82
Mysteries (Bearden), 144–145, 144–146
Portrait of Willie Gee (Henri), 58–59, 59, 70
Scottsboro Boys (Noda), 31–32, 32–33
Untitled (African American girl . . .) [attrib. Askew], 58–59, 58–59
“WPA: FAP: Kids involved in painting . . . ” photograph, 27–28, 28
children, white: The Cycle of a Woman’s Life . . . (Bloch), 32–33, 33
The Drop Sinister . . . (Watrous), 70–71, 70–71
The Liberation of Aunt Jemima (Saar), 117, 118, 149–151, 174
Chong, Albert, Seated Presence, 250, 250–251
Christ’s depositon image, 71, 72
Cinque, 147–149, 148–149
City, London (Tabrizian), 290, 290–291
clothes. See dress
Cole, Willie, House and Field, 271–272, 272–273
Coleridge-Taylor, Samuel, 20–21, 20–21
Colescott, Robert, George Washington Carver Crossing the Delaware, 152–153, 153–154
colonialism: The End of Uncle Tom . . . (Walker), 7, 254–255, (254–255)
Mrs. Black. Mrs. Brown. Mrs. White. (Morgan), 220–221, 220–221
Sweetness and Light . . . (Kempadoo), 206–207, 207
Congo Man (Locke), 268, 270, 270–271
Coretta Scott King (Sleet), 125, 125–127
Cortor, Eldzier, The Wall, 71, 72–73
Couple . . . (VanDerZee), 56, 56–57, 78, 113
Courbet 3 (Sleep) (Thomas), 201, 203, 204
Covarrubias, Miguel, Rhapsody in Blue, 95, 96–97
Cox, Renée, Baby Back, 203, 206–207
Crichlow, Ernest, Lovers, 16, 16–17
Crunelle, Leonard, Victory Monument, 61–62, 62
Cycle of a Woman’s Life . . . , The (Bloch), 32–33, 33
Dahl-Wolfe, Louise, Untitled (informally Edmondson’s Tools), 43, 44
dancers, black: Being Seen for the Camera (Roye), 218–219, 218–219
Green Pastures . . . (Barthé), 82, 82
Jitterbugs (V) (Johnson), 100, 100–101
Negro Dance Hall (Davis), 92, 92, 94
Negro Girl Dancer (Demuth), 92–93, 94
Dash, Julie, Daughters of the Dust, 274, 274
Date, Hideo, In Search of His Dream, 38–39, 39–40
Daughters of the Dust (Dash), 274, 274
Davidson, Bruce, Fanny Lou Hamer . . . , 122–123, 123
USA. Birmingham, Alabama . . . , 123, 124, 125
Davis, Angela, 137–138, 138–139, 140
Davis, Stuart, Negro Dance Hall, 92, 92, 94
Dawson, Charles C., Quadroon Madonna, 21–22, 22
Deadpan (McQueen), 276–277, 276–277
Death (Lynched Figure) (Noguchi), 14–15, 14–16
Delaney, Beauford: Jazz Quartet, 102, 102–103
Portrait of Ella Fitzgerald, 156, 158, 158
DeLuxe (Gallagher), 263, (264–265)
Demuth, Charles, Negro Girl Dancer, 92–93, 94
Deposition (Feral Benga) (Tchelitchew), 71, 72
Derrick Cross (Mapplethorpe), 230–231, 231–232
Désert, Jean-Ulrick, Negerhosen2000/The Travel Albums v.2, 215, 216
Different Utopia, A (Miller), 283–284, 284–285
Dios Mio Gabbana (Gispert), 222, 222–223, 224
Diva at 73 (Lawson), 219, 219–220
divine oracles, black women, 95, 96–97
Donaldson, Jeff, Wives of Shango #1, 134, 135–136, 140, 147, 159
Douglas, Aaron: Aspects of Negro Life: An Idyll of the Deep South, 2, 3, 7, 25, 27
Aspects of Negro Life: From Slavery Through Reconstruction, 2–3, 3, 7, 27
Aspects of Negro Life: The Negro in an African Setting, 2, 3, 25, 27
Aspects of Negro Life: Song of the Towers, 3, 4, 25, 27
Rise Shine . . . ,94, 94–95
Douglas, Emory, Freedom. Black Panther, 133, 134, 147
Douglas, Stan, Inconsolable Memories, 277, 277–278
Douglass, Frederick: Captivity and Resistance (Bearden), 147–149, 148–149, 153
Emancipation of the Negro Slaves (Ishigaki), 30–31, 30–31
Untitled (Six Negro Leaders) (Smith), 20–21, 20–21
dress, men’s: Hampton students . . . (Johnston), 106–107, 106–107
Marcus Garvey (VanDerZee), 112–113, 112–113
The Merchant of Venice (Henda), 213, 214–215, 215
Negerhosen2000/The Travel Albums v.2 (Désert), 215, 216
Portrait of Pablillos de Valladolid . . . (Wiley), 266, 268, 268–269
William Edward Burghardt Du Bois (Scurlock), 111, 111–112
The Yellow Book. Vol. 1 (Udé), 246–247, 246–247
dress, women’s: Being Seen for the Camera (Roye), 218–219, 218–219
Between the Two . . . (Himid), 244–245, 244–245
The Boss (Polk), 115, 116–117, 117
Dios Mio Gabbana (Gispert), 222, 222–223, 224
Girl in a Red Dress (Waring), 71, 72
Girl with a Bamboo Earring (Erizku), 208–209, 208–209
How Does a Girl Like You . . . (Shonibare), 245–246, 246
Mrs. Black. Mrs. Brown. Mrs. White. (Morgan), 220–221, 220–221
The Octoroon Girl (Motley), 64–65, 65–66, 71
Revolutionary (Jarrell), 137–138, 138, 140–141, 147
Untitled (Keïta), 248–249, 248–249
Untitled (Weston), 117, 118–119
USA. Birmingham Alabama . . . (Davidson), 123, 124, 125
Wives of Shango #1 (Donaldson), 134, 135–136, 140, 147, 159
Driskell, David C., Self Portrait as Beni . . . , 169, 170, 171, 174
Drop Sinister . . . , The (Watrous), 70–71, 70–71
Du Bois, W. E. B.: Untitled (Six Negro Leaders) (Smith), 20–21, 20–21
William Edward Burghardt Du Bois (Scurlock), 111, 111–112
Dumas, Alexandre, 20–21, 20–21
Dumas, Marlene, Moshekwa, 294, 296–297
Dunbar, Paul Laurence: Paul Laurence Dunbar (Farrow), 33, 34–35, 35
Untitled (Six Negro Leaders) (Smith), 20–21, 20–21
Edmondson, William, 43–44, 44, 45
Edwards, Melvin, Mamelodi, 195, 195
Elevata (Campos-Pons), 253, 253
Emancipation of the Negro Slaves (Ishigaki), 30–31, 30–31
employment, black: Employment of the Negro in Agriculture (Richardson), 28, 28–29, 30
Washington, D.C. Government Chairwoman (Parks), 120, 120–121
Employment of the Negro in Agriculture (Richardson), 28, 28–29, 30
End of Uncle Tom . . . , The (Walker), 7, 254–255, (254–255)
Erizku, Awol, Girl with a Bamboo Earring, 208–209, 208–209
Eyes of Gutete Emerita, The (Jaar), 278–279, 279–280
Fani-Kayode, Rotimi, Nothing to Lose IV, 250–253, 252–253
Fanny Lou Hamer . . . (Davidson), 122–123, 123
Farrow, William McKnight, Paul Laurence Dunbar, 33, 34–35, 35
festival theme: Pink Boogie (Lewis), 192, 192–193
Street Music (Lewis), 191, 191
Fetish #2 (Stout), 171, 172–173, 174, 250
fetishism/counterfetishism: Blues (Motley), 95, 97, 98
Derrick Cross (Mapplethorpe), 230–231, 231–232
Fetish #2 (Stout), 171, 172–173, 174, 250
Nothing to Lose IV (Fani-Kayode), 250–253, 252–253
Film/video stills: Daughters of the Dust (Dash), 274, 274
Looking for Langston (Julien), 234–235, 234–235
Night Cries . . . (Moffatt), 274–275, 275
Otolith III (The Otolith Group), 282–283, 283
Paris is Burning (Livingston), 232–233, 232–233
Seven Songs for Malcolm X (Black Audio Film Collective), 235–236, 236–237
Vita Nova (Meessen), 281, 282–283
Ye Wonz Maibel (Deluge) (Mekuria), 278, 279
Ford, Charles Henri, Portrait of James VanDerZee, 78, 78–79
Four African American Women . . . (Askew), 105–106, 106
Four Continents, Africa, The (French), 16–17, 17
Four Figures . . . (Lewis), 129, 129–130
Frank, Robert, Trolley, New Orleans, 123
Freed, Leonard, USA. Baltimore, MD . . . , 124, 125
freedom: Black Soldier (Wilson), 73–75, 74
Captivity and Resistance (Bearden), 147–149, 148–149, 153
Emancipation of the Negro Slaves (Ishigaki), 30–31, 30–31
Freedom. Black Panther (Douglas), 133, 134, 147
Harriet (Catlett), 146–147, 146–147
Injustice Case (Hammons), 142–143, 142–144, 171
Revolutionary (Jarrell), 137–138, 138, 140–141, 147
USA. Birmingham Alabama . . . (Davidson), 123, 124, 125
War Series: Going Home (Lawrence), 46–49, 48–49
Washington, D.C. Government Chairwoman (Parks), 120, 120–121
Freedom. Black Panther (Douglas), 133, 134, 147
French, Daniel Chester, The Four Continents, Africa, 16–17, 17
From Someone Else’s Fear . . . (Boyce), 229–230, 230
Fuller, Meta Vaux Warrick, The Warrick Tableaux—Commencement Day, 18–19, 19
Gallagher, Ellen, DeLuxe, 263, (264–265)
Garvey, Marcus, 112–113, 112–113
Gee, Willie, 58–59, 59
George Washington Carver Crossing the Delaware (Colescott), 152–153, 153–154
Ghost Money (Bradford), 287, 288
Ghost series: No. 4 (Breitz), 291–292, 292
Gilliam, Sam, April 4, 195–196, 196
Girl in a Red Dress (Waring), 71, 72
Girl with a Bamboo Earring (Erizku), 208–209, 208–209
Gispert, Luis, Dios Mio Gabbana, 222, 222–223, 224
Great White Way . . . , The (Pope.L.), 261–262, 262–263
Green, Renée, Sites of Genealogy, 241, 241
Green Pastures . . . (Barthé), 82, 82
Gregory, Joy, Lipstick, 221–222, 222
Grosz, George, Ku Klux Klan, 13, 14
Guarded Conditions (Simpson), 228–229, 229
Hagemeyer, Johan, Maudelle Bass Weston, 46, 46–47, 48
hairstyles, black men’s: Emancipation of the Negro Slaves (Ishigaki), 30–31, 30–31
Ku Klux Klan (Grosz), 13, 14
Lenox Avenue (Johnson), 82, 82–83
Rock Head (Hammons), 259, 259–260
Self-Portrait . . . (Basquiat), 174–175, 176–177, 177
Self Portrait as Beni . . . (Driskell), 169, 170, 171, 174
hairstyles, black women’s: A3 Blackface #20 (iROZEALb), 272, 273
DeLuxe (Gallagher), 263, (264–265)
Elevata (Campos-Pons), 253, 253
Homage to Nina Simone (Thompson), 154–156, 156, (156–157), 158
I.D. (Simpson), 199–200, 200–201
Lawdy Mama (Hendricks), 158–159, 159–160
Mother Pendant Mask . . . (Nigeria), 169, 170, 171
Quadroon Madonna (Dawson), 21–22, 22
Relate to Your Heritage (Jones-Hogu), 136–137, 136–137
Revolutionary (Jarrell), 137–138, 138, 140–141, 147
Venus (Williams), 203, 204–205
Wives of Shango #1 (Donaldson), 134, 135–136, 140, 147, 159
hairstyles, white men’s, 30–31, 30–31
Hammons, David: Injustice Case, 142–143, 142–144, 171
Rock Head, 259, 259–260
Hampton Students . . . (Johnston), 106–107, 106–107
Harlem: Couple . . . (VanDerZee), 56, 56–57, 78, 113
Harlem (Burra), 80, 80–81
Harlem at Night (Reiss), 77, 77–78
Harlem Series No. 20 . . . (Lawrence), 86–87, 88–89
Jitterbugs (V) (Johnson), 100, 100–101
Lenox Avenue (Johnson), 82, 82–83
Midsummer Night in Harlem (Hayden), 80–81, 81–82
Moon over Harlem (Johnson), 46, 87, 89
Portrait of James VanDerZee (Ford), 78, 78–79
Tin Can Battle, San Juan Hill (Bellows), 75–76, 76–77
Untitled (Siskind), 84, 84–85, 86. See also urban life
Harlem (Burra), 80, 80–81
Harlem at Night (Reiss), 77, 77–78
Harlem Jazz Jamboree (Lewis), 184, 184–185, 186
Harlem Series #20 . . . (Lawrence), 86–87, 88–89
Harriet (Catlett), 146–147, 146–147
Harris, Lyle Ashton, Untitled (Silver Handcuffs), 212–213, 213
Hayden, Palmer, Midsummer Night in Harlem, 80–81, 81–82
Henda, Kiluanji Kia, The Merchant of Venice, 213, 214–215, 215
Hendricks, Barkley L.: Lawdy Mama, 158–159, 159–160
New Orleans Niggah, 159, 159, 161, 163
Henri, Robert, Portrait of Willie Gee, 58–59, 59, 70
High Yaller (Marsh), 65, 66
Himid, Lubaina, Between the Two . . . , 244–245, 244–245
historical iconography. See iconography, historical
History of Her Life . . . , The (Humphrey), 174, 174–175
Hollywood film titles, 123, 124, 125
Homage to Langston Hughes (White), 150–151, 151–153
Homage to Nina Simone (Thompson), 154–156, 156, (156–157), 158
homelessness, 261–262, 262–263
Homeward Bound (Mutu), 266, 266–267
House and Field (Cole), 271–272, 272–273
How Does a Girl Like You . . . (Shonibare), 245–247, 246
Hughes, Langston: Homage to Langston Hughes (White), 150–151, 151–153
Portrait of Langston Hughes (Reiss), 62–63, 63, 65–66
Humphrey, Margo, The History of Her Life . . . , 174, 174–175
Hurston, Zora Neale, 117, 119, 120
hybridity: A3 Blackface #20 (iROZEALb), 272, 273
Afro Love and Unity (Ofili), 257, 258–259, 259
After Black . . . (Charles), 256–257, 256–257
Bareroot (Saar), 254, 257
Congo Man (Locke), 268, 270, 270–271
DeLuxe (Gallagher), 263, (264–265)
A Different Utopia (Miller), 283–284, 284–285
Elevata (Campos-Pons), 253, 253
The End of Uncle Tom . . . (Walker), 7, 254–255, (254–255)
The Great White Way . . . (Pope.L.), 261–262, 262–263
Homeward Bound (Mutu), 266, 266–267
House and Field (Cole), 271–272, 272–273
Loving Care (Antoni), 260–261, 261
Moshekwa (Dumas), 294, 296–297
Narcissus (Mntambo), 262–263, 264
Night Cries . . . (Moffatt), 274–275, 275
Nothing to Lose IV (Fani-Kayode), 250–253, 252–253
Otolith III (The Otolith Group), 282–283, 283
Portrait of Pablillos de Valladolid . . . (Wiley), 266, 268, 268–269
Rock Head (Hammons), 259, 259–260
Seated Presence (Chong), 250, 250–251
Sound-suit (Cave), 270–271, 271
I Am Black . . . (Billops), 163–164, 164–165
iconography, historical: Baby Back (Cox), 203, 206–207
Cabinetmaking (Wilson), 239, 240–241, 241
Dios Mio Gabbana (Gispert), 222, 222–223, 224
Girl with a Bamboo Earring (Erizku), 208–209, 208–209
I Am Black . . . (Billops), 163–164, 164–165
The Merchant of Venice (Henda), 213, 214–215, 215
Nothing to Lose IV (Fani-Kayode), 250–253, 252–253
Untitled (Silver Handcuffs) (Harris), 212–213, 213
Venus (Williams), 203, 204–205
Washington Crossing the Delaware River . . . (Leutze), 153, 153–154
I.D. (Simpson), 199–200, 200–201
Inconsolable Memories (Douglas), 277, 277–278
Injustice Case (Hammons), 142–143, 142–144, 171
In Search of His Dream (Date), 38–39, 39–40
In the House of My Father (Rodney), 288–289, 288–289
iROZEALb (Iona Rozeal Brown), A3 Blackface #20, 272, 273
Ishigaki, Eitaro, Emancipation of the Negro Slaves, 30–31, 30–31
I Thought You Said You Were Leaving (Thomas), 292, 292–293, 294
Jaar, Alfredo, The Eyes of Gutete Emerita, 278–279, 279–280
Jack Johnson (Saunders), 162–163, 163
Jackson, Harlan, Untitled, 50, 50–51
Jackson, Michael, 260, 260–261
Jarrell, Wadsworth: The Black Prince, 137–138, 138
Revolutionary, 137–138, 138, 140–141, 147
Jazz (Lewis), 183–184, 184
Jazz Musicians (Lewis), 188, 190–191, 191
Jazz Quartet (Delaney), 102, 102–103
jazz theme: Aspects of Negro Life: Song of the Towers (Douglas), 3, 4, 27
Blues (Motley), 95, 97, 98
The Blues Has Got Me (Bearden), 100–101, 101–102
Cabaret (Smith), 98, 98
Four Figures . . . (Lewis), 129, 129–130
Harlem Jazz Jamboree (Lewis), 184, 184–185, 186
Jazz (Lewis), 183–184, 184
Jazz Musicians (Lewis), 188, 190–191, 191
Jazz Quartet (Delaney), 102, 102–103
Negro Girl Dancer (Demuth), 92–93, 94
Rhapsody in Blue (Covarrubias), 95, 96–97
Street Music (Lewis), 191, 191
Street Musicians (Lewis), 186–187, 187
Untitled (Lewis), 187–188, 188–189. See also music theme
Jitterbugs (V) (Johnson), 100, 100–101
Johnson, Jack, 162–163, 163
Johnson, Malvin Gray: Negro Masks, 36–39, 37
Self-Portrait, 36–39, 37
Johnson, Sargent Claude: Chester, 24–25, 26–27
Lenox Avenue, 82, 82–83
Mask, 59, 61–62, 62, 82
Johnson, William H.: The Breakdown, 45–46, 46–47, 52
Jitterbugs (V), 100, 100–101
Moon over Harlem, 46, 87, 89
Johnston, Frances Benjamin, Hampton Students . . . , 106–107, 106–107
Jones-Hogu, Barbara, Relate to Your Heritage, 136–137, 136–137
Julien, Isaac, Looking for Langston, 234–235, 234–235
Keïta, Seydou, Untitled, 248–249, 248–249
Kempadoo, Roshini, Sweetness and Light . . . , 206–207, 207
Kim, Byron, Synecdoche, 238–239, 239
King, Coretta Scott, 125, 125–127
King, Martin Luther, Jr.: April 4 (Gilliam), 195–196, 196
USA. Baltimore, MD . . . (Freed), 124, 125
Kingfisher (Boakye), 297, 298
Koons, Jeff, Michael Jackson and Bubbles, 260, 260–261
Ku Klux Klan (Grosz), 13, 14
Lawdy Mama (Hendricks), 158–159, 159–160
Lawrence, Jacob: Harlem Series #20 . . . , 86–87, 88–89
War Series: Going Home, 46–49, 48–49
Lawson, Deana, Diva at 73, 219, 219–220
Lenox Avenue (Johnson), 82, 82–83
Leutze, Emanuel Gottlieb, Washington Crossing the Delaware River . . . , 153, 153–154
Lewis, Norman: Four Figures . . . , 129, 129–130
Harlem Jazz Jamboree, 184, 184–185, 186
Jazz, 183–184, 184
Jazz Musicians, 188, 190–191, 191
Pink Boogie, 192, 192–193
Street Music, 191, 191
Street Musicians, 186–187, 187
Untitled (The Potato Eaters), 179–180, 180–181
Untitled (Seated Man), 181, 181–182
Untitled, 187–188, 188–189
Untitled (Alabama), 191–192, 192
Liberation of Aunt Jemima, The (Saar), 117, 118, 149–151, 174
Lieutenant Henry Benjamin Scott . . . (Vechten), 67–68, 68
Lift Every Voice and Sing (Savage), 99, 99–100
Ligon, Glenn, Untitled (I Feel Most Colored . . .), 7, 169, 169
Lincoln, Abraham, 30–31, 30–31
Lipstick (Gregory), 221–222, 222
Livingston, Jennie, Paris Is Burning, 232–233, 232–233
Locke, Hew, Congo Man, 268, 270, 270–271
Looking for Langston (Julien), 234–235, 234–235
Lovell, Whitfield, Ode, 241–242, 242
Lovers (Crichlow), 16, 16–17
Loving Care (Antoni), 260–261, 261
Lumumba, Patrice, 280–281, 280–281
Lumumba (Tuymans), 280–281, 280–281
Madonna figure: Brown Madonna (Allen), 113–114, 114
Coretta Scott King (Sleet), 125, 125–127
Mysteries (Bearden), 144–145, 144–146
Portrait of Pal (Battey), 108–109, 108–109
Quadroon Madonna (Dawson), 21–22, 22
magazine covers, 246–247, 246–247
maids/servants, women. See servants/maids, women
Malcolm X . . . (Parks), 126, 127–128
Malik Ambar, xv, xvi
Mamelodi (Edwards), 195, 195
Mammy: The Boss (Polk), 115, 116–117, 117
George Washington Carver Crossing the Delaware (Colescott), 152–153, 153–154
The Liberation of Aunt Jemima (Saar), 117, 118, 149–151, 174
Mammy (Warhol), 149–150, 150
Mysteries (Bearden), 144–145, 144–146
The New Jemima (Overstreet), 150–151, 151
Untitled (Weston), 117, 118–119
Mammy (Warhol), 149–150, 150
Many Mansions (Marshall), 236–237, 237
Mapplethorpe, Robert, Derrick Cross, 230–231, 231–232
Marcus Garvey (VanDerZee), 112–113, 112–113
Marsh, Reginald, High Yaller, 65, 66
Marshall, Kerry James, Many Mansions, 236–237, 237
Mask (Johnson), 59, 61–62, 62, 82
masks and masked figures: Black Unity (Catlett), 140–141, 141–142
Chariot (Thrash), 38–39, 39
Congo Man (Locke), 268, 270, 270–271
Four Figures . . . (Lewis), 129, 129–130
Homeward Bound (Mutu), 266, 266–267
Mask (Johnson), 59, 61–62, 62, 82
Negro Masks (Johnson), 36–39, 37
Portrait of Pablillos de Valladolid . . . (Wiley), 266, 268, 268–269
Self-Portrait (Johnson), 36–39, 37
Self Portrait as Beni . . . (Driskell), 169, 170, 171, 174
Maudelle Bass Weston (Hagemeyer), 66–67, 66–67
McQueen, Steve, Deadpan, 276–277, 276–277
Meessen, Vincent, Vita Nova, 281, 282–283
Mehretu, Julie, Stadia II, 284, 285
Mekuria, Salem, Ye Wonz Maibel (Deluge), 278, 279
memories, black: After Duchamp (Campos-Pons), 149, 149–150
Autobiography . . . (Pindell), 171, 172, 174
Branded Head (Thomas), 209–210, 210–211, 213
Fetish #2 (Stout), 171, 172–173, 174, 250
The History of Her Life . . . (Humphrey), 174, 174–175
Inconsolable Memories (Douglas), 277, 277–278
Ode (Lovell), 241–242, 242
Peter’s Back (Anderson), 299–300, 300
Seated Presence (Chong), 250, 250–251
Self Portrait as Beni . . . (Driskell), 169, 170, 171, 174
Merchant of Venice, The (Henda), 213, 214–215, 215
Michael Jackson and Bubbles (Koons), 260, 260–261
Middle Passage: Autobiography . . . (Pindell), 171, 172, 174
Captivity and Resistance (Bearden), 147–149, 148149, 153
The Rites of Passage . . . (Piper), 242–243, 242–244. See also slavery; travel
Midsummer Night in Harlem (Hayden), 80–81, 81–82
Miller, Paul D. (aka DJ Spooky That Subliminal Kid), A Different Utopia, 283–284, 284–285
minstrelsy: After Black . . . (Charles), 256–257, 256–257
George Washington Carver Crossing the Delaware (Colescott), 152–153, 153–154
Homage to Langston Hughes (White), 150–151, 151–153
The Liberation of Aunt Jemima (Saar), 117, 118, 149–151, 174
Untitled (Weston), 117, 118–119. See also racial caricatures
mixed-race heritage: The Drop Sinister . . . (Watrous), 70–71, 70–71
Mrs. Black. Mrs. Brown. Mrs. White. (Morgan), 220–221, 220–221
The Mythic Being . . . (Piper), 164, 165, 166
The Octoroon Girl (Motley), 64–65, 65–66, 71
Quadroon Madonna (Dawson), 21–22, 22
In Search of His Dream (Date), 38–39, 39–40
Mntambo, Nandipha, Narcissus, 262–263, 264
Moffatt, Tracey, Night Cries . . . , 274–275, 275
Moon over Harlem (Johnson), 46, 87, 89
Morgan, Megan M., Mrs. Black. Mrs. Brown. Mrs. White., 220–221, 220–221
Moshekwa (Dumas), 294, 296–297
Mother and Daughter (Waring), 22–23, 23
Mother Pendant Mask . . . (Nigeria), 169, 170, 171
Motley, Archibald J., Jr.: Blues, 95, 97, 98
The Octoroon Girl, 64–65, 65–66, 71
Self-Portrait (Myself at Work), 35–36, 36
Mrs. Black. Mrs. Brown. Mrs. White. (Morgan), 220–221, 220–221
Muhammad Ali . . . (Robinson), 126–127, 128
multiculturalism: City, London (Tabrizian), 290, 290–291
Daughters of the Dust (Dash), 274, 274
Deadpan (McQueen), 276–277, 276–277
A Different Utopia, (Miller), 283–284, 284–285
The Eyes of Gutete Emerita, (Jaar), 278–279, 279–280
Ghost Money (Bradford), 287, 288
Inconsolable Memories (Douglas), 277, 277–278
I Thought You Said You Were Leaving (Thomas), 292, 292–293, 294
Kingfisher (Boakye), 297, 298
Lumumba (Tuymans), 280–281, 280281
Moshekwa (Dumas), 294, 296–297
Night Cries . . . (Moffatt), 274–275, 275
Otomh III (The Otolith Group), 282–283, 283
Rabbit Man (Streat), 49, 49–50
Stadia II (Mehretu), 284, 285
Untitled (Jackson), 50, 50–51
Untitled (Modernist House) (Newkirk), 284–285, 286–287
Untitled (Brandenburg), 294, 294–295
Vita Nova (Meessen), 281, 282–283
Ye Wonz Maibel (Deluge) (Mekuria), 278, 279
Muray, Nickolas, Paul Robeson, 114, 114–115
music theme: Lenox Avenue (Johnson), 82, 82–83
Lift Every Voice and Sing (Savage), 99, 99–100
Rise Shine . . . (Douglas), 94, 94–95. See also jazz theme
Mutu, Wangechi, Homeward Bound, 266, 266–267
Mysteries (Bearden), 144–145, 144–146
Mythic Being . . . , The (Piper), 164, 165, 166
Naked Figure from Behind (Philpot), 7–8, 8
Narcissus (Mntambo), 262–263, 264
Native American aesthetics, 270–271, 271
Negerhosen2000/The Travel Albums v.2 (Désert), 215, 216
Negro Artist Comes of Age, The, . . . (frontispiece) (Albany Institute of History and Art), 50, 52, 52
Negro Dance Hall (Davis), 92, 92, 94
Negro Girl Dancer (Demuth), 92–93, 94
Negro Masks (Johnson), 36–39, 37
New Jemima, The (Overstreet), 150–151, 151
Newkirk, Kori, Untitled (Modernist House), 284–285, 286–287
New Orleans Niggah (Hendricks), 159, 159, 161, 163
Night Cries . . . (Moffatt), 274–275, 275
Night Journey (Bowling), 167, 168–169, 169
Noda, Hideo Benjamin, Scottsboro Boys, 31–32, 32–33
Noguchi, Isamu, Death (Lynched Figure), 14–15, 14–16
Nothing to Lose IV (Fani-Kayode), 250–253, 252–253
Not Manet’s Type . . . (Weems), 200–201, 202–203
nude men, black: Deposition (Feral Benga) (Tchelitchew), 71, 72
Naked Figure from Behind (Philpot), 7–8, 8
Nothing to Lose IV (Fani-Kayode), 250–253, 252–253
Paul Robeson (Muray), 114, 114–115
Seated Presence (Chong), 250, 250–251
nude women, black: Baby Back (Cox), 203, 206–207
Courbet 3 (Sleep) (Thomas), 201, 203, 204
Diva at 73 (Lawson), 219, 219–220
I Am Black . . . (Billops), 163–164, 164–165
I Thought You Said You Were Leaving (Thomas), 292, 292–293, 294
Moon over Harlem (Johnson), 46, 87, 89
Sweetness and Light . . . (Kempadoo), 206–207, 207
Venus (Williams), 203, 204–205. See also reclining women, black
nude women, white, 35–36, 36. See also nude women, black
Nyden, John A., Victory Monument, 61–62, 62
Octoroon Girl, The (Motley), 64–65, 65–66, 71
Ode (Lovell), 241–242, 242
Ofili, Chris, Afro Love and Unity, 257, 258–259, 259
Oquet, Charo, The Two Queens . . . , 245, 245
Otolith Group, The, Otolith III, 282–283, 283
Otolith III (The Otolith Group), 282–283, 283
Overstreet, Joe, The New Jemima, 150–151, 151
Paris Is Burning (Livingston), 232–233, 232–233
Parks, Gordon: Malcolm X . . . , 126, 127–128
Washington, D.C. Government Chairwoman, 120, 120–121
Paul Laurence Dunbar (Farrow), 33, 34–35, 35
Paul Robeson (Muray), 114, 114–115
Peter’s Back (Anderson), 299–300, 300
Philpot, Glyn: Naked Figure from Behind, 7–8, 8
Portrait of Henry Thomas, 7–8, 8
photographic documentation: Booker T. Washington (Bedou), 109–111, 110–111
Coretta Scott King (Sleet), 125, 125–127
Marcus Garvey (VanDerZee), 112–113, 112–113
Moon over Harlem (Johnson), 46, 87, 89
Untitled (Siskind), 84, 84–85, 86
Untitled (Man Reading Newspaper) (Weems), 227, 228–229, 229
USA. Baltimore, MD . . . (Freed), 124, 125
Washington, D.C. Government Chairwoman (Parks), 120, 120–121
Zora Neale Hurston (Van Vechten), 117, 119, 120
photojournalism: Coretta Scott King (Sleet), 125, 125–127
Malcolm X . . . (Parks), 126, 127–128
USA. Baltimore, MD . . . (Freed), 124, 125
USA. Birmingham Alabama . . . (Davidson), 123, 124, 125
Pindell, Howardena, Autobiography . . . , 171, 172, 174
Pink Boogie (Lewis), 192, 192–193
Piper, Adrian, The Mythic Being . . . , 164, 165, 166
Piper, Keith, The Rites of Passage . . . , 242–243, 242–244
Pippin, Horace, Self-Portrait, 40–41, 40–42, 52
Polk, Prentice Herman, The Boss, 115, 116–117, 117
Pope. L., William, The Great White Way . . . , 261–262, 262–263
Portrait of Ella Fitzgerald (Delaney), 156, 158, 158
Portrait of Henry Thomas (Philpot), 7–8, 8
Portrait of James VanDerZee (Ford), 78, 78–79
Portrait of Langston Hughes (Reiss), 62–63, 63, 65–66
Portrait of Pablillos de Valladolid . . . (Wiley), 266, 268, 268–269
Portrait of Pal (Battey), 108–109, 108–109
Portrait of Willie Gee (Henri), 58–59, 59, 70
portraiture: The Black Prince (Jarrell), 137–138, 138
Chester (Johnson), 24–25, 26–27
Emaneipation of the Negro Slaves (Ishigaki), 30–31, 30–31
The End of Uncle Tom . . . (Walker), 7, 254–255, (254–255)
Jack Johnson (Saunders), 162–163, 163
Lieutenant Henry Benjamin Scott . . . (Vechten), 67–68, 68
Maudelle Bass Weston (Hagemeyer), 66–67, 66–67
Mother and Daughter (Waring), 22–23, 23
Mother Pendant Mask . . . (Nigeria), 169, 170, 171
Paul Laurence Dunbar (Farrow), 33, 34–35, 35
Peter’s Back (Anderson), 299–300, 300
Portrait of Henry Thomas (Philpot), 7–8, 8
Portrait of James VanDerZee (Ford), 78, 78–79
Portrait of Langston Hughes (Reiss), 62–63, 63, 65–66
Portrait of Pal (Battey), 108–109, 108–109
Portrait of Willie Gee (Henri), 58–59, 59, 70
Quadroon Madonna (Dawson), 21–22, 22
Revolutionary (Jarrell), 137–138, 138, 140–141, 147
Untitled (Keïta), 248–249, 248–249
Untitled (Weston), 43–44, 44–45
Untitled (informally Edmondson’s Tools) (Dahl-Wolfe), 43, 44
Untitled (Six Negro Leaders) (Smith), 20–21, 20–21
William Edward Burghardt Du Bois (Scurlock), 111, 111–112
Zora Neale Hurston (Van Vechten), 117, 119, 120
Poster of Angela Davis, 138, 138–139, 140
poverty: The Boss (Polk), 115, 116–117, 117
Midsummer Night in Harlem (Hayden), 80–81, 81–82
Mysteries (Bearden), 144–145, 144–146
Washington, D.C. Government Chairwoman (Parks), 120, 120–121
pre-Columbian: Black Unity (Catlett), 140–141, 141–142
Mask (Johnson), 59, 61–62, 62, 82
Rhapsody in Blue (Covarrubias), 95, 96–97
Quadroon Madonna (Dawson), 21–22, 22
Rabbit Man (Streat), 49, 49–50
racial caricatures: A3 Blackface #20 (iROZEALb), 272, 273
Afro Love and Unity (Ofili), 257, 258–259, 259
The Boss (Polk), 115, 116–117, 117
The Breakdown (Johnson), 45–46, 46–47, 52
The End of Uncle Tom . . . (Walker), 7, 254–255, (254–255)
George Washington Carver Crossing the Delaware (Colescott), 152–153, 153–154
House and Field (Cole), 271–272, 272–273
Lenox Avenue (Johnson), 82, 82–83
The Liberation of Aunt Jemima (Saar), 117, 118, 149–151, 174
Mammy (Warhol), 149–150, 150
Michael Jackson and Bubbles (Koons), 260, 260–261
Midsummer Night in Harlem (Hayden), 80–81, 81–82
Mysteries (Bearden), 144–145, 144–146
The Mythic Being . . . (Piper), 164, 165, 166
New Orleans Niggah (Hendricks), 159, 159, 161, 163
Portrait of Willie Gee (Henri), 58–59, 59, 70
Rock Head (Hammons), 259, 259–260
Untitled (Weston), 117, 118–119. See also minstrelsy
reclining women, black: Baby Back (Cox), 203, 206–207
I Am Black . . . (Billops), 163–164, 164–165. See also nude women, black
Reconstruction era, 2–3, 3, 7
Reiss, Winold: Harlem at Night, 77, 77–78
Portrait of Langston Hughes, 62–63, 63, 65–66
Relate to Your Heritage (Jones-Hogu), 136–137, 136–137
Revolutionary (Jarrell), 137–138, 138, 140–141, 147
Rhapsody in Blue (Covarrubias), 95, 96–97
Richardson, Earle Wilton, Employment of the Negro in Agriculture, 28–29, 28–29
Ringgold, Faith, Black Light Series #11 . . . , 131–132, 132–133
riots and demonstrations: Moon over Harlem (Johnson), 46, 87, 89
Tin Can Battle, San Juan Hill (Bellows), 75–76, 76–77
USA. Birmingham Alabama . . . (Davidson), 123, 124, 125. See also violence, white
Rise Shine . . . (Douglas), 94, 94–95
Rites of Passage . . . , The (Piper), 242–243, 242–244
Robeson, Paul, 114, 114–115
Robinson, Donald L., Muhammad Ali . . . , 126–127, 128
Robinson, John N., Self-Portrait . . . , 68, 68–69, 70
Rock Head (Hammons), 259, 259–260
Rodney, Donald, In the House of My Father, 288–289, 288–289
Roye, Radcliffe, Being Seen for the Camera, 218–219, 218–219
Saar, Alison, Bareroot, 254, 257
Saar, Betye, The Liberation of Aunt Jemima, 117, 118, 149–151, 174
Saunders, Raymond, Jack Johnson, 162–163, 163
Savage, Augusta, Lift Every Voice and Sing, 99, 99–100
Scott, Henry Benjamin, 67–68, 68
Scottsboro Boys (Noda), 31–32, 32–33
Scurlock, Addison N., William Edward Burghardt Du Bois, 111, 111–112
Seated Presence (Chong), 250, 250–251
Self-Portrait (Johnson), 36–39, 37
Self-Portrait (Pippin), 40–41, 40–42, 52
Self-Portrait (Myself at Work) (Motley), 35–36, 36
Self-Portrait . . . (Basquiat), 174–175, 176–177, 177
Self-Portrait . . . (Robinson), 68, 68–69, 70
Self Portrait as Beni . . . (Driskell), 169, 170, 171, 174
self-representation: After Duchamp (Campos-Pons), 149, 149–150
Autobiography . . . (Pindell), 171, 172, 174
From Someone Else’s Fear . . . (Boyce), 229–230, 230
The History of Her Life . . . (Humphrey), 174, 174–175
Lipstick (Gregory), 221–222, 222
Self-Portrait (Johnson), 36–39, 37
Self-Portrait (Pippin), 4041, 40–42, 52
Self-Portrait (Myself at Work) (Motley), 35–36, 36
Self-Portrait . . . (Basquiat), 174–175, 176–177, 177
Self-Portrait . . . (Robinson), 68, 68–69, 70
Self Portrait as Beni . . . (Driskell), 169, 170, 171, 174
Untitled (Brandenburg), 294, 294–295
Untitled (Silver Handcuffs) (Harris), 212–213, 213
Venus (Williams), 203, 204–205
servants, men, House and Field (Cole), 271–272, 272–273
servants/maids, women: Guarded Conditions (Simpson), 228–229, 229
The Liberation of Aunt Jemima (Saar), 117, 118, 149–151, 174
Loving Care (Antoni), 260–261, 261
Untitled (Weston), 117, 118–119
Seven Songs for Malcolm X (Black Audio Film Collective), 235–236, 236–237
sexuality: The Drop Sinister . . . (Watrous), 70–71, 70–71
George Washington Carver Crossing the Delaware (Colescott), 152–153, 153–154
Homage to Nina Simone (Thompson), 154–156, 156, (156–157), 158
I Am Black . . . (Billops), 163–164, 164–165
I Thought You Said You Were Leaving (Thomas), 292, 292–293, 294
Jack Johnson (Saunders), 162–163, 163
Kingfisher (Boakye), 297, 298
Looking for Langston (Julien), 234–235, 234–235
New Orleans Niggah (Hendricks), 159, 159, 161, 162
Nothing to Lose IV (Fani-Kayode), 250–253, 252–253
The Octoroon Girl (Motley), 64–65, 65–66, 71
Paris Is Burning (Livingston), 232–233, 232–233
Paul Robeson (Muray), 114, 114–115
Portrait of Ella Fitzgerald (Delaney), 156, 158, 158
Portrait of Pablillos de Valladolid . . . (Wiley), 266, 268, 268–269
Portrait of Willie Gee (Henri), 58–59, 59, 70
Untitled (Silver Handcuffs) (Harris), 212–213, 213
The Wall (Cortor), 71, 72–73
Wives of Shango #1 (Donaldson), 134, 135–136, 140, 147, 159. See also Mammy
Shonibare, Yinka, How Does a Girl Like You . . . , 245–247, 246
Simone, Nina, 154–156, 156, (156–157), 158
Simpson, Lorna: Guarded Conditions, 228–229, 229
I. D., 199–200, 200–201
Siskind, Aaron, Untitled, 84, 84–85, 86
Sites of Genealogy (Green), 241, 241
slavery: Aspects of Negro Life: An Idyll of the Deep South (Douglas), 2, 3, 7, 27
Aspects of Negro Life: From Slavery Through Reconstruction (Douglas), 2–3, 3, 7, 27
Autobiography . . . (Pindell), 171, 172, 174
Baby Back (Cox), 203, 206–207
Branded Head (Thomas), 209–210, 210–211, 213
Cabinetmaking (Wilson), 239, 240–241, 241
Captivity and Resistance (Bearden), 147–149, 148–149, 153
The End of Uncle Tom . . . (Walker), 7, 254–255, (254–255)
Harriet (Catlett), 146–147, 146–147
The Liberation of Aunt Jemima (Saar), 117, 118, 149–151, 174
Mysteries (Bearden), 144–145, 144–146
Sites of Genealogy (Green), 241, 241
Sweetness and Light . . . (Kempadoo), 206–207, 207
Untitled (Weston), 117, 118–119
The Wall (Cortor), 71, 72–73. See also Middle Passage
Sleet, Moneta, Jr., Coretta Scott King, 125, 125–127
Smith, Albert Alexander: Cabaret, 98, 98
Untitled (Six Negro Leaders), 20–21, 20–21
soldiers: Black Soldier (Wilson), 73–75, 74
Lieutenant Henry Benjamin Scott . . . (Vechten), 67–68, 68
Victory Monument (Crunelle and Nyden), 61–62, 62
Soundsuit (Cave), 270–271, 271
South, the: Aspects of Negro Life: An Idyll of the Deep South (Douglas), 2, 3, 7, 27
The Boss (Polk), 115, 116–117, 117
Mysteries (Bearden), 144–145, 144–146
Standing Conjure Woman (Ulmann), 57, 57
Stadia II (Mehretu), 284, 285
Standing Conjure Woman (Ulmann), 57, 57
Stout, Renée, Fetish #2, 171, 172–173, 174, 250
Streat, Thelma Johnson, Rabbit Man, 49, 49–50
Street Music (Lewis), 191, 191
Street Musicians (Lewis), 186–187, 187
Sweetness and Light . . . (Kempadoo), 206–207, 207
Symbols (Traylor), 11, 12–13
Synecdoche (Kim), 238–239, 239
Tabrizian, Mitra, City, London, 290, 290–291
Tanner, Henry Ossawa: The Banjo Lesson, 7, 12, 17–19
Untitled (Six Negro Leaders) (Smith), 20–21, 20–21
Tchelitchew, Pavel, Deposition (Feral Benga), 71, 72
Thomas, Hank Willis, Branded Head, 209–210, 210–211, 213
Thomas, Henry, 7–8, 8
Thomas, Mickalene, Courbet 3 (Sleep), 201, 203, 204
I Thought You Said You Were Leaving, 292, 292–293, 294
Thompson, Bob, Homage to Nina Simone, 154–156, 156, (156–157), 158
Thrash, Dox, Chariot, 38–39, 39
Tin Can Battle, San Juan Hill (Bellows), 75–76, 76–77
Trane (Williams), 194–195, 195
travel: Between the Two . . . (Himid), 244–245, 244–245
The Rites of Passage . . . (Piper), 242–243, 242–244
The Two Queens . . . (Oquet), 245, 245. See also Middle Passage
Traylor, Bill, Symbols, 11, 12–13
Trolley, New Orleans (Frank), 123
Tubman, Harriet: Captivity and Resistance (Bearden), 147–149, 148–149, 153
Harriet (Catlett), 146–147, 146–147
Turner, Nat, 30–31, 30–31
Tuymans, Luc, Lumumba, 280–281, 280–281
Two Queens . . . , The (Oquet), 245, 245
Udé, Iké, The Yellow Book. Vol. 1, 246–247, 246–247
Ulmann, Doris, Standing Conjure Woman, 57, 57
Untitled (Brandenburg), 294, 294–295
Untitled (Jackson), 50, 50–51
Untitled (Kïita), 248–249, 248–249
Untitled (Lewis), 187–188, 188–189
Untitled (Siskind), 84, 84–85, 86
Untitled (Weston), 43–44, 44–45
Untitled (Weston), 117, 118–119
Untitled (African American girl . . .) [attrib. Askew], 58–59, 58–59
Untitled (Alabama) (Lewis), 191–192, 192
Untitled (I Feel Most Colored . . .) (Ligon), 7, 169, 169
Untitled (informally Edmondson’s Tools) (Dahl-Wolfe), 43, 44
Untitled (Man Reading Newspaper) (Weems), 227, 228–229, 229
Untitled (Modernist House) (Newkirk), 284–285, 286–287
Untitled (The Potato Eaters) (Lewis), 179–180, 180–181
Untitled (Seated Man) (Lewis), 181, 181–182
Untitled (Silver Handcuffs) (Harris), 212–213, 213
Untitled (Six Negro Leaders) (Smith), 20–21, 20–21
urban life: Aspects of Negro Life: Song of the Towers (Douglas), 3, 4, 27
Couple . . . (VanDerZee), 56, 56–57, 78, 113
Dios Mio Gabbana (Gispert), 222, 222–223, 224
Ghost Money (Bradford), 287, 288
The Great White Way . . . (Pope.L.), 261–262, 262–263
Harlem (Burra), 80, 80–81
Harlem at Night (Reiss), 77, 77–78
Harlem Series #20 . . . (Lawrence), 86–87, 88–89
High Yaller (Marsh), 65, 66
Lenox Avenue (Johnson), 82, 82–83
Midsummer Night in Harlem (Hayden), 80–81, 81–82
Stadia II (Mehretu), 284, 285
Tin Can Battle, San Juan Hill (Bellows), 75–76, 76–77
Untitled (Siskind), 84, 84–85, 86
Washington, D.C. Government Chairwoman (Parks), 120, 120–121. See also Harlem
USA. Baltimore, MD . . . (Freed), 124, 125
USA. Birmingham Alabama . . . (Davidson), 123, 124, 125
VanDerZee, James: Couple . . . , 56, 56–57, 78, 113
Marcus Garvey, 112–113, 112–113
Portrait of James VanDerZee (Ford), 78, 78–79
Van Vechten, Carl: Lieutenant Henry Benjamin Scott . . . , 67–68, 68
Zora Neale Hurston, 117, 119, 120
Venus (Williams), 203, 204–205
Victory Monument (Crunelle and Nyden), 61–62, 62
violence, white: Cabinetmaking (Wilson), 239, 240–241, 241
Congo Man (Locke), 268, 270, 270–271
Death (Lynched Figure) (Noguchi), 14–15, 14–16
Deposition (Feral Benga) (Tchelitchew), 71, 72
The Eyes of Gutete Emerita, (Jaar), 278–279, 279–280
Injustice Case (Hammons), 142–143, 142–144, 171
Ku Klux Klan (Grosz), 13, 14
Lovers (Crichlow), 16, 16–17
Scottsboro Boys (Noda), 31–32, 32–33
Seven Songs for Malcolm X (Black Audio Film Collective), 235–236, 236–237
Untitled (Modernist House) (Newkirk), 284–285, 286–287
Untitled (Alabama) (Lewis), 191–192, 192
Ye Wonz Maibel (Deluge) (Mekuria), 278, 279
Vita Nova (Meessen), 281, 282–283
voyeurism: After Duchamp (Campos-Pons), 149, 149–150
Courbet 3 (Sleep) (Thomas), 201, 203, 204
Paul Robeson (Muray), 114, 114–115
Untitled (Man Reading Newspaper) (Weems), 227, 228–229, 229
Walker, Kara, The End of Uncle Tom . . . , 7, 254–255, (254–255)
Wall, The (Cortor), 71, 72–73
War Series: Going Home (Lawrence), 46–49, 48–49
Warhol, Andy, Mammy, 149–150, 150
Waring, Laura Wheeler: Girl in a Red Dress, 71, 72
Mother and Daughter, 22–23, 23
Warrick Tableaux—Commencement Day, The (Warrick), 18–19, 19
Washington, Booker T., 109–111, 110–111
Washington, George, 153, 153–154
Washington Crossing the Delaware River . . . (Leutze), 153, 153–154
Washington, D.C. Government Chairwoman (Parks), 120, 120–121
Watrous, Harry Willson, The Drop Sinister . . . , 70–71, 70–71
Weems, Carrie Mae: Untitled (Man Reading Newspaper), 227, 228–229, 229
Not Manet’s Type . . . , 200–201, 202–203
Weston, Edward: Untitled, 43–44, 44–45
Untitled, 117, 118–119
Weston, Maudelle Bass, 66–67, 66–67
White, Charles, Homage to Langston Hughes, 150–151, 151–153
Wiley, Kehinde, Portrait of Pablillos de Valladolid . . . , 266, 268, 268–269
William Edward Burghardt Du Bois (Scurlock), 111, 111–112
Williams, Carla, Venus, 203, 204–205
Williams, William T., Trane, 194–195, 195
Wilson, Fred, Cabinetmaking, 239, 240–241, 241
Wilson, John Woodrow, Black Soldier, 73–75, 74
Wives of Shango #1 (Donaldson), 134, 135–136, 140, 147, 159
women allegorical figures: Africa (French), 16–17, 17
Victory Monument (Crunelle and Nyden), 61–62, 62
The Wall (Cortor), 71, 72–73
“WPA: FAP: Kids involved in painting . . .” (photograph), 27–28, 28
X, Malcolm, 126, 127–128, 137–138, 138
Yellow Book. Vol. 1, The (Udé), 246–247, 246–247
Ye Wonz Maibel (Deluge) (Mekuria), 278, 279
Zora Neale Hurston (Van Vechten), 117, 119, 120