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Re-presenting racial reality: Chicago's new (media) Negro artists of the depression era

机译：再现种族现实：芝加哥大萧条时期的新（媒体）黑人艺术家

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Since literary historian Robert Bone published his seminal essay 'Richard Wright and the Chicago Renaissance' in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932-1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and significance of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices - centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects - converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago's New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called 'social art' as 'a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition ... [and] to suggest a political orientation without becoming overt revolutionary propaganda' (2002).
机译：自文学史学家罗伯特·伯恩（Robert Bone）于1986年发表他的开创性文章《理查德·赖特（Richard Wright）和芝加哥文艺复兴》（Chicago Renaissance）之后，学者们创造了新的制图学，以绘制美国文化史上从未探索过的地形。最早的研究集中在文学上，但最近的注意力转向了其他学科，包括视觉艺术。罗伯特·伯恩（Robert Bone）和理查德·A·理查德·理查德·阿里（Richard A.Courage）最近出版的《缪斯在青铜器：非裔美国人的芝加哥创造性表达》，1932-1950年（2011年），承诺将果断地扩大学术界对大萧条时期以芝加哥为中心的文化生产的范围和意义的理解。和战后的岁月。与当代新媒体艺术研究特别相关的是当时出现的思想和实践的方式-围绕种族化的主题，精英和大众，传统和新的表达方式，私人与公共赞助，被动与主动接受艺术品-融合在一起，为视觉艺术家在制度崩溃和变革时期重塑意识创造了新的范式和可能性。芝加哥的1930年代和1940年代的新黑人画家与1920年代的哈莱姆画家一样，试图重新构筑对非裔美国人生活的看法，将黑人主题重新表达为在特权白人凝视之下的beneath视或娱乐对象。观众。正如这些艺术家试图修改对种族现实的观念一样，对他们所创作的各种真实图像以及所探索的媒介和风格的考察也修正了这一时期关于创造性表达的还原性观念，这些观念通常描绘了艺术对宣传和宣传的从属。在从现代主义到后现代主义的演变中徒劳无功地绕过代表美学和简单化叙事的拥​​抱。相反，安德鲁·海明威（Andrew Hemingway）注意到了文体实验的范围，并把所谓的“社会艺术”定性为“一种混合和不稳定的模式”，这种模式必须在形式上达到与两种伟大艺术相同的当务之急。过去和现代传统……[并]在不成为公开的革命性宣传的情况下暗示政治取向”（2002年）。

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