Top African American Art Books of 2018

“Theaster Gates: How to Build a House Museum,” Edited by Kitty Scott, with foreword by Stephan Jost, and contributions by Josh T. Franco, Greg Tate, and Mabel O. Wilson, et al. (Art Gallery of Ontario, 236 pages). | Published April 1, 2018

2. Theaster Gates: How to Build a House Museum

Highlighting Black culture, Theaster Gates curated a significant exhibit at the Art Gallery of Ontario that explored new ways of acknowledging and preserving Black experiences through various art forms. The exhibition in 2016 showcased Gates’s extensive body of work, featuring symbolic structures paying tribute to icons like Muddy Waters, Frankie Knuckles, and George Black, among others. One section of the exhibition focused on the concept of Negro Progress, influenced by W.E.B. Du Bois and Robert S. Duncanson. This companion volume to the exhibition provides a deeper dive into Gates’s practice of repurposing spaces to showcase art and history. It includes vivid images of his pieces, essays by notable figures like Greg Tate and Mabel O. Wilson, and a dialogue between Gates and curator Kitty Scott. The book also captures the responses of over 60 artists to Gates’s call for insights on Negro progress, adding a layer of collective perspective to the narrative.

Learn more about Theaster Gates on Culture Type

“Joyce J. Scott: Harriet Tubman and Other Truths,” Foreword by Gary Garrido Schneider, with contributions by Lowery Stokes Sims, Patterson Sims, Seph Rodney, and Joyce J. Scott, and coordination by Coby Green-Rifkin and Carolynn McCormack (Grounds for Sculpture, 192 pages). | Published April 24, 2018

3. Joyce J. Scott: Harriet Tubman and Other Truths

Joyce J. Scott’s intricate beadwork reflects a blend of beauty, wit, and turmoil, addressing complex societal issues through her art. The catalog accompanying her exhibition, “Harriet Tubman and Other Truths,” offers a comprehensive look at Scott’s work, showcasing her figurative sculptures, wall hangings, and jewelry that touch on politics, racism, violence, and gender dynamics. The volume delves into Scott’s tribute to Harriet Tubman and offers a deep exploration of her artistic repertoire, featuring vibrant images of her creations and providing a glimpse into her thought-provoking narratives.

A discussion with the artist led by curator Lowery Stokes Sims covers Joyce J. Scott’s reflections on the impact of Freddie Gray’s death in 2015 on her community, her upbringing learning beadwork from her mother, and her journey to enhance her glasswork skills in various locations such as Seattle, Wash., Deer Isle, Maine, and Murano, Italy.

Scott expressed her hope that her art can prompt individuals to consider and reflect on issues like violence, racism, and sexism, even if she cannot personally eliminate these societal challenges. She believes that her art can encourage people to observe and contemplate these important topics.

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“I would like my art to encourage people to stop raping, torturing, and shooting each other. I may not have the power to eradicate violence, racism, and sexism, but through my art, I can inspire individuals to observe and reflect on these issues.” — Artist Joyce J. Scott

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The article delves into the work of Adrian Piper in the book titled “Adrian Piper: A Synthesis of Intuitions 1965–2016.” Piper, known for her groundbreaking conceptual art, challenges societal norms related to race, identity, gender, and class. The retrospective book showcases a selection of her profound and pertinent work across 50 years, including diverse mediums like painting, drawing, video, and performance art.

The volume presents a comprehensive exploration of 291 pieces, featuring both intimate and public works. Notable pieces include a video of Piper dancing joyfully in Berlin, a dance instruction video titled “Funk Lessons,” vibrant abstract paintings, Barbie Doll Drawings, and thought-provoking installations like “Black Box/White Box.”

The content of the book offers a deep dive into Piper’s artistry, with curators’ essays and a personal contribution from Piper herself. The catalog includes over 200 pages of full-color illustrations, providing insight into Piper’s creations, performances, and videos. Additionally, Piper’s personal chronology offers a detailed account of her life experiences and artistic evolution.

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The article further discusses the work of Lorna Simpson in the book “Lorna Simpson Collages.” Simpson, known for her collages using images from vintage Ebony and Jet magazines, manipulates these materials to create striking portraits with unique hair treatments and enigmatic geological elements sourced from old textbooks.

The book contains 160 captivating collages that serve as a hallmark of Simpson’s artistic style. These images, both simple and intricate, invite interpretation, with scholar Elizabeth Alexander offering poetic insights in the introduction. Simpson also provides context through a concise artist statement included in the book.**Exploring Artistic Beauty: Lorna Simpson, Charles White, and Zanele Muholi**
Photographer Lorna Simpson’s art encapsulates a profound message: “Reveal the beauty that you conceal.” Elizabeth Alexander marvels at Simpson’s collages, describing black women’s hair as celestial bodies full of life and dynamism.

In “Charles White: A Retrospective,” Kerry James Marshall reflects on the awe-inspiring impact of White’s work, emphasizing the profound emotion it evokes. White’s art captures the dignity and beauty of black individuals, spanning various mediums like paintings, drawings, and prints. His artistry and activism resonate through engaging essays, shedding light on his significant contributions.

Lastly, “Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness” presents a striking collection of over 90 self-portraits by visual activist Zanele Muholi. Known for her poignant portraits of South African LGBTQ individuals, Muholi’s monograph showcases powerful images that challenge societal norms.

Each artist offers a unique perspective on beauty, identity, and activism, making a lasting impact on the art world.When she turned the camera towards herself, her art took on a new dimension. Using her own face and body as a canvas, she embodied various archetypes and personas, challenging the norms of race and representation in visual history. A closer look at her images reveals her adorned with objects from her surroundings, items that reflect her personal experiences, histories, professions, and circumstances, including a miner’s helmet, bicycle tires, a washbasin, stacks of newspapers, countless clothespins, inflated black rubber gloves, soda can tabs, an array of sunglasses, a zippered travel bag, a doll, masking tape, and currency. These portraits celebrate black beauty, provoke important discussions about human rights and social justice, and confront the stereotypical depictions of the black body. The book includes over 20 short contributions from writers, poets, and curators like Unoma Azuah, Thelma Golden, Oluremi C. Onabanjo, and Deborah Willis, interspersed throughout the illustrated volume. Additionally, there is a conversation with Muholi conducted by Renée Mussai, delving into the inspirations and meanings behind the images.

Dawoud Bey: Seeing Deeply

Chicago-based photographer Dawoud Bey, who was honored with the MacArthur Foundation’s “genius” grant in 2017, has been recognized for his unique and exceptional work, confirming his exceptional talent in his mid-60s. His latest book is a comprehensive retrospective showcasing over 40 years of his visionary practice. Bey’s community-focused work captures the diverse American experience. The book encompasses his various bodies of work from the 1970s to 2016, ranging from documentary photographs of Harlem, light and shadow defined small camera work, empowering images of youth, to his large-format Polaroid portraits of fellow creatives such as Rebecca Walker, Whitfield Lovell, Lorna Simpson, Sol and Carol LeWitt, Stuart Hall, and the diptych portraits featured in The Birmingham Project. In her introduction, scholar Sarah Lewis highlights Bey’s continuous exploration of the question: “When does being seen in front of the lens become a civic act?” Bey’s work presents models of how photographers can navigate their relationships with subjects and communities and the varied photographic styles, especially concerning black subjects. The book positions Bey as the “natural heir” to iconic photographers like Roy DeCarava, Gordon Parks, Walker Evans, and James VanDerZee, a testament to his remarkable impact in the field of photography.

Henry Taylor: The Only Portrait I Ever Painted of My Momma Was Stolen

Henry Taylor’s book features contributions by Charles Gaines, Rachel Kaadzi Ghansah, Sarah Lewis, and Zadie Smith. Overspilling withIn this latest publication, Henry Taylor’s artistic journey is deeply explored with over 200 images, showcasing his unique style that blends abstraction with figurative elements. The monograph provides a comprehensive overview of his career, offering insights through colorful illustrations of his artworks, including paintings, sculptures, and installations. Handwritten notes from the artist himself are scattered throughout the pages, giving a glimpse into his creative process. Additionally, an interview by fellow artist Charles Gaines and essays by art historian Sarah Lewis, author Zadie Smith, and Pulitzer Prize-winning essayist Rachel Kaadzi Ghansah provide valuable perspectives on Taylor’s work. Notably, two of the essays were previously featured in widely read magazines, highlighting the accessibility and relevance of Taylor’s art to a broad audience.

Moving on to another significant work, “I Too Sing America: The Harlem Renaissance at 100” delves into the vibrant period of cultural and intellectual flourishing known as the Harlem Renaissance. Author Wil Haygood’s close ties to Harlem and extensive research culminated in this exploration of a pivotal moment in American history. Reflecting on the Harlem Renaissance as a movement with lasting national and international impact, the book celebrates the contributions of key figures and artists who shaped this era. Through rich illustrations and poignant essays, Haygood sheds light on Harlem’s emergence as a cultural hub and the artistic endeavors that defined the period.

Lastly, “Barbara Jones-Hogu: Resist, Relate, Unite” pays tribute to the influential printmaker and founding member of the Chicago collective AfriCOBRA. Jones-Hogu’s legacy of creating powerful, politically charged artworks is commemorated in this publication, showcasing her innovative blend of figuration and graphic design. The book honors Jones-Hogu’s lasting impact on the art world and her commitment to promoting Black identity through her art.A recent museum exhibition at the DePaul Art Museum in Chicago showcases the works of Barbara Jones-Hogu. The exhibition features 23 works on paper created between 1968 and 1973, including woodcuts, etchings, lithographs, and screenprints with titles like “Unite,” “Heritage,” “High Priestess,” and “Black Men We Need You.” The accompanying book includes full-color plates of the exhibited works and an interview with the artist conducted by art historian Rebecca Zorach and social justice archivist Skyla Hearn. Jones-Hogu provides insights into her artistic approaches to printmaking in detail.

In another exhibition catalog, “Jason Moran,” pianist and composer Jason Moran’s boundary-crossing practice that merges visual and performing arts is celebrated. The book was published in conjunction with Moran’s solo museum exhibition at the Walker Art Center in Minneapolis. The catalog features collaborative and improvisational content that reflects Moran’s artistic essence. It includes mixed-media “set” installations inspired by historic New York City performance venues, charcoal drawings, in-gallery performances, and newly commissioned works. Essays by curator Adrienne Edwards and Okwui Enwezor, along with contributions from various artists and collaborators, highlight Moran’s unique artistic journey.

Additionally, “Augusta Savage: Renaissance Woman” sheds light on Harlem Renaissance-era sculptor Augusta Savage’s influential contributions to the art world. The exhibition and catalog, curated by Jefreen M. Hayes at the Cummer Museum of Art & Gardens in Jacksonville, Fla, explore Savage’s life and legacy. Savage, known for mentoring generations of artists and advocating for equal opportunities for African Americans in the arts, played a significant role in shaping the artistic landscape during her time. The catalog documents her artistic journey and showcases her impact on the art community.Negro Art in Harlem is noted to be the “first gallery of its kind in the nation,” as stated by Bridget R. Cooks in her essay discussing the gallery. In that same year, Savage produced “The Harp” for the World’s Fair. This 16-foot-tall sculpture, for which she is most recognized, portrays 12 singing youth and was inspired by the hymn “Lift Every Voice and Sing” written by James Weldon Johnson and his brother. Savage had a connection to Johnson from their time in Jacksonville. This volume, like the exhibition, includes three essays and images of around 20 sculptures by Savage, alongside works by the numerous artists she mentored. Each full-page image is accompanied by valuable background information about the piece and, in the case of other artists, their ties to Savage as well. The book contains archival photographs and several letters in which W.E.B. Du Bois corresponded with Savage and others regarding the artist and her creations.

The curator, Jeffreen M. Hayes, describes Augusta Savage as a ‘race woman’—an artist, intellectual, and academic whose creations helped establish a space for Black identity within and beyond the arts, contributing to social and cultural evolution.

Fourteen. Mickalene Thomas: I Can’t See You Without Me

Mickalene Thomas has drawn inspiration from a series of muses over time, broadening her perspective on black female beauty and shaping her powerful portrayals of the black female form. Her intricate rhinestone-adorned paintings and layered collages place her subjects in diverse settings that mirror her immersive installations. This book documents an exhibition of the same title at the Wexner Center for the Arts in Columbus, Ohio. Delving into beauty, identity, and authorship, the featured pieces consist of self-portraits and depictions of her muses—including Sandra “Mama” Bush (her late mother), Maya (her former partner), Racquel (her current companion), and other collaborators. The exhibit also showcases sculptures and a multi-channel video. The fully illustrated catalog contains essays by Michael Goodson, Antwaun Sargent, Nicole R. Fleetwood, and Beverly Guy-Sheftall. The design of the volume is reminiscent of Esopus, the multi-disciplinary magazine that featured a visually striking format. The volume includes various paper stocks, multiple paper sizes, and gatefolds with bound inserts for the essays. Guy-Sheftall, in her essay “Rebel Woman,” concludes that Mickalene Thomas continues to challenge and dispel degrading images of black womanhood, presenting compelling alternatives that are impossible to overlook. Her striking, larger-than-life portraits of black women captivate, delight, and overpower viewers, serving as a visual testament to the transformative and healing influence of art.

Fifteen. Hank Willis Thomas: All Things Being Equal

A decade after the release of his initial monograph, “Pitch Blackness,” a new book surveys the career of Hank Willis Thomas. Released in advance of his exhibition with the same title at the Portland Museum of Art in Oregon, “All Things Being Equal” showcases key works from 2002-2018 that reflect the artist’s versatility in representation and interpretation of images and language. Thomas has engaged with branding and advertising, political slogans, civil rights, and.The book showcases the work of artist Hank Willis Thomas, known for his unique photography-based practice that critically examines American culture through the lenses of race, gender, and cultural identity. It features essays by scholar Sara Elizabeth Lewis, curator Julie Dolan, and Sara Krajewski, along with a conversation between Thomas and art historian Kellie Jones. Despite not initially aspiring to be an artist, Thomas found his calling in art and honed his focus on the visual narratives of American society.

The book also includes a quote from Lewis, emphasizing Thomas’ role in provoking thought about the significance of art in civic life and how visual culture shapes societal perceptions. Additionally, the volume features images and discussions that delve into Thomas’ artistic journey and his exploration of complex themes.

In a separate section, the book introduces “Sam Gilliam: The Music of Color: 1967–1973,” a retrospective exhibition catalog that celebrates the vibrant and innovative work of artist Sam Gilliam. The volume captures Gilliam’s abstract canvases in a dynamic display of colors and textures, showcasing his renowned Beveled-Edge and Drape paintings. Through a series of conversations with the artist and explanatory notes on his works, readers gain insight into Gilliam’s artistic perspective, motivations, and contributions to the art world.

Furthermore, the catalog “Gordon Parks: The New Tide: Early Work 1940–1950” explores the groundbreaking photography of Gordon Parks, the first African American staff photographer at Life magazine. The book highlights Parks’ formative years as a self-taught photographer and his significant impact on visual storytelling. Exhibited at the National Gallery of Art in Washington, D.C., the catalog features a comprehensive collection of Parks’ early works, shedding light on his talent and legacy in the field of photography.# Redirecting Gordan Parks’ Legacy
Gordan Parks made a significant impact on photography and journalism with his work in the mid-20th century. His career took off in the 1930s when he started working for a newspaper and expanded in the 1940s as he focused on documenting life in Chicago. Parks worked for various organizations, such as the Farm Security Administration and Standard Oil, capturing American labor, struggle, and industry. He was a prolific contributor to publications like Ebony, Vogue, Glamour, Fortune, and Life before becoming a full-time photographer. Parks photographed notable figures like Langston Hughes, Ralph Ellison, and Charles White and published two books during his career. His early relationships with these individuals and others are explored in “The New Tide,” shedding light on Parks’ formative years through new research and unseen images. The book showcases a range of his photography, from documentary to fashion, as well as essays providing context. Scholar Sarah Lewis delves into the significance of photography in the civil rights movement, drawing from Richard Wright’s acknowledgment of Parks as “one who moves with the new tide.” This phrase symbolized Parks’ leadership in visual storytelling that aimed to bridge empathy across different experiences.

# Rediscovering Purvis Young’s Artistry
The volume on Purvis Young encapsulates the world of the Miami-born artist, known for painting what he observed in his surroundings and the broader world – both its challenges and moments of positivity. Featuring over 250 colorful illustrations of his work, the book coincides with a solo exhibition at the Rubell Family Collection in Miami. Various texts in the volume, including those by curator César Trasobares and librarian Barbara N. Young, shed light on Young’s life and artistic process. A dialogue between Young and curator Hans Ulrich Obrist provides insight into the artist’s perspective and concerns, including his worries about others profiting from his art. The Rubell family, who discovered Young in 1998, also share their experience of meeting the artist at his studio, a place filled with his art that portrayed the life and struggles of his community. The volume showcases Young’s extensive body of work after the introductory section, displaying his thematic explorations through paintings on wood and fiberboard. Themes include Pregnant Women, Slaves, Faces, and more. This collection serves as a tribute to Young’s unique vision and dedication to capturing the essence of his surroundings through his art.