Papers by Jacqueline Francis
Journal of American Studies, Apr 17, 2013
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Art Journal, Jan 2, 2017
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Journal of American Studies, Sep 26, 2014
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AcknowledgementsList of Illustrations 1. Introduction 2. The Meaning of Modernism 3. Making Race ... more AcknowledgementsList of Illustrations 1. Introduction 2. The Meaning of Modernism 3. Making Race in American Religious Painting 4. Type/Face/Mask: Racial Portraiture 5. The Race of Landscape 6. Conclusion Notes BibliographyIndex
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Journal of American Studies, Apr 17, 2013
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American Art, Mar 1, 2016
2 Felrath Hines, Missa Solemnis, 1950. Reproduced from Floyd Coleman and Holliday T. Day, Felrath... more 2 Felrath Hines, Missa Solemnis, 1950. Reproduced from Floyd Coleman and Holliday T. Day, Felrath Hines (Indianapolis Museum of Art, 1995), 23. Estate permission courtesy Dorothy C. Fisher, widow of Felrath Hines In the years since his death, (Samuel) Felrath Hines’s large, abstract canvases have garnered much-deserved attention. Scholars and critics hail Hines as a sensitive artist, mentioning his smaller nonrepresentational paintings of the 1940s, and then turning to his best-known work: the carefully calibrated geometric abstractions of luminous color he made beginning in the 1970s (fig. 1). The nearly exclusive focus on his nonobjective painting supports the narrative that Hines was an inevitable abstractionist whose interests furthered and expanded the traditions of De Stijl, color field painting, and op art. Art historians have recovered Hines, endeavoring to fold him into the rising tide of abstract expressionism at mid-century and, in particular, what Irving Sandler termed after the fact, “the triumph of American painting.”1 Hines did live in Manhattan from the 1940s until the early 1970s, and he, an African American, may be productively discussed as part of the “other” New York School that included non-white, female, and gay modernist painters who did not circulate in the Cedar Bar or Studio 35 orbits.2 This essay does not seek to dispute or refute the impulse to add Hines’s abstract painting to the inventory of the New York School. Instead, it focuses on one of the artist’s mid-century figurative works, Missa Solemnis (fig. 2) and situates this canvas, which has since disappeared, within period debates about what, precisely, made a work of art “modern.” Asked, toward the end of his life, what he had been trying to achieve when he began painting nonobjectively, Hines responded: “I always tried to do something that has to do with a way of seeing. I always have had an interest in knowing if people saw what I saw.”3 Rather than regard Missa Solemnis as a run-up to the project of abstract art making, we might consider Hines’s earlier production as a “way of seeing,” too, one he shared with a number of more celebrated figurative expressionists in the years right after World War II.4 American figurative expressionists of the 1930s and 1940s, indebted to the blunt mark making, distorted forms, and the bold colors of post-impressionist European expressionism, were recognized for paintings that were seen as creative, emotional, and deeply personal.5 Today’s dominant histories of “A Way of Seeing”
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Slavery & Abolition, Jun 1, 2009
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Nka Journal of Contemporary African Art, Mar 1, 2008
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Oxford University Press eBooks, Feb 23, 2011
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Slavery & Abolition, Jun 1, 2013
This essay examines the eclectic bodies of work by contemporary artists Mark Bradford, Julie Mehr... more This essay examines the eclectic bodies of work by contemporary artists Mark Bradford, Julie Mehretu, and Kalup Linzy in order to theorise whether ‘African-American art’ remains a viable category for the twenty-first century. Analysing Bradford's conceptual videos, Mehretu's abstract wall pieces, and Linzy's soap opera-inspired performances, Francis identifies brave experiments that are informed by the highs and lows of Western art history and its material and popular cultures. As this article emphasizes, both the artists and their projects speak to and through canonical authority and the currents of post-modernity as they confront the black artist's historical ‘dilemma’ of identity. Demonstrating that ‘African-American art’ describes neither style nor movement, Francis explores not the figure or figurehead of ‘the black artist’, but rather those who have questioned this figuration and its regulating racial hierarchies.
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Radical History Review, 2009
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CAA.reviews, Dec 17, 2008
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Callaloo, 1994
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This essay, which sets forth 8 theses accompanied by the scholarly debate that informs them, deve... more This essay, which sets forth 8 theses accompanied by the scholarly debate that informs them, developed out of a workshop, Grand Challenges of Art History: Digital/Computational Methods and Social Art History, sponsored by the Research and Academic Program of The Clark (26-27 April 2019). The essay was collaboratively written by the contributing authors, whose voices are signified by the colors designated. The contributors to this article all responded to an invitation to address what we self-consciously described as a "Grand Challenge" of art history. For art history, we saw the co-joining of digital and computational methods and the social history of art as one of those grand challenges. While differences of interpretation and even strong disagreement emerge (and are evidenced in this text), these scholars share an interest in analyzing the intellectual anxiety that comes with the destabilizing speed of digital changes to art-historical practice as well as the urgency to ...
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Panorama, 2018
The invited essays included in this section offer nuanced readings of artists spanning nearly a c... more The invited essays included in this section offer nuanced readings of artists spanning nearly a century, whose engagement with European art and artistic tradition vary from full-throated adulation to subtle and unspoken resonances.
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Oxford Art Online, 2011
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Panorama
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Recognizing the archive as resource, Jacqueline Francis, Associate Professor in the Graduate Prog... more Recognizing the archive as resource, Jacqueline Francis, Associate Professor in the Graduate Program in Visual & Critical Studies (VCS), taught the graduate seminar “Digging Deep: Research in the Archive” in the Spring 2018 semester. Students met with San Francisco-based historians E.G. Crichton and Chris Carlsson, and with visiting speakers Sara Ahmed and Gabriel Menotti as well. The class toured prominent public collections: Letterform Archives, the Prelinger Library, the San Francisco History Center, San Francisco Maritime National Park, and the San Francisco Museum of Modern Art. Short writing assignments described these experiences. Students also read and responded to influential theoretical writings that discuss the ways that archives construct and preserve the concept of knowledge. Final projects were generated from close study of archival documents and curious objects
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CAA 2021 ANNUAL CONFERENCE, Feb 12, 2021
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CAA 2021 ANNUAL CONFERENCE, Feb 12, 2021
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Papers by Jacqueline Francis