Stick to the Skin - by Celeste-Marie Bernier (Hardcover)
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<p/><br></br><p><b> About the Book </b></p></br></br>"The first comparative history of African American and Black British artists, artworks, and art movements, Stick to the Skin traces the lives and works of over fifty twentieth- and twenty-first-century painters, photographers, sculptors, mixed-media assemblage, installation, video, and performance artists. Working in the US and UK over a fifty-year period from 1965 through 2015, African diasporic artists cut to the heart of hidden histories, untold narratives, and missing memories to tell stories that 'stick to the skin' and arrive at a new 'Black lexicon of liberation'"--Provided by publisher.<p/><br></br><p><b> Book Synopsis </b></p></br></br>The first comparative history of African American and Black British artists, artworks, and art movements, <i>Stick to the Skin</i> traces the lives and works of over fifty painters, photographers, sculptors, and mixed-media, assemblage, installation, video, and performance artists working in the United States and Britain from 1965 to 2015. The artists featured in this book cut to the heart of hidden histories, untold narratives, and missing memories to tell stories that "stick to the skin" and arrive at a new "Black lexicon of liberation." <p/> Informed by extensive research and invaluable oral testimonies, Celeste-Marie Bernier's remarkable text forcibly asserts the originality and importance of Black artists' work and emphasizes the need to understand Black art as a distinctive category of cultural production. She launches an important intervention into European histories of modern and contemporary art and visual culture as well as into debates within African American studies, African diasporic studies, and Black British studies. <p/><b>Artists featured: </b> <br> Larry Achiampong <br> Hurvin Anderson <br> Benny Andrews <br> Rasheed Araeen <br> Jean-Michel Basquiat <br> Zarina Bhimji <br> Sutapa Biswas <br> Frank Bowling <br> Sonia Boyce <br> Vanley Burke <br> Chila Kumari Burman <br> Eddie Chambers <br> Thornton Dial <br> Godfried Donkor <br> Kimathi Donkor <br> Sokari Douglas Camp <br> Melvin Edwards <br> Mary Evans <br> Nicola Frimpong <br> Joy Gregory <br> Bessiey Harvey <br> Mona Hatoum <br> Lubaina Himid <br> Lonnie Holley <br> Gavin Jantjes <br> Claudette Johnson <br> Tam Joseph <br> Roshini Kempadoo <br> Juginder Lamba <br> Hew Locke <br> Steve McQueen <br> Chris Ofili <br> Keith Piper <br> Ingrid Pollard <br> Thomas J. Price <br> Noah Purifoy <br> Faith Ringgold <br> Donald Rodney <br> Betye Saar <br> Joyce J. Scott <br> Yinka Shonibare <br> Gurminder Sikand <br> Marlene Smith <br> Maud Sulter <br> Barbara Walker <br> Kara Walker <br> Carrie Mae Weems <br> Deborah Willis <br> Hank Willis Thomas <br> Lynette Yiadom-Boakye<p/><br></br><p><b> From the Back Cover </b></p></br></br>"A long-overdue comparative and interdisciplinary history of African American and Black British art and artists that gives critical voice and analytical exposure to those artists who have been alienated within their own marginalized status. Impressively thorough, praiseworthy, and necessarily bold."--James Smalls, Professor of Visual Arts, University of Maryland, Baltimore County <p/> "Celeste-Marie Bernier's necessary and timely research fosters crucial bridging of African American studies and Black British studies, advancing our deeper understanding of the Black Atlantic."--Dr. Zoe Whitley, co-curator of <i>Soul of a Nation: Art in the Age of Black Power</i> <p/> "Bernier has indeed produced a weighty study. Perhaps her greatest achievement in <i>Stick to the Skin</i> is the way in which she obliges us to see the merit, wisdom, and benefits of looking at Black artists in a range of wider contexts. Bernier emphatically overturns the insularity that has tended to be the hallmark of African American artists' histories, and instead, proposes a bold and challenging set of new theoretical frameworks with which to consider the work of artists of the Black Atlantic over a period of half a century. This book will take its place as one of the most substantial tomes on the work of Black visual artists."--Eddie Chambers, Professor of Art and Art History, University of Texas, Austin<p/><br></br><p><b> Review Quotes </b></p></br></br><br>". . . a timely contribution to the field of Black diasporic art history. . . . Celeste-Marie Bernier offers respite from seemingly interminable institutional tendencies that continue to limit Black British and African American art to particular curatorial and art-historical jurisdictions. Whereas the former is often expediently defined within the historical parameters of the 1980s, the latter is rarely viewed in relation to other art histories, not least those of the United States. <i>Stick to the Skin</i> challenges these conventions and pathologies, bringing as it does a comparative study of the work of over fifty artists spanning half a century. . . . we can be grateful to Bernier who, as a UK-based academic, has taken it upon herself to produce a very tangible and substantial study on contemporary Black visual arts practice."-- "Burlington Magazine"<br><br>"...[A] welcome new volume . . . . [and] a Herculean effort of naming and contextualizing an array of vital and frequently overlooked practices and methods. Its power as an intellectual project and teaching resource is to work inductively, sidestepping theory and allowing artists' words to elaborate the specificity of art making as a form of individual exploration and collective intervention."-- "caa.reviews - College Art Association"<br><br>"Throughout, Bernier examines how art can dismantle, disrupt and challenge the status quo. It can be a form of radical protest, used to confront racism and white privilege in a world that continues to be threatened by outsiders and "others". This remarkable book makes very clear how and why this is important, more so today than ever."-- "Times Higher Ed"<br><p/><br></br><p><b> About the Author </b></p></br></br><b>Celeste-Marie Bernier</b> is Professor of US and Atlantic Studies at the University of Edinburgh. She is the author of <i>African American Visual Arts; Characters of Blood: Black Heroism in the Transatlantic Imagination; Suffering and Sunset: World War I in the Art and Life of Horace Pippin</i>; and (with Andrew Taylor) <i>If I Survive: Frederick Douglass and Family in the Walter O. Evans Collection.</i>
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