The Hearing Eye: Jazz & Blues Influences in African American Visual Art by Graham Lock - PDF free download eBook

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  • Published: Nov 24, 2015
  • Reviews: 155

Brief introduction:

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the musics importance, both as formal template and as explicit subject matter. Moving on from the use...

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Details of The Hearing Eye: Jazz & Blues Influences in African American Visual Art

ISBN
9780195340501
Publication date
Age range
18+ Years
Book language
ENG
Pages
384
Format
PDF, CHM, FB2, RTF
Quality
High quality scanned pages
Dimensions
8.20 (w) x 10.00 (h) x 1.10 (d)
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Some brief overview of this book

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the musics importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists.

There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. OMeally, Johannes Völz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at arts reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom.

With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

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A few words about book author

Graham Lock is a freelance writer, Special Lecturer in American Music, University of Nottingham, and author, Forces in Motion: Anthony Braxton and the Meta-reality of Creative Music (Quartet, 1988), Chasing the Vibration: Meetings with Creative Musicians (Stride, 1994), and Blutopia: Visions of the Future and Revisions of the Past in the Work of Sun Ra, Duke Ellington and Anthony Braxton (Duke, 1999), and editor, Mixtery: A Festschrift for Anthony Braxton (Stride, 1995).

David Murray isssays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. OMeally, Johannes Völz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at arts reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom.

With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

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