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South of Pico: African American Artists in Los Angeles in the 1960s and 1970s
Kellie Jones
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Description for South of Pico: African American Artists in Los Angeles in the 1960s and 1970s
Paperback. Kellie Jones traces how the artists in L.A.'s black communities during the 1960s and 70s created a vibrant, productive, and engaged activist arts scene in the face of structural racism through the production of art works that spoke to African American migration and L.A.'s racial politics. Num Pages: 416 pages, 93 illustrations (incl. 32 in color). BIC Classification: 1KBBW; 3JJPK; 3JJPL; ACX; JFSL3; JFSL4. Category: (G) General (US: Trade). Dimension: 5817 x 3887. .
Named a Best Art Book of 2017 by the New York Times and Artforum In South of Pico Kellie Jones explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.'s housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.'s urban renewal, and restrictions on black mobility. Jones characterizes their works as modern migration narratives that look to the past to consider real and imagined futures. She also attends to these artists' relationships with gallery and museum culture and the establishment of black-owned arts spaces. With South of Pico, Jones expands the understanding of the histories of black arts and creativity in Los Angeles and beyond.
Product Details
Publisher
Duke University Press
Format
Paperback
Publication date
2017
Condition
New
Weight
28g
Number of Pages
416
Place of Publication
North Carolina, United States
ISBN
9780822361640
SKU
V9780822361640
Shipping Time
Usually ships in 7 to 11 working days
Ref
99-11
About Kellie Jones
Kellie Jones, a 2016 recipient of a MacArthur Genius Grant, is Associate Professor of Art History at Columbia University and the author of several books, including EyeMinded: Living and Writing Contemporary Art, also published by Duke University Press. Jones has curated numerous national and international exhibitions, including Now Dig This! Art and Black Los Angeles, 1960-1980 and Witness: Art and Civil Rights in the Sixties.
Reviews for South of Pico: African American Artists in Los Angeles in the 1960s and 1970s
A touchstone for future scholars and readers with current investments in how narratives of black artists and the history of American art are written.
Bridget R. Cooks
Art Journal
South of Pico is of broad use to the field of contemporary art history, from specialists to undergraduate students in advanced survey courses. . . . One of the most urgent if unanticipated demands for which Jones's study may be useful is the increasing problem in Los Angeles of gentrification and the intra-urban migrations it forces. If gentrification is enabled by ignorance of the relationship between geography and cultural history, Jones's book might be deployed by contemporary cultural and social activists as a weapon against forgetting and for the continued protection of the material and immaterial cultural heritage that is sited in one of the city's most significant areas-south of Pico.
Natilee O. Harren
CAA Reviews
Both a scholarly triumph and a fascinating read, this book provides the backstory for some of the most consequential artists to emerge from the Black Arts Movement and examines the work, projects, and initiatives they fostered.
Victoria L. Valentine
Culture Type
Jones's book is a timely reminder that the United States has seen massive internal displacement within living memory and could again. But, more important, it's also a credible affirmation that from such sudden, painful movements something new and whole might yet be made.
Gary Dauphin
Artforum
South of Pico is a testament to the pioneers of African-American art in the twentieth century, who forged new paths to liberation and selfhood through their work. Jones shows how these artists pushed against their own obliteration, and generated a zeal for change that would escalate into the 1980s, 1990s and beyond.
Rachel Hurn
Studio Museum
[A] deeply researched, panoramic depiction of how black artists made not only great art, but their own art world in Los Angeles during two crucial decades.... Quite simply, the history, not just of art in Los Angeles, but of modern American art generally will have to be reconceived on the basis of South of Pico and Now Dig This!.
Barry Schwabsky
Hyperallergic
Bridget R. Cooks
Art Journal
South of Pico is of broad use to the field of contemporary art history, from specialists to undergraduate students in advanced survey courses. . . . One of the most urgent if unanticipated demands for which Jones's study may be useful is the increasing problem in Los Angeles of gentrification and the intra-urban migrations it forces. If gentrification is enabled by ignorance of the relationship between geography and cultural history, Jones's book might be deployed by contemporary cultural and social activists as a weapon against forgetting and for the continued protection of the material and immaterial cultural heritage that is sited in one of the city's most significant areas-south of Pico.
Natilee O. Harren
CAA Reviews
Both a scholarly triumph and a fascinating read, this book provides the backstory for some of the most consequential artists to emerge from the Black Arts Movement and examines the work, projects, and initiatives they fostered.
Victoria L. Valentine
Culture Type
Jones's book is a timely reminder that the United States has seen massive internal displacement within living memory and could again. But, more important, it's also a credible affirmation that from such sudden, painful movements something new and whole might yet be made.
Gary Dauphin
Artforum
South of Pico is a testament to the pioneers of African-American art in the twentieth century, who forged new paths to liberation and selfhood through their work. Jones shows how these artists pushed against their own obliteration, and generated a zeal for change that would escalate into the 1980s, 1990s and beyond.
Rachel Hurn
Studio Museum
[A] deeply researched, panoramic depiction of how black artists made not only great art, but their own art world in Los Angeles during two crucial decades.... Quite simply, the history, not just of art in Los Angeles, but of modern American art generally will have to be reconceived on the basis of South of Pico and Now Dig This!.
Barry Schwabsky
Hyperallergic