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000850532 010__ $$a  2017028275
000850532 020__ $$a9780691136844$$q(hardcover)
000850532 020__ $$a069113684X$$q(hardcover)
000850532 027__ $$a(Coutts)038394778
000850532 035__ $$a(OCoLC)ocn990248434
000850532 035__ $$a850532
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000850532 042__ $$apcc
000850532 049__ $$aISEA
000850532 05000 $$aN8243.S576$$bF56 2018
000850532 08200 $$a709.04$$223
000850532 1001_ $$aFinley, Cheryl,$$eauthor.
000850532 24510 $$aCommitted to memory :$$bthe art of the slave ship icon /$$cCheryl Finley.
000850532 264_1 $$aPrinceton, New Jersey :$$bPrinceton University Press,$$c[2018]
000850532 300__ $$axi, 306 pages :$$billustrations (some color) ;$$c28 cm
000850532 336__ $$atext$$btxt$$2rdacontent
000850532 337__ $$aunmediated$$bn$$2rdamedia
000850532 338__ $$avolume$$bnc$$2rdacarrier
000850532 504__ $$aIncludes bibliographical references and index.
000850532 5050_ $$aThe practice of mnemonic aethetics -- I.Sources/Roots (1788 -- 1900) -- 1.Idea: Image and Text -- 2.Form: Essential Elements -- 3.Circulation: Politics and Publicity -- II.Meanings/Routes (1900-present) -- 4.Negroes: Old and New -- 5.1969: Activism, Art, and Performance in the United States -- 6.Art and Activism in Britain: 1960s -- 1990s -- 7.Bodies: Commoditization and Branding -- III.Rites/Reinventions (1990s-present) -- 8.Pattern: Behind the Face of an Iron -- 9.Spirits: From Chango to Iconoclasm -- 10.Roots Tourism and the Slave Ship Icon -- 11.Museums, Monuments, and Memorials -- The shape of things...doesn't always appear as it seems.
000850532 5208_ $$aOne of the most iconic images of slavery is a schematic wood engraving depicting the human cargo hold of a slave ship. First published by British abolitionists in 1788, it exposed this widespread commercial practice for what it really was - shocking, immoral, barbaric, unimaginable. Printed as handbills and broadsides, the image Cheryl Finley has termed the "slave ship icon" was easily reproduced, and by the end of the eighteenth century it was circulating by the tens of thousands around the Atlantic rim. Committed to Memory provides the first in-depth look at how this artifact of the fight against slavery became an enduring symbol of black resistance, identity, and remembrance. Finley traces how the slave ship icon became a powerful tool in the hands of British and American abolitionists, and how its radical potential was rediscovered in the twentieth century by black artists, activists, writers, filmmakers, and curators. Finley offers provocative new insights into the works of Amiri Baraka, Romare Bearden, Betye Saar, and many others. She demonstrates how the icon was transformed into poetry, literature, visual art, sculpture, performance, and film-and became a medium through which diasporic Africans have reasserted their common identity and memorialized their ancestors. Beautifully illustrated, Committed to Memory features works from around the world, taking readers from the United States and England to West Africa and the Caribbean. It shows how contemporary black artists and their allies have used this iconic eighteenth-century engraving to reflect on the trauma of slavery and come to terms with its legacy.
000850532 61020 $$aBrookes (Ship)$$vIn art.
000850532 650_0 $$aSlave trade in art.
000850532 650_0 $$aMetaphor in art.
000850532 650_0 $$aHistory in art.
000850532 650_0 $$aArt, Modern$$xThemes, motives.
000850532 85200 $$bgen$$hN8243.S576$$iF56$$i2018
000850532 909CO $$ooai:library.usi.edu:850532$$pGLOBAL_SET
000850532 980__ $$aBIB
000850532 980__ $$aBOOK