|
1.
|
“New Ways to Battle Biases: Fight Acts, Not Feelings,”
New
York Times
, 16 July 1991, pp. C1 and C4.
|
|
2.
|
Jules David Prown, “Mind in Matter,”
Winterthur Portfolio
, Vol. 17, #1 (Spring 1982), 1-19.
|
|
3.
|
Elsa Honig Fine,
The Afro-American Artist
(Holt, Rinehart, and Winston, Inc., 1973), pp. 80-81.
|
|
4.
|
Mary Schmidt Campbell, David Driskell, David Levering Lewis, and Deborah Willis Ryan,
Harlem Renaissance Art of Black America
(The Studio Museum of Harlem, New York, Harry H. Abrams, Inc., New York, 1987), pp. 138-139.
|
|
5.
|
Fine, pp. 82-83.
|
|
6.
|
David Driskell,
Two Centuries of Black American Artists
(Los Angeles County Museum of Art, Alfred Knopf, New York, 1976), p. 61.
|
|
7.
|
Fine, pp. 106-112.
|
|
8.
|
Campbell et al., p. 40.
|
|
9.
|
Driskell, p. 62.
|
|
10.
|
Campbell et al., pp. 134-135.
|
|
11.
|
Ibid., pp. 135-136.
|
|
12.
|
Ibid.,
|
pp.
|
153-154.
|
|
13.
|
John A. Garraty,
The American Nation
(Harper & Row, Inc., New York and London, 1966), p. 844.
|
|
14.
|
Kinshasha Holman Conwill, Mary Schmidt Campbell, and Sharon F. Patton,
Memory and Metaphor
(The Studio Museum in Harlem, New York, Oxford University Press, New York and Oxford, 1991), pp. 18-19.
|
|
15.
|
Ibid., p. 39.
|
|
16.
|
Ibid., p. 4.
|
|
17.
|
Ibid., p. 69.
|
|
18.
|
Ellen Harkins Wheat,
Jacob Lawrence American Painter
(Seattle and London: University of Washington Press, 1981), p. 23.
|
|
19.
|
Ibid., pp. 15-18.
|
|
20.
|
Ibid., p. 24.
|
|
21.
|
Elton C. Fax,
Seventeen Black Artists
(New York: Dodd, Mead, and Co., 1971), pp. 188-194.
|
|
22.
|
Ibid., pp. 9-10.
|
|
23.
|
Faith Ringgold,
Tar Beaches
(New York: Crown Publishers, Inc., 1991), p. 26.
|
|
24.
|
Tradition and Conflict
(The Studio Museum in Harlem: Images of a Turbulent Decade 1963-1973: Jan. 26-June 3, 1985), p. 60.
|
|
25.
|
J. Albright et al.,
The Appropriate Object
(Buffalo, New York: Knox Art Gallery, The Buffalo Fine Arts Academy, 1989), pp. 57-58.
|
|
26.
|
Ibid. pp. 51-53.
|
