Selected Bibliography

Oehler, Sarah Kelly; Adler, Esther

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Selected Bibliography

Sarah Kelly Oehler (Editor), Esther Adler (Editor)

Charles White: A Retrospective

Selected Bibliography

Author

Sarah Kelly Oehler (Editor), Esther Adler (Editor)

PublisherArt Institute of Chicago

Stable URL: https://aaeportal.com/?id=-100019

Selected Bibliography

Archival Collections

Charles White Archives, CA.

Charles W. White FBI file. US Federal Bureau of Investigation, Washington, DC, file 100-HQ-384671. Accessed through Freedom of Information Act (FOIA).

Charles W. White fellowship file. Julius Rosenwald Fund Archives, box 456, file 6. John Hope and Aurelia E. Franklin Library, Special Collections and Archives, Fisk University, Nashville, TN.

Charles W. White Papers, c. 1930–1982. Archives of American Art, Smithsonian Institution, Washington, DC.

Civilian personnel record for Charles W. White. Works Progress Administration, National Personnel Records Center, National Archives and Records Administration at Saint Louis.

Gedeon, Lucinda H. Research material on Charles W. White (c. 1977–97). Archives of American Art, Smithsonian Institution, Washington, DC.

Publications

Adler, Esther. Charles White: Black Pope. New York: Museum of Modern Art, 2017.

Ahmed, Sara. Living a Feminist Life. Durham, NC: Duke University Press, 2017.

Alurista. Florícanto en Aztlán. Los Angeles: Chicano Cultural Center, University of California, 1971.

American Negro Exposition. Exhibition of the Art of the American Negro (1851 to 1940). Exh. cat. Chicago: [American Negro Exposition], 1940.

Aptheker, Herbert. “Rediscovered Treasure.” New Masses 42 (Feb. 10, 1942): 26.

Ater, Renée. “Creating a ‘Usable Past’ and a ‘Future Perfect Society’: Aaron Douglas’s Murals for the 1936 Texas Centennial Exposition.” In Aaron Douglas: African American Modernist, edited by Susan Earle, 95–113. Exh. cat. New Haven, CT: Yale University Press; Lawrence: Spencer Museum of Art, University of Kansas, 2007.

Barnwell, Andrea D. Charles White. David C. Driskell Series of African American Art 1. San Francisco: Pomegranate, 2002.

———. “Sojourner Truth or Harriet Tubman? Charles White’s Depiction of an American Heroine.” In The Walter O. Evans Collection of African American Art, edited by Andrea D. Barnwell, 55–66. Seattle: University of Washington Press, 1999.

Barter, Judith A., Sarah. E. Kelly, Denise Mahoney, Ellen E. Roberts, and Brandon Rudd. American Modernism at the Art Institute of Chicago: From World War I to 1955. With contributions by Jennifer M. Downs. Chicago: Art Institute of Chicago / New Haven, CT: Yale University Press, 2009.

Bennett, Lerone, Jr. The Shaping of Black America. Chicago: Johnson Publishing, 1975.

Bogle, Donald. Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films. Revised edition. New York: Viking, 1991.

Bone, Robert, and Richard A. Courage. The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950. New Brunswick, NJ: Rutgers University Press, 2011.

Brooks, Van Wyck. “On Creating a Usable Past.” The Dial, Apr. 11, 1918, 337–41.

Burroughs, Margaret G. “He Will Always Be a Chicago Artist to Me.” In “Charles White: Art and Soul,” special issue, Freedomways 20, no. 3 (1980): 151–54.

Burt, Laura. “Vivian Harsh, Adult Education, and the Library’s Role as Community Center.” “Women Pioneers in the Information Sciences Part 1, 1900–1950,” special issue, Libraries and the Cultural Record 44, no. 2 (2009): 234–55.

Byrd, Rudolph P., and Beverly Guy-Sheftall, eds. TRAPS: African American Men on Gender and Sexuality. Bloomington and Indianapolis: Indiana University Press, 2001.

Campt, Tina M. Image Matters: Archive, Photography, and the African Diaspora in Europe. Durham, NC: Duke University Press, 2012.

Carbone, Teresa A. “Exhibit A: Evidence and the Art Object.” In Witness: Art and Civil Rights in the Sixties, edited by Kellie Jones and Teresa A. Carbone, 81–109. Exh. cat. New York: Brooklyn Museum/New York: Monacelli Press, 2014.

Clark, Kenneth. The Nude: A Study in Ideal Form. Washington, DC: Trustees of the National Gallery of Art, 1956.

Conwell, Donna, and Glenn Phillips. “Duration Piece: Rethinking Sculpture in Los Angeles.” In Pacific Standard Time: Los Angeles Art, 1945–1980, edited by Rebecca Peabody, Andrew Perchuck, Glenn Phillips, and Rani Singh, 186–230. Los Angeles: Getty Research Institute, 2011.

Cooks, Bridget R. Exhibiting Blackness: African Americans and the American Art Museum. Amherst: University of Massachusetts Press, 2011.

Cooper, Esther Victoria. “The Negro Domestic Worker in Relation to Trade Unionism.” MA thesis, Fisk University, 1940.

Cortor, Eldzier. “He Was at Home Creatively in Any Locale.” In “Charles White: Art and Soul,” special issue, Freedomways 20, no. 3 (1980): 149–50.

Downs, Linda Bank. Diego Rivera: The Detroit Industry Murals. New York: Detroit Institute of Arts / New York: W. W. Norton, 1999.

Driskell, David. Foreword to Andrea D. Barnwell, Charles White. David C. Driskell Series of African American Art 1. San Francisco: Pomegranate, 2002.

Duncan, Michael. L.A. Raw: Abject Expressionism in Los Angeles, 1945–1980; From Rico Lebrun to Paul McCarthy. Exh. cat. Pasadena, CA: Pasadena Museum of California Art / Santa Monica, CA: Foggy Notion Books, 2012.

Dyer, Geoff. “The Intimacy behind Jazz’s Seminal Image.” On Photography, New York Times Magazine, May 9, 2017, www.nytimes.com/2017/05/09/magazine/the-intimacy-behind-jazzs-seminal-image.html.

———. The Ongoing Moment. Knopf Doubleday, 2009.

Elliot, Jeffrey. “Charles White: Portrait of an Artist.” Negro History Bulletin 41, no. 3 (May–June 1978): 825–28.

Ellison, Ralph. “Practical Mystic.” New Masses, Aug. 16, 1938, 25–26.

Fauset, Arthur Huff. Sojourner Truth: God’s Faithful Pilgrim. Chapel Hill: University of North Carolina Press, 1938.

Fine, Ruth. Gemini G.E.L.: Art and Collaboration. Exh. cat. Washington, DC: National Gallery of Art / New York: Abbeville Press, 1984.

Fisher, Maisha T. Black Literate Lives: Historical and Contemporary Perspectives. New York: Routledge, 2009.

Galassi, Peter. Roy DeCarava: A Retrospective. Exh. cat. New York: Museum of Modern Art / New York: Harry N. Abrams, 1996.

Gardner, Helen. Art through the Ages: An Introduction to Its History and Significance. Rev. ed. New York: Harcourt, Brace, 1936.

Gedeon, Lucinda H. “Introduction to the Work of Charles W. White with a Catalogue Raisonné.” MA thesis, University of California, Los Angeles, 1981.

Gellman, Erik S. “Chicago’s Native Son: Charles White and the Laboring of the Black Renaissance.” In The Black Chicago Renaissance, edited by Darlene Clark Hine and John McCluskey, Jr., 147–64. Urbana: University of Illinois Press, 2012.

Goggin, Jacqueline. “Countering White Racist Scholarship: Carter G. Woodson and The Journal of Negro History.” Journal of Negro History 68, no. 4 (Autumn 1983): 355–75.

Greenberg, Clement. Art and Culture: Critical Essays. Boston: Beacon Press, 1961.

Grieve, Victoria. The Federal Art Project and the Creation of Middlebrow Culture. Urbana: University of Illinois Press, 2009.

Grigsby, Darcy Grimaldo. Enduring Truths: Sojourner’s Shadow and Substance. Chicago: University of Chicago Press, 2015.

Griffin, Farah Jasmine. Harlem Nocturne: Women Artists and Progressive Politics during World War II. New York: Basic Books, 2013.

Hemingway, Andrew. Artists on the Left: American Artists and the Communist Movement, 1926–1956. New Haven, CT: Yale University Press, 2002.

Heroes: Gone but Not Forgotten; The Art of Charles White (1918–1979). Exh. cat. Los Angeles: Heritage Gallery / Los Angeles: Landau Traveling Exhibitions, 2012.

Herzog, Melanie Ann. Elizabeth Catlett: An American Artist in Mexico. Seattle: University of Washington Press, 2000.

Hills, Patricia, ed. Modern Art in the USA: Issues and Controversies of the Twentieth Century. Upper Saddle River, NJ: Prentice Hall, 2001.

———. Painting Harlem Modern: The Art of Jacob Lawrence. Berkeley: University of California Press, 2009.

Hine, Darlene Clark, and John McCluskey, Jr., eds. The Black Chicago Renaissance. Urbana: University of Illinois Press, 2012.

Horne, Gerald. A Communist Front? The Civil Rights Congress, 1946–1956. London and Toronto: Associated University Presses, 1988.

“Images of Dignity: The Drawings of Charles White.” Negro Digest 16 (June 1967): 40–48.

James, Erica Moiah. “Charles White’s J’Accuse and the Limits of Universal Blackness.” Archives of American Art Journal 55, no. 2 (2016): 4–25.

Jones, Alfred Haworth. “The Search for a Usable American Past in the New Deal Era.” American Quarterly 23, no. 5 (Dec. 1971): 710–24.

Jones, Kellie. South of Pico: African American Artists in Los Angeles in the 1960s and 1970s. Durham, NC: Duke University Press, 2017.

Karlstrom, Paul J. “Art School Sketches: Notes on the Central Role of Schools in California Art and Culture.” In Reading California: Art, Image, and Identity, 1900–2000, edited by Stephanie Baron, Sheri Bernstein, and Ilene Susan Fort, 85–109. Los Angeles: Los Angeles County Museum of Art, 2000.

Kennedy, Elizabeth, ed. Chicago Modern, 1893–1945: Pursuit of the New. Exh. cat. Chicago: Terra Museum of American Art, 2004.

Kersten, Andrew E. “African Americans and World War II.” OAH Magazine of History 16, no. 3 (Spring 2002): 13–17.

Knepper, Cathy D. Jersey Justice: The Story of the Trenton Six. New Brunswick, NJ: Rivergate Books, 2011.

Krauss, Rosalind. Willem de Kooning Nonstop: Cherchez la femme. Chicago: University of Chicago Press, 2015.

LeFalle-Collins, Lizzetta. “African-American Modernists and the Mexican Muralist School.” In Lizzetta LeFalle-Collins and Shifra M. Goldman, In the Spirit of Resistance: African-American Modernists and the Mexican Muralist School, 27–67. Exh. cat. New York: American Federation of Arts, 1996.

———. “Contribution of the American Negro to Democracy.” International Review of African American Art 12, no. 4 (1995): 38–41.

Lemons, Gary. “A New Response to ‘Angry Black (Anti)Feminists’: Reclaiming Feminist Forefathers, Becoming Womanist Sons.” In Men Doing Feminism, edited by Tom Digby, 275–90. New York and London: Routledge, 1998.

Levine, June, and Gene Gordon. Tales of Wo-Chi-Ca: Blacks, Whites and Reds at Camp. San Rafael, CA: Avon Springs Press, 2002.

Lewis, David Levering. “Parallels and Divergences: Assimilationist Strategies of Afro-American and Jewish Elites from 1910 to the Early 1930s.” In Bridges and Boundaries: African Americans and American Jews, edited by Jack Salzman, 17–35. Exh. cat. New York: George Braziller / New York: Jewish Museum, 1992.

Locke, Alain. “The American Negro Exposition’s Showing of the Works of Negro Artists.” In American Negro Exposition, Exhibition of the Art of the American Negro (1851 to 1940). Chicago: [American Negro Exposition], 1940.

———. “The Negro: ‘New’ or Newer: A Retrospective Review of the Literature of the Negro for 1938.” Opportunity: Journal of Negro Life 17, nos. 1–2 (Jan.–Feb. 1939): 4–10, 36–42.

———, ed. The New Negro: An Interpretation. New York: Albert and Charles Boni, 1925. Reprint, New York: Arno Press / New York: New York Times, 1968.

Lusaka, Jane. “Seeking Cultural Equity: The Visual Record of Robert H. McNeill.” In Visual Journal: Harlem and D.C. in the Thirties and Forties, edited by Deborah Willis and Jane Lusaka, 61–74. Washington, DC: Center for African American History and Culture / Washington, DC: Smithsonian Institution Press, 1996.

Madsen, Annelise K. “Revising the Old and Telling Tales: 1930s Modernism and the Uses of American History.” In America after the Fall: Painting in the 1930s, edited by Judith A. Barter, 89–113. Exh. cat. Chicago: Art Institute of Chicago / New Haven, CT: Yale University Press, 2016.

McDuffie, Erik S. “‘No small amount of change could do’: Esther Cooper Jackson and the Making of a Black Left Feminist.” In Want to Start a Revolution? Radical Women in the Black Freedom Struggle, edited by Dayo F. Gore, Jeanne Theoharis, and Komozi Woodard, 25–46. New York: New York University Press, 2009.

———. Sojourning for Freedom: Black Women, American Communism, and the Making of Black Left Feminism. Durham, NC: Duke University Press, 2011.

Mérida, Carlos. Frescoes in National Preparatory School by Orozco, Rivera and Others: An Interpretative Guide with 20 Reproductions. Mexican Art Series, vol. 1. Mexico City: Frances Toor Studios, 1937.

Morgan, Stacy I. Rethinking Social Realism: African American Art and Literature, 1930–1953. Athens: University of Georgia Press, 2004.

Motley, Willard F. “Negro Art in Chicago.” Opportunity: Journal of Negro Life 18, no. 1 (Jan. 1940): 19–22, 28–31. Muchnic, Suzanne. “Samella Lewis.” In Muchnic, Samella Lewis and the African American Experience. West Hollywood, CA: Louis Stern Fine Arts, 2011.

Muñoz, José Esteban. Cruising Utopia: The Then and There of Queer Futurity. New York: New York University Press, 2009.

Natanson, Nicholas. The Black Image in the New Deal: The Politics of FSA Photography. Knoxville: University of Tennessee Press, 1992.

———. “Robert H. McNeill and the Profusion of Virginia Experience.” In Visual Journal: Harlem and D.C. in the Thirties and Forties, edited by Deborah Willis and Jane Lusaka, 97–123. Washington, DC: Center for African American History and Culture; Washington, DC: Smithsonian Institution Press, 1996.

Newkirk, Pamela. “Fredi Washington’s Forgotten War on Hollywood.” Women and Migration(s) Conference, June 27–29, 2017, Villa La Pietra, New York University, Florence, Italy. Noriega, Chon A., and Pilar Tompkins

Rivas. “Chicano Art in the City of Dreams: A History in Nine Movements.” In L.A. Xicano, edited by Chon A. Noriega, Terezita Romo, and Pilar Tompkins Rivas, 71–102. Los Angeles: UCLA Chicago Studies Research Center Press, 2011.

Oehler, Sarah Kelly. They Seek a City: Chicago and the Art of Migration, 1910–1950. Exh. cat. Chicago: Art Institute of Chicago / New Haven, CT: Yale University Press, 2013.

Park, Marlene, and Gerald E. Markowitz. Democratic Vistas: Post Offices and Public Art in the New Deal. Philadelphia: Temple University Press, 1984.

Parks, Gordon. Camera Portraits: The Techniques and Principles of Documentary Portraits. New York: Franklin Watts, 1948.

———. A Choice of Weapons. New York: Harper and Row, 1966.

———. Voices in the Mirror. New York: Anchor Books, 1991.

Penn, I. Garland. The Afro-American Press and Its Editors. Springfield, MA: Willey, 1891.

Perine, Robert. Chouinard: An Art Vision Betrayed. Encinitas, CA: Artra, 1985.

Plagens, Peter. Sunshine Muse: Contemporary Art on the West Coast. New York: Praeger, 1974.

Rhor, Sylvia. “Every Walk of Life and Every Degree of Education: Museum Instruction at The Art Institute of Chicago, 1879–1955.” Art Institute of Chicago Museum Studies 29, no. 1 (2003): 20–45.

Richardson, Beulah. A Black Woman Speaks: Of White Womanhood, of White Supremacy, of Peace; A Poem. New York: American Women for Peace, 1951.

Ritter, Rebecca E. Five Decades: John Biggers and the Hampton Tradition. Hampton, VA: Hampton University Museum, 1990.

Robertson, Breanne. “Pan-Americanism, Patriotism, and Race Pride in Charles White’s Hampton Mural.” American Art 30, no. 1 (Spring 2016): 52–71.

Sawin, Martica. “Charles White.” Arts 32, no. 7 (Apr. 1958): 62.

Schomburg, Arthur A. “The Negro Digs Up His Past.” Survey Graphic, Mar. 1, 1925, 670–72.

Schulman, Daniel. “African American Art and the Julius Rosenwald Fund.” In A Force for Change: African American Art and the Julius Rosenwald Fund, edited by Daniel Schulman, 51–80. Chicago: Spertus Museum / Evanston, IL: Northwestern University Press, 2009.

Sims, Lowery Stokes. “Elizabeth Catlett: A Life in Art and Politics.” In Elizabeth Catlett Sculpture: A Fifty-Year Retrospective, edited by Lucinda H. Gedeon, 11–25. Exh. cat. New York: Neuberger Museum of Art, 1998.

Smith, Judith E. Becoming Belafonte: Black Artist, Public Radical. Austin: University of Texas Press, 2014.

Smith, Peter. “Lowenfeld Teaching Art: A European Theory and American Experience at Hampton Institute.” Studies in Art Education 29, no. 1 (Autumn 1987): 30–33.

Spillers, Hortense J. “Mama’s Baby, Papa’s Maybe: An American Grammar Book.” Diacritics 17, no. 2 (Summer 1987): 64–81.

Sterling, Philip, and Rayford Logan. Four Took Freedom: The Lives of Harriet Tubman, Frederick Douglass, Robert Smalls, and Blanche K. Bruce. Garden City, NY: Zenith Books, Doubleday, 1967.

Theisen, Olive Jensen. The Murals of John Thomas Biggers: American Muralist, African American Artist. Exh. cat. Hampton, VA: Hampton University Museum, 1996.

Tolson, Nancy. “Making Books Available: The Role of Early Libraries, Librarians, and Booksellers in the Promotion of African American Children’s Literature.” African American Review 32, no. 1 (Spring 1998): 9–16.

Tucker, Anne Wilkes. “The Photo League.” Creative Camera (July/ Aug. 1983): 1012–17.

———. This Was the Photo League: Compassion and the Camera from the Depression to the Cold War. Chicago: Stephen Daiter Gallery; Houston: John Cleary Gallery, 2001.

Tyler, Anna M. “Planting and Maintaining a ‘Perennial Garden’: Chicago’s South Side Community Art Center.” International Review of African American Art 11, no. 4 (1994): 31–37.

Warner, Malcolm. The Prints of Harry Sternberg. Exh. cat. San Diego: San Diego Museum of Art, 1994.

Washington, Mary Helen. “Alice Childress, Lorraine Hansberry, and Claudia Jones: Black Women Write the Popular Front.” In Left of the Color Line: Race, Radicalism and Twentieth-Century Literature of the United States, edited by Bill Mullen, 183–204. Chapel Hill: University of North Carolina Press, 2003.

———. The Other Blacklist: The African American Literary and Cultural Left of the 1950s. New York: Columbia University Press, 2014.

White, Charles. Artist statement. Wanted Poster Series. Portfolio of drawings. Los Angeles: Heritage Gallery, 1970.

———. Charles White: Six Drawings. New York: Masses and Mainstream, 1953.

———. Images of Dignity: The Drawings of Charles White. Foreword by Harry Belafonte, introduction by James Porter, commentary by Benjamin Horowitz. Exh. cat. [Los Angeles]: W. Ritchie Press, 1967.

———. Interview by Peter Clothier, Sept. 14, 17, 20, 24, and 26, 1979. Charles White Archives, CA.

———. Charles White: Let the Light Enter; A Selection of Drawings, 1942–1970. Exh. cat. New York: Michael Rosenfeld Gallery, 2009.

———. Oral history interview by Betty Hoag, Mar. 9, 1965. Archives of American Art, Smithsonian Institution.

———. Oral history interview by Karl Fortess, Apr. 8, 1969. Archives of American Art, Smithsonian Institution.

———. “Path of a Negro Artist.” Masses and Mainstream 8, no. 4 (Apr. 1955): 33–44.

White, Frances Barrett. Reaches of the Heart. With Anne Scott. New York: Barricade Books, 1994.

Widener, Daniel. Black Arts West: Culture and Struggle in Postwar Los Angeles. Durham, NC: Duke University Press, 2010.

Young, Joseph E. Three Graphic Artists: Charles White, David Hammons, Timothy Washington. Exh. cat. Los Angeles: Los Angeles County Museum of Art, 1971.

Zeidler, Jeanne. “1993: Anniversary Year for Three Renowned Paintings.” International Review of African American Art 10, no. 3 (1993): 20–22, 60–63.

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