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Index
Kobena Mercer
Description: Alain Locke and the Visual Arts
Alain Locke and the Visual Arts
Index
Author
Kobena Mercer
PublisherYale University Press
PublisherHutchins Center for African & African American Research
Copyright© 2022 by Kobena Mercer
Stable URL: https://aaeportal.com/?id=-23243
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Index
aestheticism, 9, 155, 158, 161, 164, 167, 179, 187, 190–91
Africa: African American artists and, 80
African American identity and, 74–75, 84
representations of, 73–75, 84
African American art and artists: and Africa, 80
and African art, 35, 37–41, 48, 64–65, 68–69, 73, 81, 100–101
artistic expectations of, 15–16, 18–20, 23, 40, 66–67, 104, 105, 118
art market access for, 99
identity of, 105
Locke’s vision for, 4–5, 35, 64–66, 99–100, 102–5, 108, 110–18
and modernism, 66–67
and New Deal programs, 97
pluralism of, 108
scholarship on, 94–95, 112
structural asymmetries faced by, 69, 72, 104
subjects of, 9, 31, 35, 66–67, 94, 105–6, 111
and U.S. culture, 102
white patronage of, 10, 19, 23, 25, 37, 49, 64, 69–71, 95–97, 101, 177, 189. See also Afro-Deco; Afro-modernism
African Americans: and African art, 35, 37, 73
Africans contrasted with, 65
bodies of, 18, 31, 93, 164, 169–70, 175, 178–79, 189, 191, 199, 201, 203
composite character of, 25, 110, 127–28
identity of, 4, 12, 108, 110, 127–28, 176
and modernity/modernism, 6, 21, 24, 27, 29, 31, 108
and notions of representativeness, 15–19, 21, 29, 154, 170
structural asymmetries faced by, 15, 18–19, 40, 169–70, 177–80
as subjects in African American art, 105–6, 111, 113, 118
as subjects in Western art, 66–67, 111, 114–18
survival of, 88, 159, 198
visual stereotypes of, 18, 19, 31–32, 66–67. See also identity; racial identity
African American Studies, 1, 189
African art: African American identity and, 35, 37, 73, 82–83
Barnes and, 5, 48–52, 61
black artists’ engagement with, 35, 37–41, 48, 64–65, 68–69, 73, 81, 100–101
colonialism and, 4, 40, 44–47, 46, 55, 63, 77, 140–41
ethnographic vs. aesthetic perspectives on, 4, 40, 44–45, 52–55, 57, 60, 63, 68–69
European reception of, 47–48
exhibitions of, 40, 52–55, 53, 56, 57, 59–61, 72, 135–37, 135
Locke’s engagement with, 4, 8–9, 35, 37–38, 44, 46–48, 50, 57, 59–60, 63–65, 68–72, 207n12
modernism and, 4, 8–9, 38–41, 43–45, 48–51, 53, 55, 57, 61, 65–66, 69, 72, 93, 118, 121, 123, 129, 140
Opportunity issue devoted to, 3, 4, 49–51
U.S. reception of, 40, 49–50, 52, 59, 61, 63. See also tribal masks
Africanisms, 100–101
Africanist style, 106, 108, 111
African Negro Art (exhibition, 1935), 72, 135–36, 136
Afrocentrism, 108
Afro-Deco, 5, 21, 29
Afro-Diaspora traditions: and ancestralism, 45, 48, 81, 83
and cross-culturality, 112, 125, 139, 144
and loss, 85
meaning in, 33
modernism and, 151
and relationship of black and white cultures, 198
Western art traditions and, 112, 118, 119, 133–35, 139, 151
Afro-modernism: and African art, 38, 50, 80–81, 129, 199
and black history, 99
coining of the term, 27
combinatorial nature of, 27, 191
critical nature of, 31, 67, 80, 84–85, 88, 91, 139–40, 203
LGBT contributions to, 153–54
Locke and, 129, 188
Albright Gallery, Buffalo, New York, 71
Allen, James Latimer, Portrait of James Lesesne Wells, 35, 36, 37–41, 73, 80, 199
Als, Hilton, 157
Alston, Charles, 97, 112, 142
Head, 100
amalgamation, metaphor of, 15
American Artists’ Congress, 99
American Museum of Natural History, New York, 52, 54, 54
ancestralism: as counter-discourse to primitivism, 9, 37, 41, 45–46, 63–65, 72, 84
criticisms of, 94, 109
diasporic, 9, 40–41, 45, 73–74, 80–81, 83
in Harlem Renaissance art, 75
interpreted as reclaim-your-roots approach, 4, 38, 65, 73, 88, 91
Locke’s advocacy of, 4, 8, 21, 37, 41, 50, 63–65, 109
the New Negro and, 4, 48, 73, 83, 91
still life as medium for exploring, 65, 73, 75–92
Anderson, Benedict, 126
Anderson, Paul Allen, 104
Archer-Straw, Petrine, 52
Arensberg, Louise and Walter, 61
Armory Show (1913), 59
Arnold, Matthew, 197
art deco, 5, 29. See also Afro-Deco
Art Front (journal), 94
Art Institute of Chicago, 19, 71, 189
Artists Union, 94
l’art nègre, 4, 40, 50, 55, 61, 100
Art since 1900 (reference work), 95
assimilation, 10, 12, 13, 15, 95, 101
Associates in Negro Folk Education, 23, 93, 96, 119
autonomy of art, 21–22, 53, 59, 95, 109, 129, 139
Awards for Distinguished Achievement Among Negroes, 19
axiology. See value-theory
Baker, Josephine, 190
Bakhtin, Mikhail, 10, 33, 188
Bakongo artifacts, 45
Bakuba carved comb and grinding mortar, 58
ceremonial cup, 35, 36, 37–40, 38, 73, 80, 138, 13
fetishes, 58
masks, 101
Balanchine, George, 191
Baldwin, James, 199
Baltimore Museum of Art, 95, 100
Bamana artifacts, 49
Bapeade combs, 75, 75, 77
Barnes, Albert C., and Barnes Foundation, 4, 5, 40, 48–52, 61, 63–64, 63, 124, 208n39
The Art in Painting, 64
“Negro Art and America,” 51
“The Temple,” 51
Barr, Alfred H., Jr., 136
Barthé, Richmond, 9, 19, 97, 98, 108, 113, 162, 178–80, 184–85, 188–91
African Dancer, 190
Blackberry Woman, 101, 142, 144
Black Narcissus, 190
Boy with Flute, 178–79, 181, 190
Breakaway, 190
Dance, 190
Exodus, 190
Fallen Aviator, 190
Féral Benga, Senegalese Dancer (also called Benga: Dance Figure), 190–91, 192
Jubilee Singer, 189
Kalombwan, 190
Portrait of Harald Kreutzberg, 41, 42
Rug-cutters (Lindy Hop), 190
Stevedore, 100–101
Toussaint L’Ouverture Monument, 189
West Indian Girl, 138
Wetta, 190
Barthes, Roland, 157
Basquiat, Jean-Michel, 149–50, 151
Three Quarters of Olympia Minus the Servant, 150
Untitled (Maid from Olympia), 149, 150
Baudelaire, Charles, 147–48
Baule artifacts, 45, 49, 57, 68
Bayaka ancestor statue, 75, 75, 77
Beam, Joseph, In the Life, 154, 156
Bearden, Romare, 91, 95, 97, 99, 101–2, 113, 145–46, 151
Black Manhattan, 88, 90–91, 90
The Family, 101, 102
“The Negro Artist and Modern Art,” 101
The Painter’s Mind (with Carl Holty), 139, 145
Photomontage Projections, 145
Profile/Part II, The Thirties: Artist with Painting and Model, 143, 144–45, 145 (detail)
The Visitation, 144
Beardsley, Aubrey, 161, 164, 174, 176
beauty, 21–22, 59–60, 66–67, 96, 119, 121
Beckmann, Max, 57
Benedict, Ruth, 96
Benga, François (stage name: Féral Benga), 189–91, 192–94, 195
Benin pendant mask, Iyoba, 47, 47, 48, 88, 90–91
Benjamin, Walter, 124
Bennett, Gwendolyn, 64, 175
Bernard, Emily, 177
binary categorization, 40–41, 47–48, 50–52, 60, 64, 69, 114, 146, 198–99
Bing, Alexander, 69
Biro, Yaëlle, 72
Black Arts movement, 128, 197
Black Panther Party, 201, 203
black survival, 88, 159, 198
Blanco, Teodoro Ramos, 112
Blondiau, Raoul, 37
Blondiau-Theatre Arts Collection of Primitive African Art, 37–38, 38, 40, 52, 57, 58, 59–61, 63–64, 68–69, 71, 77, 80, 101, 121, 137
Boas, Franz, 10, 12, 110–11, 126
bodies, African American, 18, 31, 93, 164, 169–70, 175, 178–79, 189, 191, 199, 201, 203. See also physiognomy
bohemianism, 29, 171
Boni, Albert, 49, 50
Bourne, Randolph, 13
Boyd, Alison, 124
Braddock, Jeremy, 112
Brady, Mary Beattie, 20–21, 23, 25, 26, 67, 77, 95, 97, 99
Braque, Georges, 40, 61
British Museum, London, 48, 90
Brooklyn Museum, 40, 56, 57
Burra, Edward, 182–83
Harlem, 183, 183
Market Day, 183, 183
Bushongo patterned vases, 58
Caesar, Julius, 48
Calo, Mary Ann, 21, 23, 68, 102–5, 117–18
Camper, Petrus, 31
Caribbean, 32, 99
Carlis, John, Two Women, 112, 113
Carnegie Foundation, 70
Carpenter, Edward, 161, 163, 185
Carter, J. R., 170
Catlett, Elizabeth: Mother and Child, 112, 113
Negro Girl, 113
Chauncey, George, 170
Cheney, Sheldon, 59–60
A Primer of Modern Art, 59
Christophe, Ernest, Le Baiser Suprême, 176–77
circulatory mobility: of tribal artifacts, 45
of photographs, 139, 206n8
Civic Club dinner, as origin of Harlem Renaissance, 49
civilization: cross-cultural contact as source of, 12, 125–26
joint, 12–14, 109
primitivism contrasted with, 10, 52, 55, 60, 65. See also culture
Clarence H. White School of Photography, 39
Clark Atlanta University, 139
classicism, 158, 164, 167, 169, 179, 190–91
closet, 153, 155, 158–59, 161–63, 170, 173–74, 178, 180–81, 189
Cocteau, Jean, Le Sang d’un Poète (The blood of a poet), 191, 194
collage, 123–25, 128–29, 145–46
collage epistemology, 129, 135, 138, 151
colonialism: and African art, 4, 40, 44–47, 46, 55, 63, 77, 140–41
hybridization resulting from, 125–26
racialization in, 164
Congo (person), 5, 17
Congolese artifacts, 37, 41, 61, 63, 77, 88
contact: cross-cultural, 4, 29, 31, 44, 52, 65, 96–97, 101, 118, 123–27, 144
intergroup, 12, 33
interracial, 13
queer culture and, 186–95
contact zones, 191, 199
Contemporary Negro Art (exhibition, 1939), 95–97, 98, 99, 100, 123, 138
contestation: cross-cultural, 4, 9, 29, 39, 40, 69, 72, 118
in modernism, 8
of racial identity, 6, 8–9, 18–20, 22, 24, 27, 29, 31–32, 118
in the visual arts, 8–9, 18–20, 22, 24, 27, 29, 31–32
contextualism, 61, 63, 68–69, 121, 139
Cosmopolitan Club, 161–62
cosmopolitanism, 33, 96, 161–62, 177
Cotter, Holland, 170
Courbet, Gustave, The Painter’s Studio: An Allegory, 146, 147–48, 147 (detail)
The Crisis (magazine), 16, 21, 70, 177, 186
Crite, Allan, 107
critical black pluralism, 128, 139
cross-culturality: in art works, 31, 139–51
civilization as product of, 12, 125–26
comparative method toward, 9, 39, 52
contact zones and, 191
contestatory practices in, 4, 9, 29, 39, 40, 72
in Locke’s thought, 12, 29, 33, 41, 52, 64–65, 90, 95, 96–97, 101, 104, 108, 111–12, 117–39
modernism and, 9, 50, 72, 90, 174, 195
Moody’s sculptures and, 99
transculturation and, 199
in Western encounters with African art, 4, 38–39, 43–44, 47–48, 55, 59. See also hybridization; hyphenation; intercultural reciprocity
cubism, 44, 57
Culin, Stewart, 55, 57
Cullen, Charles, 172, 174–76
cover art for Charles S. Johnson, 171–72, 172
illustration in Countee Cullen, Color, 173, 174
Cullen, Countee, 4, 70, 157, 174, 188
The Black Christ, 174
Color, 173, 174
Copper Sun, 174
“Heritage,” 37, 73–75, 74, 83, 117
cultural criticism: black, 109, 196
on intercultural relations and identity formation, 126–28, 199
Locke’s practice of, 1, 2, 5, 9, 10, 21, 33, 52, 102, 110, 126–28, 189, 199 (see also culture: Locke’s conception of)
permeability of borders revealed by, 9
pragmatism in relation to, 2, 23
cultural pluralism, 10, 14–15, 25, 109–10, 176, 187
cultural studies, 23–25, 27, 128
culture: composite character of, 10, 25, 27, 32–33, 51, 127–29, 144, 159, 187
as countermovement, 12–13
defensive formations of, 197–99
formative role of, 2, 5–8, 13, 23–25, 65, 68, 110, 127–28, 185
high vs. low, 10, 102, 104–5, 195–97
Locke’s conception of, 2, 4, 8, 12–13, 21, 24–25, 29, 32–33, 41, 48, 96–97, 102, 104, 107–11, 117, 126–27, 144, 154, 159, 176, 185, 187, 196–97 (see also cultural criticism: Locke’s practice of)
pragmatism in relation to, 8
process vs. product in, 126–28. See also civilization; cross-culturality
culture-citizenship, 12, 23, 96, 109, 135
Cunard, Nancy, Negro Anthology, 138, 138
Dafora, Asadata, 97
Dan artifacts, 45, 49, 57, 63, 88, 129, 132, 139
dance, 64, 66, 191
dandyism, 159–63, 197
Daniels, Jimmie, 184, 184, 199
Dark Tower, 70
Davis, Whitney, 197
Day, Fred Holland, 164–65, 166
African Chief, 164
African series, 165
Ebony and Ivory, 164–65, 165, 170
Menelek, 164
Nubian series, 170, 174
death, 85–87, 154
decontextualization, 44–45, 48, 53, 55, 63, 119, 139
Degas, Edgar, 151
Delaney, Beauford, 156, 158, 199
Dark Rapture (James Baldwin), 199, 200
Dewey, John, 13, 64
dialogical perspectives: in art, 112, 117, 151
on cultural development, 188–89
on meaning, 33
in mentor relationships, 188
diaspora: ancestralism linked to, 9, 40–41, 45, 73–74, 80–81, 83
black artists’ engagement with, 40
defined, 37
as dislocation, 37, 88
and loss, 9, 65, 73–75, 79, 84–88. See also Afro-Diaspora tradition
Didi-Huberman, Georges, 134
differencing, 7, 9, 18, 31–32, 116
Dillon, Frank, Still Life, 79–80, 80
D’Inverno, Nicola, 170
Doolittle, Hilda (pen name H.D.), 184–85
double layering, 77–79, 84–85, 87–88
Douglas, Aaron, 4, 5, 21, 27, 35, 49, 64, 67, 73, 77, 83, 99, 188
Into Bondage, 107, 108
bookplate for Alain Locke’s library, ii, 48
cover art for Fire!! 28, 29, 31
cover art for the Harlem Museum of African Art benefit recital program, 70, 71
Rise, Shine for Thy Light Has Come, 69, 71
The Sun God, 21, 22
Dove, Arthur, 40
Dover, Cedric, American Negro Art, 95
Downtown Gallery, New York, 99
drag balls, 153, 170, 175
Dressler, Rudolf, 162
Driskell, David C., 20–21
Du Bois, W. E. B.: on art, 21–23, 41, 79
“The Conservation of Races,” 12
“Criteria of Negro Art,” 21, 79
and culture, 10, 12, 13, 177
and dialectics, 93
and group ideals, 87
and Locke’s Harlem Museum of African Art, 69
photographs of, 11, 159, 160
and race, 12, 29
and notions of representativeness, 15–16
on spirituals, 86
Duchamp, Marcel, 61
Duncanson, Robert Scott, 66, 105, 142
Dunham, Katherine, 99
Dürer, Albrecht, The Negress of Brandon, 115, 115
Duval, Jeanne, 147–48, 151
Eakins, Thomas, Portrait of Henry Ossawa Tanner, 114, 114
Edwards, Brent Hayes, 112, 113
Ellerman, Winifred (pen name Bryher), 184–85
Ellington, Duke, “Black and Tan Fantasy,” 175
Ellison, Ralph, 97, 128
Encyclopedia of the Negro, 159, 160
English, Darby, 19, 121
essentialism, 109, 128
ethnography, 4, 18, 31, 44–45, 52–55, 57, 60, 63, 68–69
Eurocentrism, 67
Evans, Walker, 136–37
exoticism, 164
Exposition Internationale des Arts Décoratifs et Industriels Modernes (Paris, 1925), 29
Exposition Universelle (Paris, 1900), 29
Fang artifacts, 49, 71, 71, 85–86
Fauset, Jessie, 49, 186
Federal Art Project, 97
Fire!! (magazine), 27, 28, 29, 175–76
First Universal Races Congress, 10
Fisk University, 71
Flandrin, Hippolyte, Figure d’Étude, 165
Flemister, Fred, Man with Brush, 112, 113
folk culture: African American, 23, 68, 101, 102, 104, 110
Harlem Renaissance and, 195
high art vs., 104, 195
Locke’s interest in, 12, 23, 104–5, 109–10, 195–96
modern art influenced by, 80, 100, 102, 108. See also vernacular culture
Ford, Charles Henri, 191
formalism: African American art and, 17–18
and African art, 50, 52–53, 60–61, 121, 137
colonialism linked to, 55, 59
contextualism vs., 61, 68–69, 121, 135, 139, 140, 151
in Locke’s criticism, 9, 18, 60, 66, 68–69, 103, 114, 117, 121, 151
in twentieth-century Western art traditions, 17, 44, 45, 66, 69, 121, 133, 135, 140, 150
40,000 Years of Modern Art: A Comparison of Primitive and Modern (exhibition, 1948–49), 141
Foster, Hal, 109, 129
Foucault, Michel, 68, 72
Fraser, Nancy, 5, 12–13, 24
Freud, Sigmund, 79, 84
Fry, Roger, 66, 68
Fuller, Meta Warrick, 108
Ethiopia Awakening, 29
Talking Skull, 87–88, 87
Gallimard, 118–19
Gates, Henry Louis, Jr., 5–6, 18, 79, 164
Gelede mask, Nigeria, 71, 71
Georgia Sea Islands, 68
German idealism, 109, 121
Gershwin, George, Porgy and Bess, 1
Getsy, David, 165, 167
Giedion, Siegfried, Mechanization Takes Command, 118
Gielgud, John, 185
Gloeden, Wilhelm von, 165, 167, 197
Goeser, Caroline, 172–73, 175
Great Migration, 8, 27
Greco-Roman classicism, 158, 163–64, 191
Greek culture: aesthetic value imputed to, 47
classicism in, 167, 169, 191
homosexuality in, 158, 167, 185
mythology in, 169, 190
Gregory, Montgomery, 163
Griffiths, Marjorie: Bakaya Ancestor Statue, 75, 75, 77
Bapeade Combs, 75, 75, 77
Grossman, Wendy A., 72
Grosz, George, 101
group ideals, 12, 87, 108. See also temperament
group identity, 2, 17, 127–28
Guillaume, Paul, 4, 40, 48–49, 51, 55, 129, 139
Primitive Negro Sculpture (with Munro), 61
Guro masks, 49
Hall, Radclyffe, The Well of Loneliness, 189
Hall, Stuart, 18, 23, 24, 27, 110–11, 116, 161, 197, 203
Halpert, Edith, 99
Hamilton Lodge, Harlem, 153, 170
Hampton Institute, 71
Harlem Artists Guild (HAG), 97, 101
Harlem Museum of African Art, New York, 8–9, 41, 63, 69–70, 72, 134, 135
Harlem Renaissance: and African art, 37, 41, 48, 65
Barnes-Locke relationship and, 49
as challenge to Anglo-Saxon dominance, 31
culture vs. politics in, 5–6
exhibition opportunities for artists of, 19–20
and folk culture, 195
foundational metaphor of, 33, 132–34, 186
Locke as leading figure of, 1, 9, 13, 185–86, 188
origins of, 49
portrayals of, 15
queer culture and, 153–55, 157, 163–64, 184–85, 189
still life as subject of, 41, 65, 73, 75–92. See also African American art and artists; New Negro culture/discourse; post-Harlem art and artists
Harmon, William E., 19, 75
Harmon Foundation, 19–21, 24–25, 67, 71, 77, 95–96, 97, 101–2, 123, 156, 189–90
Harris, Leonard, 8, 23, 128, 153, 159
“‘Outing’ Alain Locke,” 153
Hartley, Marsden, 40, 167
Portrait of a German Officer, 169
Harvard University, 2, 14, 187
Hayden, Palmer, 20, 112, 156, 158
Fétiche et Fleurs, 84, 85
Schooners, 20
Hayes, Roland, 5, 6
Haynes, George E., 19
Hegel, Georg Wilhelm Friedrich, 93
Helbling, Mark, 68
Hemphill, Essex, 155
Henri, Robert, 66
Hendricks, Barkley L., Fast Eddie, 202, 203
Herder, Johann Gottfried, 109, 111
Herskovits, Melville, 68
heteroglossia, 9–10, 155, 155–56
heteronormativity, 203
Heymann, Emile, 44
high/low culture, 10, 102, 104–5, 109, 177, 195–96
Hirschfeld, Magnus, 161
Holiday, Billie, 198, 199
Holty, Carl, The Painter’s Mind (with Romare Bearden), 139, 145
Homer, Winslow, 66
After the Tornado, 170
The Gulf Stream, 170
homo-coding, 155, 159, 163, 165, 167, 170, 172–75, 190–91, 199, 201, 203
homoeroticism, 9, 155, 159, 164–65, 167, 169, 172, 177–82, 190–91
Honig Fine, Elsa, The Afro-American Artist, 95
Hook, Sidney, American Philosophy Today and Tomorrow (with Horace Kallen), 186
Howard University, 1, 2, 16, 25, 37, 49, 69, 71–72, 94, 154, 162–63
Huggins, Nathan, Harlem Renaissance, 154
Hughes, Langston, 4, 15, 27, 49, 64, 155, 157, 177, 185–88
The Big Sea, 186
Hurston, Zora Neale, 10, 11, 27, 49, 64, 99, 188
hybridization: African American identity and, 25, 128
in Afro-Deco, 29
in Afro-modernism, 27
in American art, 144
collage and, 123
intercultural, 41, 99, 125, 127–28, 144, 191
“rum in the punch” simile for, 127. See also cross-culturality; hyphenation
hyphenation, 21, 25, 41, 64, 123, 128, 144. See also cross-culturality; hybridization
Hyppolite, Hector, 142
identity: Africa and, 74–75, 84
African American, 4, 12, 108, 110, 127–28, 176
African American artists and, 105
African art and, 35, 37, 73, 82–83
American, 127–28
cultural basis of, 127–29, 185
hybridization and, 25, 128
Johnson’s Self-Portrait and, 81, 83
loss, mourning, and, 79, 86, 88
malleability of, 83
modernism and, 6, 21, 24, 27, 29, 31, 108
New Negro discourse and, 5, 6, 12–13, 21. See also group identity; racial identity
Idia, Queen of Benin, 48
idiom. See theme and idiom
illustrations removed by Locke from magazines and catalogues, 123–24, 124, 125, 144, 144, 167
The Image of the Black in Western Art (book series), 117
imagined communities, 126–27
Institute of Contemporary Arts (London), 141
intention, artistic, 18–19
intercultural reciprocity, 33, 97, 126–28, 142, 146, 159, 198, 199. See also cross-culturality
interracial relations, 50, 164, 174–75, 178, 182, 185
intersectionality, 9, 155, 159, 164, 169–71, 189, 198–99
Iölaus, 162, 163
Irek, Małgorzata, 47
Isaacs, Edith, 37, 59, 70
Ivory Coast mask, 3, 4
Jackson, May Howard, 138
Jacob, Max, 43
James Weldon Johnson Memorial Committee, 189
Jarnoux, Maurice, André Malraux Standing in His Salon, 119, 120
Jarrett, Gene, 68
Jenkins, Richard, 161
Jennings, Wilmer, Still Life, 77–79, 78
Johnson, Charles S., 21, 49, 186
Ebony and Topaz: A Collectanea, 171–73, 172, 175–76, 191
Johnson, Eastman: Negro Boy, 114
Negro Boy with Flute, 114
Old Kentucky Home, 114
Johnson, Jack, 169
Johnson, James Weldon, 159, 160
The Autobiography of an Ex-Colored Man, 21
Black Manhattan, 88
“The Creation,” 21
God’s Trombones, 69
Johnson, Malvin Gray, 9, 80
Negro Masks, 80, 81
Self-Portrait, 80–81, 82, 83, 199
Johnson, Mordecai, 37, 160
Johnson, Sargent, 108, 112
Johnson, William Henry, 108
Chain Gang, 100
Going to Church, 100
Johnston, Joshua, 105
joint civilization, 12–14, 109
Jones, Loïs Mailou, 9, 35, 107
Les Fétiches, 88, 89
Julien, Isaac, Looking for Langston, 155–57, 156, 190, 203
Kallen, Horace, 13–15
American Philosophy Today and Tomorrow (with Sidney Hook), 186
Culture and Democracy in the United States, 15
Kandinsky, Wassily, 57
Kane, Nada, 142
Kant, Immanuel, 197, 203
Kellogg, Paul, 18, 31, 69
Kennel, Sarah, 145–46
Kinckle Jones, Eugene, 159, 160
Kirstein, Lincoln, 191
Klee, Paul, 57
Knight, Gwendolyn, 97
Knopf (publisher), 21, 177
Kootz, Samuel, 99
Krauss, Rosalind, 119, 121
Kulturwissenschaftliche Bibliothek, Hamburg, 134
Kunstwollen (aesthetic will), 108, 129
Laing, Hugh, 177–78, 179
Lam, Wifredo, 140
language: and cultural identity, 27, 110–11
reality in relation to, 6, 23
Lawrence, Jacob, 97, 98, 99, 142, 188
The Life of Toussaint L’Ouverture, 99, 113
Lee, Arthur, The Ethiopian, 167, 169, 170
Lewis, David Levering, When Harlem Was in Vogue, 154
Lewis, Edmonia, 66, 105
Forever Free, 105
Lewis, Norman, 99
Lewis, Samella, 95
liberal humanism, 118–19
liberalism, 10, 13, 25, 95
Lipchitz, Jacques, 93
Locke, Alain: and ancestralism, 8–9, 21
apartment of, 137–38, 137, 138
biographies of 23, 24, 153–55, 186
as critic, 1, 2 (see also cultural criticism: Locke’s practice of)
as dandy, 159–63
education of, 1–2
elitism of, 10, 24, 96, 104, 197
engagement with visual arts, 4, 8–9, 23, 37, 41, 46, 49, 64–68, 93–97, 99, 101–18
homosexuality of, 9, 153–55, 157–63, 167, 177, 187
illustrations removed from magazines and catalogues, 123–24, 124, 125, 144, 144, 167
interdisciplinary approach of, 1, 2, 33, 118
open-ended nature of work of, 8, 9–10, 24, 33, 69, 113, 151, 188–89, 195–99, 203
personality of, 24, 161
as “philosophical midwife,” 186–89, 195
photographs of, x, 11, 26, 42, 160, 162
physical stature of, 159
postcard archive of, 167, 176–77
as professor, 1
as public intellectual, 1, 9, 12, 23, 153, 154
racial positioning of, 24–25, 50–51, 60–61
self-conception of, 159–62, 186–88
travels of, 37, 44, 162, 185
wake held for his mother, 154–55
Locke, Alain, works written or edited by: “The American Negro as Artist,” 102, 106
“Art or Propaganda?,” 22–23
“Beauty Instead of Ashes,” 109
Bronze Booklets, 23, 94, 96, 104, 126
“The Contribution of Race to Culture,” 102, 126
“Enter the New Negro,” 8, 27, 188
“Frontiers of Culture,” 189, 195–96, 203
“Harlem, Mecca of the New Negro,” 32
for Harmon Foundation catalogues, 20
“The Legacy of the Ancestral Arts,” 4–5, 8, 37, 38, 40, 46, 50, 52, 64–68, 109, 118, 121, 196
The Negro and His Music, 104
Negro Art: Past and Present, 41, 46–47, 66, 104, 106, 121
The Negro in American Culture (unfinished encyclopedia), 33
The Negro in Art, 9, 33, 41, 93–97, 101, 105–8, 110–18, 113–16, 121, 122, 123, 129, 131, 134, 139, 170, 190, 196
“The Negro: ‘New’ or Newer?” 189, 196–97
“The Negro’s Contribution to American Culture,” 102, 110, 127, 189
“The Negro Takes His Place in American Art,” 102
The New Negro (anthology), 1, 2, 4, 5, 8, 21, 40, 50, 112, 163, 171, 177
“A Note on African Art,” 4, 41, 50–51
“Our Little Renaissance,” 171
Race Contacts and Interracial Relations, 2, 12–13, 23, 33, 96
Sahdji, 177
“Values and Imperatives,” 135, 186–87
When Peoples Meet, 1, 33, 96–97, 105, 118, 125
“Who and What Is ‘Negro’?” 25, 128
Locke, Mary (mother), 154, 162, 163
Lord, Francisco, 112
Lorde, Audre, The Black Unicorn, 154
loss, of ancestral past, 9, 73–75, 79, 84–88
Luschan, Felix von, 46–48, 90, 140
Die Altertümer von Benin, 47, 47
Mackie, Deryl, 156
Macpherson, Kenneth, 184–85, 184, 199
Borderline, 185
Maison Walschot, Brussels, 44, 45, 55
male nude, 9, 155, 158, 167–81, 197
Malraux, André, 9, 97, 118–19, 120, 121, 129, 132–33, 139, 146, 151
Le Musée Imaginaire de la Sculpture Mondiale, 118
Psychologie de l’Art, 118
Mambour, Auguste, Congolese Woman, 103, 103
Manet, Édouard, Olympia, 150, 167
Marriott, David, 187–88
Marxism, 24, 25
masks. See tribal masks
Mason, Charlotte Osgood, 10, 23, 64, 69, 189
Massys, Quentin, Adoration of the Magi, 114–15, 115
Matisse, Henri, 4, 40, 43–44, 61, 124
Creole Dancer, 151
Joy of Life, 44
Still Life with African Statuette, 43
McDougald, Elise Johnson, 5, 16
McKay, Claude, 1
McKeller, Thomas E., 168, 169
Meadows, Allen, 177–80, 178, 180, 190
melancholia, 79, 84, 88
melting pot, 13, 15
Menelik II, King of Ethiopia, 164
Menil, Dominique de, 117
Metropolitan Museum of Art, New York, 48, 91, 94, 149
Meurent, Victorine, 150
Michelangelo, 155
Dying Slave, 190
Middle Passage, 9, 65, 73, 84
midwifery, as metaphor, 186–89, 195–96
Miró, Joan, 140
modernism and modernity: African American identity and, 6, 21, 24, 27, 29, 31, 108
and African art, 4, 8–9, 38–41, 43–45, 48–51, 53, 55, 57, 61, 65–66, 69, 72, 93, 118, 121, 123, 129, 140
American introduction to, 59
black artists and, 66–67
and colonialism, 55
and cross-culturality, 9, 50, 72, 90, 174, 195
culture as contested in, 8
institution of, in mid-twentieth century, 97
Locke and, 5
mass culture as the other of, 197
multiple voices in, 9–10, 155, 174
originality claims for, 57
queer culture and, 195, 199. See also Afro-modernism; white-cube aesthetics
Modernist style, 106, 108, 111
Modigliani, Amedeo, 63, 121
Girl Seated, 122
Head, 50, 51, 57
Molesworth, Charles, 8, 23, 128, 153, 159
Moody, Ronald, 112
Midonz, 99, 100
Tacet, 99
Wohin, 99
Moor, Ralph, 47, 90
Moore, Henry, 140
Motley, Archibald, Jr., 19, 67, 108
Jazz, 19
The Octoroon Girl, 19, 20, 20, 21
mourning, 79, 84, 86, 88
Munro, Thomas, 60–61, 63, 68–69
Primitive Negro Sculpture (with Guillaume), 61
Murray, Albert, 128
Murrell, Denise, 151
musée imaginaire, 9, 97, 118–19, 129, 133
Museum für Völkerkunde, Berlin, 47
Museum of Fine Arts (Boston), 169
Museum of Modern Art (MoMA), New York, 55, 69, 72, 135–36, 135, 141
music, 64, 66, 68, 86, 95, 104
Nachleben (survivals), 129, 132, 139
Nadar, Félix, Jeune Modèle, 151
The Nation (magazine), 60, 69
National Academy of Design, 37, 80
National Association for the Advancement of Colored People (NAACP), 21, 161
nationalism, 109
National Urban League, 4, 19, 159
naturalism, 19, 66, 106
Negro Artists at Work (Harmon Foundation film), 81
“The Negro in Art: How Shall He Be Portrayed?” (symposium, 1926), 16
negrophilia, 52
Negro Renaissance. See Harlem Renaissance; New Negro culture/discourse
Neue Sachlichkeit, 18
Neumann, J. B., 57, 59
New Art Circle gallery, New York, 38, 57, 59–60, 69
New Deal, 97
New Negro culture/discourse: African American identity and, 5, 6, 12–13, 21
and ancestralism, 4, 48, 73, 83, 91
art associated with, 4–5, 19, 48
critiques of, 25, 154
Harlem as center for, 2
Locke’s role in, 96, 163, 186–88, 196–97
meanings of, 7
newness of, 6, 8, 35, 188, 197
origins of, 5, 49
and subjectivity, 74–75
Washington and, 5–7, 7, 13. See also Harlem Renaissance
Newton, Huey, 201, 201, 203
New Woman, 20
New York Public Library, 71. See also Schomburg Room, New York Public Library 135th Street branch
New York Times (newspaper), 59
New York University, 94
Nugent, Richard Bruce, 9, 29, 170, 172, 175–77
Drawings for Mulattoes, 175
Drawings for Mulattoes–Number 1, 174, 175
illustration in Fire!! 175, 176
“Sahdji,” 177
“Smoke, Lilies, and Jade,” 155, 176
Oba Esigie, King of Benin, 48
Ogoue (Ogowe) fetish figure, 122, 123, 124
O’Keeffe, Georgia, 40
Old Negro era, 8, 35, 66, 79, 105, 159
O’Neill, Eugene, The Emperor Jones, 21
Opportunity (journal), 3, 4, 21, 49–51, 51, 70, 73, 171, 186, 189
originals and copies, 119, 124, 136–37, 146, 185, 199
Orozco, Gabriel, 101
Ortiz, Fernando, 199
Ott, John, 141
Ovid, Metamorphoses, 190
Oxford University, 2, 14, 54, 161–62, 187
Pach, Walter, 59, 69
Paintings and Sculpture by American Negro Artists at the National Gallery of Art (exhibition, 1929), 19, 20
Panofsky, Erwin, 129
pantheism, 74
Pareja, Juan de, 142
Paris Is Burning (documentary), 154
Paris Match (magazine), 119
Parkes, A. L., 29
Parks, Gordon, Alain Leroy Locke with Portrait of Dancer Harald Kreutzberg by Richmond Barthé, South Side Community Art Center, Chicago, 41, 42
Pater, Walter, 155
patronage, for black artists, 10, 19, 23, 25, 37, 49, 64, 69–71, 95–97, 101, 177, 189
Patton, Sharon F., African-American Art, 95
Payne, Daniel, 105
Peabody, George Foster, 69
pendant masks, 34, 47, 47, 48, 58
Philadelphia School of Pedagogy, 1–2
Phillips, James, 47
Philpot, Glyn, 182
Portrait of Henry Thomas, 182, 182
Portrait of Tom Whiskey (M. Julien Zaire), 156, 157
photographic reproduction, 93–94, 97, 112, 118–19, 124, 129, 132–33, 136–37, 139, 145–46
Photographs of African Negro Art by Walker Evans (exhibition, 1936), 136–37
photomechanical reproducibility, 132
Photo-Secession, 40
Phylon (journal), 189
physiognomy, 18, 31–32, 99. See also bodies, African American
Picabia, Francis, 40
Picasso, Pablo, 40, 43–44, 93, 121
Dancer, 122, 123
Demoiselles d’Avignon, 44, 123
Pitt Rivers Museum, University of Oxford, 54, 57
Plato, 187, 189
Platt Lynes, George, Féral Benga, 191, 194
pluralism. See critical black pluralism; cultural pluralism
Pollaiuolo, Antonio, Battle of the Naked Men, 190–91
Pollock, Griselda, 7, 147, 150
Porter, James, 99, 104
Modern Negro Art, 94–95
Porter, Katherine Anne, 31bald
positionality: and identity, 5–6, 10, 23–24, 29, 31, 161
Locke and, 24–25, 50–51, 60–61, 170
person-centered approach contrasted with, 24, 27, 31, 61, 72, 155, 159
post-colonial critique, 46
post-Harlem art and artists, 95–96, 99–100, 102, 104
post-impressionism, 44
Poussin, Nicolas, Bacchanal with Lute Player, 148
Powell, Richard J., 19, 29, 69
Black Art, 95
Black Art and Culture in the Twentieth-Century, 95
pragmatism: cultural criticism associated with, 2, 23, 72
Locke and, 2, 12–13, 23, 72, 135
performative, 23–27
and race, 12–13
theoretical basis of, 8, 23
Pratt, Mary Louise, 191
Primitive Negro Art, Chiefly from the Belgian Congo (exhibition, 1923), 56, 57
primitivism, modernist paradigm of, 8, 38, 40–41, 45, 46, 48, 50, 52, 55, 60, 63–65, 69, 72, 84, 129, 141, 179, 208n39
“Primitivism” in 20th Century Art: Affinity of the Tribal and the Modern (exhibition, 1984), 55, 72
prognathic angle, 31
Progressive Education Association, 96
Prohibition, 170
Prophet, Nancy Elizabeth, Negro Head, 106, 108
Proust, Marcel, 154
Queen Mother pendant mask, Iyoba, 34, 91, 91
Queer British Art (exhibition catalogue), 155
queer culture: and aestheticism, 9, 155, 158, 161, 164, 167, 179, 187, 190–91
African Americans and, 157, 170
and Afro-modernism, 153–54
closeted conditions faced by, 153, 155, 158–59, 161–63, 170, 173–74, 178, 180–81, 189
coding strategies of, 155, 159, 163, 165, 167, 170, 172–75, 190–91, 199, 201, 203
and cultural midwifery, 186–89, 195–96
elitism and, 195, 197
Greek vs. Whitmanesque models of, 158, 185–88, 197
and Harlem Renaissance, 153–55, 157, 163–64, 184–85
historical models for, 158
Locke and, 9, 153–55, 159–63, 167, 187
medico-scientific perspectives on, 161, 164, 178
modernism and, 195, 199
(re) production of, 185–86
“reverse discourse” strategies of, 161, 164
silencing of, 153–54
Quinn, John, 61
Quirt, Walter, 101
racial identity: African art and, 35, 37
associated with transgressive desire, 170, 174, 175, 177, 178
asymmetries in, 15, 18–19, 24, 169–70, 177–82
Boas on, 10
contestations of, 6, 8–9, 18–20, 22, 24, 27, 29, 31–32, 118
cultural basis of, 2, 5–8, 13, 23–24, 65, 68, 96, 110, 127–28
de-biologization of, 2, 5, 10, 68, 110
Du Bois on, 12
pragmatic approach to, 23–24
visual stereotypes of, 18, 19, 31–32, 66–67, 116. See also African Americans; identity
racialization: colonial, 164
homosexuality and, 164–65
meanings derived from, 31
structural asymmetries and hierarchies resulting from, 10, 15, 24, 47–48, 50, 69, 72, 104, 169–70, 177–82
Randolph, A. Philip, 7
realism, 18, 19, 101, 114–16
Recent Paintings by Pablo Picasso and Negro Sculpture (exhibition, 1923), 56, 57
reception theory, 165, 167, 169, 173
Reid-Pharr, Robert, 201, 203
Reiss, Winold, 5, 31, 73
cover art for Survey Graphic, 32–33, 32
Harlem Girl with Blanket, 30, 31
Portrait of Elise Johnson McDougald, 16, 17–18
Portrait of Roland Hayes, 6
Two Public School Teachers, 17–18, 17
Rembrandt van Rijn, 138
The Two Negroes, 115–16, 116
representativeness, 15–19, 21, 154, 170
re-signification, 24, 31. See also transvaluation
reverse discourse, 161, 164
Rhodes Scholarship, 2, 14
Riegl, Alois, 108, 109, 129
Robeson, Paul, 69, 185
Rockefeller, Nelson, 91
Rockland Palace, Harlem, 170
Rogers, Charles Ross, 95
Rönnebeck, Arnold, Young Dancers, 167
Rose, Ernestine, 71
Rosskam, Edwin, 27
Rubens, Peter Paul, Four Studies of the Head of a Negro, 167
Rubin, William, 55
Rue La Boétie gallery, Paris, 40, 48, 51
“rum in the punch” simile for hybridization, 127
Salon d’Automne, 197
Sander, August, People of the Twentieth Century, 151
Sapir, Edward, 111
Sargent, John Singer, Nude Study of Thomas E. McKeller, 168, 169
Savage, Augusta, 21, 97, 108
Saxl, Fritz, 134
Saxon, Lyle, 189
Schapiro, Meyer, 94, 109
Schomburg, Arthur, 71, 99, 159, 160
“The Negro Digs up His Past,” 74
Schomburg Room, New York Public Library 135th Street branch, 71–72, 101
Schwarz, Christa, 185
Gay Voices of the Harlem Renaissance, 158
Scott, William Edouard, 66, 106
segregation, 13, 94–95, 101
Seligman, Charles, 91
Senufo artifacts, 49
sexology, 161, 164, 178
Shakespeare, William, Hamlet, 87
Shames, Stephen, Portrait of Huey Newton, 201, 201, 203
Shannon, Helen, 53, 68, 101, 104
Sheeler, Charles, 61, 124
installation view, Recent Paintings by Pablo Picasso and Negro Sculpture, 56
Interior, Arensberg Apartment, New York, 61, 62
Ivory Coast mask, 3
Six West African Figures, 61, 62
Sheppard, William Henry, 207n12
Signorelli, Luca, Nude Man Bearing a Corpse, 167
Simone, Nina, 148
Sipprell, Clara, Max Weber, 38–39, 39
Skeete, J. Alexandre, 170
slavery, 74, 94
Smalls, James, 181, 190, 191
Smith, Shawn Michelle, 164–65
Socrates, 187–88, 195
Sowei helmet masks, Sierra Leone, 71, 71, 79
Spingarn, Amy, 64
Statuary in Wood by African Savages (exhibition, 1914), 40, 52–55, 53
Steichen, Edward, 52–55
Stein, Gertrude, 43
Stein, Leo, 43
Stern, Bernhard J., 96
Stewart, Jeffrey C., 9, 12, 23, 24, 96, 128, 153, 154–55, 160, 161, 163
Stieglitz, Alfred, 40, 49, 55, 60
Still, William Grant, 177
still life, as subject for Harlem Renaissance artists, 41, 65, 73, 75–92
style: Africanist, 108, 111
in art history discipline, 108–9
Locke’s cultural conception of, 67, 105–11, 121
Modernist, 108, 111
Traditionalist, 106–7, 111. See also temperament; theme/idiom
Sulter, Maud, Duval et Dumas: Dumas, 150, 151
surrealism, 191
Survey Graphic (magazine), 2, 5–6, 6, 8, 17–18, 31–33, 37, 50–52, 73–74, 74, 188
Sweeney, James Johnson, 135
Symonds, John Addington, 155, 158, 165, 167, 169, 173
Talented Tenth, 27, 170, 197
Tanner, Henry Ossawa, 66, 105, 114, 114, 142
Taylor, Clyde, 169
Tchelitchew, Pavel, Deposition (Féral Benga), 191
temperament, Locke’s cultural conception of, 12, 73, 107–8, 109, 111, 116, 118, 125, 196. See also group ideals
Texas Centennial, 97
Theatre Arts Monthly (magazine), 21, 37, 59
theme/idiom, 67, 110–12, 114, 116–18, 121, 126, 191
Thomas, Henry, 182, 182
Thompson, Bob, Homage to Nina Simone, 148–49, 148, 151
Thompson, Robert Farris, 27
Thurman, Wallace, 27, 175
Infants of the Spring, 29, 177
Timeless Aspects of Modern Art (exhibition, 1948–49), 141
Tin Pan Alley, 95
Toomer, Jean, 4
Traditionalist style, 106–7, 111
transcoding, 157, 157–58
transvaluation, 2, 4, 31, 44–48, 50, 90, 118, 156–59. See also re-signification
Trauerarbeit (work of mourning), 79, 84, 86
Trevor-Roper, Hugh, 72
tribal artifacts, 41, 43–48
tribal masks, 9, 52–53, 57, 63, 75–91, 101, 131
Tuke, Henry Scott, August Blue, 167
291 gallery, New York, 40, 52–55, 53
Understanding Negro Sculpture (exhibition, 1952), 135, 136
unfinishedness, 8, 9–10, 24, 33, 69, 113, 151, 188–89, 195–99, 203
Utrecht, Adriaen van, Vanitas Still Life with Bouquet and Skull, 85–86, 85
value-theory, 2, 4, 48, 50, 67, 155, 186–87
Van Der Zee, James, 170–71
Beau of the Ball, 170–71, 171
Wreaths in Tribute, 86–87, 86
vanitas tradition, 85–86
Vanity Fair (magazine), 49, 50
Van Vechten, Carl, 9, 49, 50, 170, 177–81, 184, 189, 191
Alain Locke, x, 11
Allen Meadows with Mask, 178–79, 180
Billie Holiday, 198, 199
Hugh Laing Kissing a Mask, 179
Kenneth Macpherson and Jimmie Daniels with Barthé‘s Head of Daniels, 184–85, 184
Nigger Heaven, 21, 177
Richard Wright, 198, 199
W. E. B. Du Bois, 11
Zora Neale Hurston, 11
Velázquez, Diego: Juan de Pareja, 142
The Maid Servant, 116, 116
Vendryes, Margaret, 189, 190
vernacular culture, 10, 68, 87, 104, 190. See also folk culture
View (magazine), 191
Vili carving, Congo, 43
visual arts: academic conventions in, 8, 19, 66, 67, 77, 79, 106
autonomy of, 21–22, 53, 59, 95, 109, 129, 139
black patronage and, 70–71
contestatory practices in, 8–9, 18–20, 22, 24, 27, 29, 31–32, 69, 118
contextual vs. formalist perspectives on, 61, 68–69, 121, 135, 139, 140, 151
Locke’s engagement with, 4, 8–9, 23, 37, 41, 46, 49, 64–68, 93–97, 99, 101–18, 153, 158
mimetic/reflective models of, 5, 6, 16, 20, 66, 139
representativeness of African Americans in, 15–19, 21, 29, 170
sociocultural context of, 21–23. See also African American art and artists; formalism
visual thinking, 9, 93–95, 112, 117–18, 134, 175
Vlaminck, Maurice de, 4
Waléry, Lucien Féral Benga in the Folies Bergère, 190, 193
Walker, A’Lelia, 70
Walker, Madam C. J., 70
Wallace, Michele, 95
Warburg, Aby, 129, 133–34
Waring, Laura Wheeler, 25, 26, 66, 106
Anna Washington Derry, 106–7, 106
Mnemosyne Atlas, 129, 130, 134
Washington, Booker T., 13, 16
A New Negro for a New Century, 5–7, 7
Weber, Max, 39–40, 39, 73, 121
Invocation, 122
Wells, James Lesesne, 9, 35, 36, 37–40, 73, 80, 138, 199
Hieratic Heads, 76, 77, 80
Wendell, Barrett, 14–15
Whiskey, Tom (also known as M. Julien Zaire), 156
White, Clarence H., F. Holland Day with Model, 164, 166
White, Walter, 208n39
white-cube aesthetics, of modern art museums, 53–55, 74, 135, 137
whites/whiteness: African Americans depicted by, 66–67, 111, 114–18
America identified with, 10, 13
as creators of “Negro art,” 108, 110
otherness of blacks in self-conception of, 118, 198
patronage of African American artists by, 10, 19, 23, 25, 37, 49, 64, 69–71, 95–97, 101, 177, 189
Whitman, Walt, 158, 185
Leaves of Grass, 175
Whitney Museum of American Art, New York, 69, 190
Whitney Studio Club, New York, 40, 56, 57
Wilde, Oscar, 161–62, 176
“The Critic as Artist,” 161
Salomé, 164
Willard, Marian, 99
Wilson, Judith, 149
Winckelmann, Johann Joachim, 197, 203
Wölfflin, Heinrich, 109, 129
Woodruff, Hale, 112, 144
Amistad, 113
Art of the Negro, 139–42, 140–42
Dissipation, 140, 141
Influences, 140, 140
Interchange, 139
Muses, 92, 140, 142, 142, 144
Native Forms, 139, 140
Parallels, 140
Works Progress Administration (WPA), 97, 99
Wright, Richard, 25, 26, 97, 198, 199
12 Million Black Voices, 27
Yaka figurine, 39, 39, 73
The Yellow Book (journal), 161, 164
Yoruba artifacts, 45, 68
Zaire, M. Julien. See Whiskey, Tom
Zangwill, Israel, The Melting Pot, 13, 14
Zayas, Marius de, 40, 49, 52, 55, 60
Zouenouia carving, 50, 51, 57