MS01.01.03.B01.F13.003

2.
[DELETED TEXT: the delineation of movements among black artists but
as a whole. The Speakers will...I shall be addressing myself..themselves..
to this subject as though it were based in a socio-cultural definition.
Otherwies, one asks the serious question, "why African-American or
Black art in the final quarter of the 20th century".]

Only in recent years has there been a general trend
toward the positive identification of a racial type which
[deleted: has] contains certain iconographic forms peculiar to black artists.
This trend is presently moving towards the making of an
aesthetics which is recognizably black in content and
style, [DELETED TEXT: In the course of this lecture, I shall attempt to
point out some of those visual trends that reoccur over and over again
in African-American art] thus establishing a pattern of form peculiar
to the making of black symbols.
However, in order to more clearly establish the premise of
a particular racial type in art, one must look closely at
the people who make it and look more specifically at those
who use it. In so doing, we witness two distinct historical
trends in the development of the art produced by African-Americans
that form the basis for the distinct direction
that one sees in what may rightly be called
African-American art.

First, there is to be found a limited number of [deleted: visual] art
forms that, without a doubt, identify themselves as
African survivals -- having a direct relationship to visual
forms currently in use in West African culture. [deleted: in the past
and present today]
These forms allude to the individual involvement of the
African in the new world and establish what might rightly be referred
[deleted: I wish to refer]

[IN THE LEFT-HAND MARGIN]

R-1 (African House Melrose 1747)

L-1 (Contemp. House Kenya)