Open Artstor: Smithsonian National Museum of African American History & Culture is now available on both the Artstor and JSTOR platforms, featuring a selection of approximately 2,500 images under Creative Commons licenses. This is part of an initiative to aggregate open museum, library, and archive collections across disciplines on both resources. We are proud to present this content, along with the freshly published Open Artstor: Schomburg Center for Research in Black Culture (New York Public Library) collection as part of an ongoing initiative to bring more African American resources to Artstor and JSTOR.
Blog Search results: african
Mrs. Michelle Apotsos
Doctoral candidate Art History/Architectural History
As a graduate student at Tufts University, I was once given the opportunity to give a lecture to a class of architectural history students on West African architectural form for the purpose of unsettling some common notions that inform Western conceptions of the built environment. I decided to present a case study of the Djenné mosque in Mali, West Africa as an example of an architectural tradition that utilizes distinctive structures, materials, and iconographies to resonate with its cultural context. The experience itself not only revealed to me the inherent challenges of teaching architectural studies in Africa, but also the necessity of having high-quality visual tools in order to recreate a convincing three-dimensional spatial narrative. Thus began my ongoing love affair with Artstor.
An additional launch of 5,000 shots from Magnum photographers provides a panorama of events across the world and brings the Artstor corpus from the cooperative to more than 130,000 photographs. At Magnum, dozens of photographers and photojournalists are perpetually seeking out stories and offering their visions: the unique perspectives of many members are reflected in the content published by Artstor this year including global manifestations of climate change raging across the planet; refugees seeking shelter and safety; celebrations and concerns around racial, cultural and sexual identity and, domestically, the collision of Covid, and the constitutional crisis at the Capitol on January 6.
The proximity and exceptional access gained by the French photographer Patrick Zachmann epitomizes the reach of the members of the cooperative. Since the fire at Notre Dame cathedral in Paris in the spring of 2019, Zachmann has documented the extraordinary labor and skill that have gone into its reconstruction: more than 350 of his photographs in Artstor chronicle this process. As shown here, last year’s progress included the reconstruction of the wooden scaffolding in the vaults of the church, and the felling of ancient oaks in the forest of Bercé to rebuild the spire. The deliberate and selective culling of the tall trees contrasts here with the nearly simultaneous deforestation of the landscape in British Columbia recorded by Canadian photographer Larry Towell – a desecration.
Zachmann also provided witness to a triumphant act of repatriation that occurred in his native Paris. Twenty-six works from the Royal Treasury at Abomey, Benin were returned to Cotonou, West Africa in November 2021. They had been in Paris since the 1890s. Here we behold Behanzi, the sharkman and the doors of a royal palace as they began their journey home in gloved hands.
The current launch also draws from the Magnum archives, notably on three artists all born around 1940. The South African photographer Ernest Cole is represented by about 600 photographs in Artstor, most depicting apartheid in his homeland, as recorded in his book House of Bondage. Guy Le Querrec whose specialization is portraying jazz musicians actually likened his own work to the syncopation and improvisation of their performances. He is represented by nearly 2,000 photographs in Artstor, including the portraits of the writer James Baldwin, singer Nina Simone, bassist Charles Mingus, and the inimitable Tina Turner displayed here.
Finally, we added works by the Moroccan born French photographer Bruno Barbey who died in 2020. The new photographs span his 55 year career and raise the total in Artstor to nearly 4,000. Above, his Cheung Chau Bun Festival, 2015, represents the popular early May ritual and demonstrates Barbey’s painterly command of color – not to mention his abiding interest in China where he began working in the early 1970s. Barbey was also known for his courageous practice in conflict zones. As we celebrate World Press Freedom Day (May 3) and honor the rights and safety of photojournalists, Barbey’s shot of the foot of the great Buddha at Leshan, 1980, underscores a humbling message of peace.
— Nancy Minty, collections editor
In celebration of Women’s History Month we have compiled a list of resources available on the Artstor/JSTOR platforms, from licensed to freely available community generated collections.
We encourage you to explore the resources: photographic, graphic, and written accounts of the women’s suffrage, labor, and reproductive rights movements: the artistic output of female painters, sculptors, architects, designers, and craftswomen; the work and lives of women in science; photographs of women and by women, including a wide selection of portraits of literary luminaries, as well as of communities of women around the globe.
While 2021 had its share of jolts, schools and libraries began to regain their footing after the shocks of 2020 and started looking forward. And Artstor did as well, as we continued to make progress on the integration with JSTOR and on furthering the diversity of our content.
More diverse content and Open Artstor collections
Our ongoing efforts to bring more African American and ethnically diverse resources to Artstor and JSTOR started making their appearance in the middle of 2021, and we look forward to more releases this year.
Artstor has released more than 2,000 images from The Schomburg Center for Research in Black Culture, a world-leading cultural institution devoted to the research, preservation, and exhibition of materials focused on African American, African Diaspora, and African experiences. The center was named after its chief early contributor, Arthur Schomburg. The collection can be freely accessed by everyone on both Artstor and JSTOR.
In honor of Black History Month, we have consolidated a list of varied resources available on the Artstor/JSTOR platforms, from licensed collections to freely available community generated collections. We invite you to explore the resources – historic chronicles from manuscripts, newspapers, documents and recordings, the story of African American art told by the works themselves, photographic archives portraying the lives of celebrated African Americans and those we no longer know. Discover great works, official records, iconic portraits, ephemera and memorabilia in the collections below.
As the strength of the sun wanes in the fall, our festivities and rites tend to be centered on the elements of fire and light — natural, divine, and synthetic. It is no accident that many of our brightest celebrations light up our darkest months. Below, we have selected some images that collectively exalt the power of light to animate our revels.
We are on the cusp of the holiday season, a quiet, delicious pause before the big rush — a time when we slow down to reflect and give thanks. In the spirit of A.A. Milne’s inimitable philosopher Piglet, we may recall our capacity for gratitude: “Piglet noticed that even though he had a Very Small Heart, it could hold a rather large amount of Gratitude.” In celebration of Thanksgiving, we are highlighting expressions of thanks through time and across the world.
A moment of grace bestills the bowed heads of three small Haitian girls captured by the photographer Bob Gore, while a swell of Ghanian women is moved by thankful joy during a Harvest Festival in a monumental painting by the African American artist John Biggers.
We was taught there’s so many different ways to build a quilt. It’s like building a house. You can start with a bedroom over there, or a den over here, and just add on until you get what you want. Ought not two quilts ever be the same. You might use exactly the same material, but you would do it different. A lot of people make quilts just for your bed, for to keep you warm. But a quilt is more. It represents safekeeping, it represents beauty, and you could say it represents family history. 1
Mensie Lee Pettway (b. 1939), on learning her craft from her mother America Irby.
Juneteenth is an annual holiday commemorating the end of slavery in the United States, and we are celebrating with a virtual exhibition of African American quilts. June 19 observes and renews the call for freedom, justice, and equality in the African American community. From the period of slavery through emancipation and up to current times, the activities and output of quilters have embodied strength, bound the community, and bestowed beauty and warmth, echoing the spirit of the holiday. An archival photograph of two generations of the Pettway family sewing together, 1937, and the mosaic mural Quilting Time, 1986, by Romare Bearden attest to the community building/family bonding attributes of the tradition.