Through a Looking Glass
 
Art Arch Mask
 
Performing Gender
 
The American Negro



RICHARD J. POWELL

Contact Information

John Spencer Bassett Professor of Art & Art History and

Professor of African/African American Studies, Duke University

 

EDUCATION

1988 Ph.D., History of Art. Yale University, New Haven, CT
  Dissertation: William H. Johnson: Expressionist and Artist of the Blues Aesthetic
1984 M.Phil., History of Art. Yale University, New Haven, CT
1982 M.A., Afro-American Studies. Yale University, New Haven, CT
1977 M.F.A., Printmaking. Howard University, Washington, DC
1975 B.A., Art. Morehouse College, Atlanta, GA

 

EXPERIENCE

2007-10 Editor-in-Chief, The Art Bulletin, College Art Association, New York, NY
1989- Professor (2001- the present); Professor and Chair (1998-2001); Associate Professor and Chair (1996-98); Associate Professor(1992-96); & Assistant Professor(1989-92), Department of Art and Art History, Duke University, Durham , NC
1987-89 Director of Programs, Washington Project for the Arts, Washington, DC
1985-87 Predoctoral Fellow, National Museum of American Art, Smithsonian Institution , Washington, DC
1986 Visiting Professor, Middlebury College, Middlebury, VT
1983-84 Guest Curator/Consultant, Field Museum of Natural History, Chicago, IL
1983 Visiting Fellow, Wesleyan University, Middletown, CT
1982 Adjunct Professor, University of Hartford, West Hartford, CT
1978-80 Instructor, Norfolk State University, Norfolk, VA

 

PUBLICATIONS: BOOKS

Cutting a Figure: Fashioning Black Portraiture, Chicago: The University of Chicago Press, 2008.

Black Art: A Cultural History , London: Thames and Hudson, Ltd., 2002 (Revised & expanded edition of Black Art & Culture in the 20th Century, 1997). Spanish translation: Arte y Cultura Negros en el Siglo XX, Barcelona: Ediciones Destino, S.A., 1998.

Jacob Lawrence (for the Rizzoli Art Series), New York: Rizzoli International Publications, Inc., 1992.

Homecoming: The Art and Life of William H. Johnson , New York: W.W. Norton, 1991 (originally Rizzoli International Publications, Inc., 1991).

 

PUBLICATIONS: EXHIBITION CATALOGS, SOLE OR PRINCIPAL AUTHOR

Circle Dance: The Art of John T. Scott, Jackson : University of Mississippi, 2005.

Beauford Delaney: The Color Yellow, Atlanta : High Museum of Art, 2002.

To Conserve a Legacy: American Art from Historically Black Colleges and Universities, Cambridge : MIT Press, 1999.

Rhapsodies in Black: The Art of the Harlem Renaissance, London & Berkeley: University of California, 1997.

The Blues Aesthetic: Black Culture and Modernism , Washington, D.C.: Washington Project for the Arts, 1989.

From the Potomac to the Anacostia: Art and Ideology in the Washington Area , Washington, D.C.: Washington Project for the Arts, 1989.

James Lesesne Wells: Sixty Years in Art , Washington, D.C.: Washington Project for the Arts, 1986.

 

PUBLICATIONS: JOURNAL ARTICLES

“The Picturesque, Miss Nottage and the Caribbean Sublime,” Small Axe: A Caribbean Journal of Criticism 25 (February 2008): 157-168.

“Linguists, Poets, and ‘Others’ on African American Art,” American Art 17 (Spring 2003): 16-19.

“Appreciation. Jacob Lawrence: Keep on Movin’” American Art 15 (Spring 2001): 90-93.

“Art of the Harlem Renaissance,” American Art Review 10 (March-April 1998): 132-137.

“Cinqué: Antislavery Portraiture and Patronage in Jacksonian America,” American Art 11 (Fall 1997): 48-73.

“Art, History, and Vision,” Art Bulletin 77 (September 1995): 379-382.

"Images and Identities: A Brief, Introductory Note," The International Review of African American Art 11 (No. 3): 6.

"The Art of Raymond Saunders: Colored," New Observations 97 (Sept./Oct. 1993): 10-15.

"Journeying Beyond: The Prints and Paintings of Joyce Wellman," The International Review of African American Art 10 (No. 3): 4-11, 26-27.

"Richard Powell: On Alain Locke and James Porter," Hatch-Billops Collection, Inc./Artist and Influence 11 (1992): 1-8.

"What Becomes a Legend Most? Reflections on Romare Bearden," Transition 55 (Spring 1992): 62-72.

"'In My Family of Primitiveness and Tradition:' William H. Johnson's Jesus and the Three Marys," American Art 5 (Fall 1991): 20-33.

"Margo Humphrey: Interview," Hatch-Billops Collection, Inc./Artist and Influence 5 (1987): 56-65.

"William H. Johnson's Minde Kerteminde," Siksi: The Nordic Art Review 1 (1986): 17-23.

"On Exhibit: Black Artists of the Nineteenth Century," The Chicago Reader ( 16 August 1985): 10-11.

"African Art at the Field Museum," African Arts 18 (Feb. 1985): 24-36, 101.

African and Afro-American Art: Call and Response , Chicago: Field Museum, 1984, n.p.

"Black Folk Art in America, 1930 - 1980," Field Museum of Natural History Bulletin (April 1984): 11-18.

"Current Expressions in Afro-American Printmaking," PrintNews 3 (April/May 1981): 7-11.

"The Afro-American Printmaking Tradition," PrintNews 3 (Feb/Mar 1981): 3-7.

"9/9," The New Art Examiner 7 (June 1980): 10-11.

"Talking to James Lesesne Wells," Print Review 9 (1979): 65-75.

"Houston Conwill," Neworld (Feb/Mar 1979): n.p.

 

PUBLICATIONS: BOOKS & EXHIBITION CATALOGS, CONTRIBUTING AUTHOR

"Barkley L. Hendricks, Anew," in Barkley L. Hendricks/Birth of the Cool, ed. Trevor Schoonmaker, Durham: Nasher Museum of Art at Duke University, 2008, 38-57.

"A Conversation with Martin Puryear," in Martin Puryear, ed. John Elderfield, New York: Museum of Modern Art, 2007, 99-110.

"The Aaron Douglas Effect," in Aaron Douglas: African American Modernist, ed. Susan Earle, New Haven: Yale University Press, 2007, 53-73.

"Changing, Conjuring Reality" in Conjuring Bearden, Durham, NC: Nasher Museum of Art at Duke University, 2006, 19-31.

“Racial Imaginaries, from Charles White’s Preacher to Jean-Paul Goude and Grace Jones’ Nigger Arabesque” in Back to Black: Art, Cinema and the Racial Imaginary, London: Whitechapel Art Gallery, 2005, 9-27.

“On James A. Porter’s and (our) Modern Negro Art,” in A Proud Continuum: Eight Decades of Art at Howard University, Washington, DC: Howard University Gallery of Art, 2005, 25-28.

“To Be Real,” in The Barkley L. Hendricks Experience, New London, Connecticut: Lyman Allyn Museum of Art, Connecticut College, 2001, 13-15.

“Sartor Africanus,” in Dandies: Fashion and Finesse in Art and Culture, ed. Susan Fillin-Yeh. New York: New York University Press, 2001, 217-242.

“Harmonizer of Chaos,” in Over the Line: The Art and Life of Jacob Lawrence, ed. Peter Nesbett and Michelle DuBois, Seattle: University of Washington Press, 2000, 147-163.

“Conjuring Canes and Bible Quilts: Through the Prism of Nineteenth Century African American Spirituality,” in African Americans and the Bible: Sacred Texts and Social Textures, ed. Vincent L. Wimbush. New York: Continuum, 2000, 342-354.

“Lamentations from the ‘Hood,” in Kerry James Marshall/Mementos, Chicago: The Renaissance Society at the University of Chicago, 2000, 31-47.

“The Blues Aesthetic: Black Culture and Modernism,” in African American Literary Criticism, 1773 to 2000, ed. Hazel Arnett Ervin, New York: Twayne Publishers, 1999, 289-302.

"Art History and Black Memory: Towards a 'Blues Aesthetic,'" in The Jazz Cadence of American Culture , ed. Robert G. O’Meally, New York: Columbia University Press, 1998, 182-195.

“Introduction: Faith Ringgold’s French Connection,” in Dancing at the Louvre: Faith Ringgold’s French Collection and Other Story Quilts, ed. Dan Cameron, Berkeley: University of California Press, 1998, 1-3.

“In My Family of Primitiveness and Tradition”: William H. Johnson’s Jesus and the Three Marys,” in Critical Issues in American Art: A Book of Readings, ed. Mary Ann Calo, New York: Westview Press, 1998, 285-294.

[Untitled Essay], in Bill Traylor Drawings from the Collection of Joe and Pat Wilkinson, New York: Sotheby’s, December 3, 1997, 38.

"Two paintings by William H. Johnson," in The Seductions of Biography, ed., Mary Rhiel and David Suchoff, London: Routledge, 1996, 89-97.

“The Return to Bertrandville,” in Willie Birch: From Bertrandville to Brooklyn, Winston-Salem, Southeastern Center for Contemporary Art, 1995, 13-16.

"African American Postmodernism and David Hammons: Body and Soul," in African American Visual Aesthetics: A Postmodernist View , ed., David C. Driskell, Washington, D.C.: Smithsonian Institution Press, 1995, 121-138.

"Immeasurably Unbound," in African-American Art: 20th Century Masterworks II, New York: Michael Rosenfeld Gallery, 1995, n.p.

"Art History and Black Memory: Towards a 'Blues Aesthetic,'" in History and Memory in African American Culture, New York: Oxford University Press, 1994, 228-243.

"Midnight Sons: On African-American Artists in Scandinavia" in The Art of Ronald Burns, Atlanta, GA: Spelman College, 1994, n.p.

"Re-Creating American History" and "Biblical and Spiritual Motifs" in I Tell My Heart: The Art of Horace Pippin, New York: Universe, 1993, 70-81, 124-135.

"Face to Face: Elizabeth Catlett's Graphic Work," Elizabeth Catlett: Works on Paper, 1944-1992, Hampton, Virginia: Hampton University Museum, 1993, 49-53.

"Anansi Revisited," Keith Morrison, New York: Alternative Museum, 1990, 4-5.

"Shades of Grey in the Black Aesthetic," in Next Generation: Southern Black Aesthetic, Winston-Salem : Southeastern Center for Contemporary Art, 1990 (with Judith Wilson), 24-30.

"William H. Johnson and the Harmon Foundation: A Study in Afro-American Patronage," in Against the Odds: African-American Artists and the Harmon Foundation, ed. Gary Reynolds andBeryl Wright, Newark: The Newark Museum, 1989, 88-97.

"1920 - 1950: From Renaissance to Realization," in African-American Artists, 1880 - 1987: Selections from the Evans-Tibbs Collection , Seattle: Washington, 1989, 40-71.

"Winslow Homer, Afro-Americans, and the 'New Order of Things,'" in Winslow Homer's Images of Blacks: The Civil War and the Reconstruction Years , ed. Peter Wood and Karen C.C. Dalton, Austin: University of Texas, 1988, 9-12, 108-110.

 

FILM, VIDEO, AUDIO & DIGITALLY-BASED PROJECTS

Rhapsodies in Black: Music and Words from the Harlem Renaissance, 2000. 10 page manuscript, essay, and “creative consultant” for a CD box set, Rhino Records R2 79874.

To Conserve a Legacy: American Art from Historically Black Colleges and Universities: The Digital Exhibition, March 2000. 30 page manuscript and recorded narration of thevirtual exhibition tour (at http://www.africana.com).

 

EXHIBITIONS CURATED

2006 Conjuring Bearden, Nasher Museum of Art at Duke University, Durham, NC (With Alicia Garcia, Margaret Di Giulio, Victoria Trout, & Christine Wang).
2005 Back to Black: Art, Cinema and the Racial Imaginary, Whitechapel Art Gallery, London, England (With Petrine Archer-Straw & David A. Bailey. Toured England).
2005 Circle Dance: The Art of John T. Scott, New Orleans Museum of Art, New Orleans, LA.
2002 Beauford Delaney: The Color Yellow, High Museum of Art, Atlanta, GA (Toured nationally).
1999 To Conserve a Legacy: American Art from Historically Black Colleges and Universities, Studio Museum in Harlem, NY, and the Addison Gallery of American Art, Andover, MA (With Jock Reynolds. Toured nationally).
1998 Beyond Mere Likeness: Portraits from Africa and the African Diaspora, Duke University Museum of Art, Durham, NC (With Alexander Byrd).
1997 Rhapsodies in Black: The Art of the Harlem Renaissance, Hayward Gallery, London, England and the Corcoran Gallery of Art, Washington , D.C (With David A. Bailey. Toured UK & US).
1992 Liberian Landscapes: Art and Life in West Africa, Duke-Semans Fine Arts Foundation and the Duke University Museum of Art , Durham, NC (Toured North Carolina and Virginia).
1991 Homecoming: William H. Johnson and Afro-America, 1938 - 1946, National Museum of American Art, Smithsonian Institution , Washington, DC (Toured nationally).
1989 The Blues Aesthetic: Black Culture and Modernism, Washington Project for the Arts, Washington, DC (Toured nationally).
1989 From the Potomac to the Anacostia: Art and Ideology in the Washington Area, Washington Project for the Arts, Washington, DC.
1988 African-American Artists, 1880 - 1987: Selections from the Evans-Tibbs Collection, Smithsonian Institution Traveling Exhibition Service , Washington, DC (With Guy McElroy and Sharon Patton. Toured nationally).
1986 James Lesesne Wells: Sixty Years in Art, Washington Project for the Arts, Washington, DC (With Jock Reynolds. Toured nationally).
1984 African Insights: Sources for Afro-American Art and Culture, Field Museum of Natural History , Chicago, IL.
1979 Impressions/Expressions: Black American Graphics, Studio Museum in Harlem , New York, NY (Toured nationally).

 

AWARDS, FELLOWSHIPS, & GRANTS

2007 The Voyager Foundation, Publication Subvention Grant
2001 John Hope Franklin Center Faculty Residency Fellowship, Duke University
1999 John Spencer Bassett Named Professorship, Duke University
1995-96 Ford Foundation Postdoctoral Fellowship
  National Humanities Center Fellowship and Residency
1994 Ednah Root Visiting Curatorship in American Art, M.H. de Young Memorial Museum, Fine Arts Museums of San Francisco
1992-93 W.E.B. Du Bois Institute for Afro-American Research Fellowship, Harvard University
1992-93 National Endowment for the Humanities Fellowship for University Teachers
1986 Ford Foundation Dissertation Fellowship
1985-86 Predoctoral Fellowship, Smithsonian Institution
1984 Fulbright Grant for Graduate Study Abroad
1982 Alexander Bouchet Award for Outstanding Master's Thesis, Yale University
  Graduate Fellowship, Smithsonian Institution
1980-84 Graduate and Professional Opportunities Fellowship (U.S. Office of Education) and Yale University Fellowship for Graduate Study
1980 National Endowment for the Humanities Grant, Summer Seminars (Yale University)
1977-78 Rockefeller Foundation Fellowship, The Metropolitan Museum of Art
1976 Graduate Research Assistantship, Department of Prints and Drawings, National Collection of Fine Arts, Smithsonian Institution
1975-77 National Fellowship Fund for Graduate Education
1974 Charles Merrill Foreign Travel Scholarship

 

CURRENT RESEARCH & WORKS-IN-PROGRESS

Flower Paintings of the Americas; Cinema & Black Visual Culture; a Novel in Progress.

 

ADDITIONAL INFORMATION & REFERENCES PROVIDED UPON REQUEST


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