Lisa E. Farrington, Ph.D., is the founding Chair of John Jay's Art & Music Department, as well as an accomplished curator, author, and art historian. In 2010 she won the coveted Creative Capital Writers Award from the Andy Warhol Foundation.
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Lisa E. Farrington
Founding Chair of John Jay's Art & Music Department, as well as an accomplished curator, author, and art historian
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Lisa E. Farrington, Ph.D., is accomplished curator, author, and art historian. In 2010 she won the coveted Creative Capital Writers Award from the Andy Warhol Foundation.
As an award-winning academic author, Farrington has lectured on three continents and authored or co-authored 10 books and dozens of scholarly essays, including two award-winning historical texts for Oxford University Press: “African-American Art: A Visual and Cultural History” and “Creating Their Own Image: The History of African-American Women Artists.” In addition, she was the 2008 Endowed Scholar of the Humanities at Spelman College and won the coveted Creative Capital Writers Award from the Andy Warhol Foundation for her manuscript on African American artist Emma Amos
She has published ten books and a dozen scholarly essays in the past decade, including two monographs on artist Faith Ringgold, and a 2005 textbook for Oxford University Press entitled Creating Their Own Image: The History of African-American Women Artists, which recently won three major academic literary awards, including the American Library Association Award for Outstanding Contribution to Publishing, the American Association of Black Women Historians Annual Book Award, and the Richard Wright/Zora Neale Hurston Foundation nomination for non-fiction.
Currently she is writing a history of African American art from the 17th century to the present for Oxford University Press.
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Relatively early in the Women’s Art Movement of the 1970s, charges of racism were being aimed at the campaign by women artists of color. As a result, many African-American women spurned the Movement and chose instead to maintain ties with the Black Arts Movements, which embraced Afrocentric agendas. Unfortunately, choosing an alliance with the Black Arts Movement presented problems its own set of problems. It was endemically patriarchal in orientation, and its organizations were male-dominated. Women artists of color were caught in a quandary. Should they remain faithful to the Black Arts Movement, which they found meaningful, but which often subordinated women? Or should they ally themselves with the Feminist Art Movement, which they recognized as largely at odds with racial equity? The challenge of this dilemma for black women artists will be the basis of this talk.
The Artistic World before Racism: A Compelling Presentation of the African Diaspora Portrayed from Antiquity To The Present
A Crisis of Race and Sex: Black Feminist Art
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