The hearing eye : jazz and blues influences in African American visual art

The widespread presence of jazz and blues in African American visual art has long been overlooked. __The Hearing Eye__ makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists. There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Völz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom. With numerous illustrations both in the book and on its companion website, __The Hearing Eye__ reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists.

There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Völz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom.

With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists. There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Voltz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and adiscussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, andalso looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom. With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected African American visual artists have often looked to jazz and blues for inspiration. Bringing together scholarly analysis, artist-interviews and numerous illustrations, The Hearing Eye is a groundbreaking collection that explores this vibrant aesthetic criss-cross, until now neglected by art historians and music critics alike. Content: BLUES ON 78S FOLK SONGS PAINTINGS OF THE 1940S EXPRESSIONISM, AND BEBOP INTERVIEW SHEETS OF SOUND. INTERVIEW THE BLUES REALLY PAINT JAZZ? JEAN-MICHEL BASQUIAT JAZZ AND EVERYDAY LIFE IN THE PHOTOGRAPHS OF ROY DECARAVA RICHARD INGS INTERVIEW