원시주의를 넘어서 : 애론 더글러스(Aaron Douglas)의 초기 삽화 작업에 나타난 인종적 정체성 문제와 할렘 르네상스
Beyond Primitivism: Representing Racial Identity in the Early Illustrations of Aaron Douglas and the Harlem Renaissance
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Aaron Douglas is widely known as a leading Harlem Renaissance artist particularly as a muralist. However, in the latter half of the 1920s and at the height of the Harlem Renaissance, he was deeply involved in print culture and provided graphic designs for covers, illustrations, and posters for the major magazines of the New Negro movement, such as Crisis and Opportunity , as well as several Harlem writer’s publications including The New Negro (1925), Nigger Heaven (1926), Home to Harlem (1928). This paper at first examines Douglas's early life just before and after he arrived in Harlem, focusing on how the questions of racial identity exemplified by the “New Negro” began to be explored in the context of the active support by and cooperation with Harlem Renaissance leaders. It then responds to those questions by analyzing Douglas's works with reference to the specific forms and subject matter. Harlem Renaissance art has been criticized as being other than a form of independent art movement owing to many artists' reliance upon white patronage and often responding to the mainstream expectation for ‘primitive’ cultures from African American artists. Also, the formal and thematic elements embodied in Douglas's works, such as Cubist and Art Deco style and Egyptian and African metaphors, showed the influence of Western modernist primitivism. However, Douglas also created critical differences beyond mere subordination and imitation to such mainstream primitivism. He suggested highly complicated and often paradoxical styles or poses, dialecticizing the relationships of the primitive and the modern, realism and abstraction, fine art and graphic design, Africa and America, nature and city, and the past and the present.
Abstract
Aaron Douglas is widely known as a leading Harlem Renaissance artist particularly as a muralist. However, in the latter half of the 1920s and at the height of the Harlem Renaissance, he was deeply involved in print culture and provided graphic designs for covers, illustrations, and posters for the major magazines of the New Negro movement, such as Crisis and Opportunity , as well as several Harlem writer’s publications including The New Negro (1925), Nigger Heaven (1926), Home to Harlem (1928). This paper at first examines Douglas's early life just before and after he arrived in Harlem, focusing on how the questions of racial identity exemplified by the “New Negro” began to be explored in the context of the active support by and cooperation with Harlem Renaissance leaders. It then responds to those questions by analyzing Douglas's works with reference to the specific forms and subject matter. Harlem Renaissance art has been criticized as being other than a form of independent art movement owing to many artists' reliance upon white patronage and often responding to the mainstream expectation for ‘primitive’ cultures from African American artists. Also, the formal and thematic elements embodied in Douglas's works, such as Cubist and Art Deco style and Egyptian and African metaphors, showed the influence of Western modernist primitivism. However, Douglas also created critical differences beyond mere subordination and imitation to such mainstream primitivism. He suggested highly complicated and often paradoxical styles or poses, dialecticizing the relationships of the primitive and the modern, realism and abstraction, fine art and graphic design, Africa and America, nature and city, and the past and the present.
참고문헌 (32)
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