African-American artists have sought recognition of their various artistic endeavors for nearly 400 years in the New World. Slavery was a dehumanizing act that will always reside sadly in our personal history. The African slave trade played a large role in how society views African-American artists and their art today. Along with an early negative perception, we can see how the African diaspora positively affected American art today. At first, these early artisans were exposed to European art forms, and they adapted these art forms to their own artworks. However, experimentation would eventually lead these artisans, artists, and crafts people to infuse their art forms with a mixture of West African, European, and American cultural ideas. A number of seminal African-American artists will be examined, beginning with Robert S. Duncanson in Cincinnati in the mid-1850s to Henry Ossawa Tanner and Meta Vaux Warrick Fuller in the late nineteenth century. This artistic examination will then continue into the twentieth century and beyond. Thus, this overview will also include the artists during the pivotal Harlem Renaissance in the 1920s and 1930s, concluding with an examination of contemporary artists, such as Robert Colescott and Faith Ringgold. This article serves as a presentation of works, along with historical references, that cover the achievements of the leading African-American artists for more than 200 years in the American cultural art scene.
This article is a study on irregular Brazilian migrants living and working in two global cities in Europe: Milan and London. The article shows why Brazilians choose irregular migration to Milan and London as a strategy and the way in which immigration policy design and implementation can control, regularise, and integrate immigrants by comparing Milan and London. The second objective of the article is to demonstrate the role of transnational ties between undocumented and documented Brazilian immigrants living in two different cities. This study shows that most Brazilians had already established contact with Brazilian networks in Milan and London before contemplating irregular migration as a strategy. Strong links were found between the networks in Milan and London and four regions in Brazil.
The killing of Cecil the lion in 2015 revived passionate debate on trophy hunting in Africa. This article examines the mentoring contributions to this debate made from the 1930s to the present by three prominent hunter-writers: E. Hemingway, R. Ruark, and W. Smith. The Anthropocene has been marked by vestigial atavistic hunting practices that these three writers enacted themselves and dramatized in their fiction, offering role models for hunters and hunter-writers. They have ennobled a controversial vision of sportsmanship in an era that can no longer afford it, and with it they have helped to perpetuate a failed colonial model of white life, ignoring native peoples’ lives in favor of itinerant hunters.