is extremely limited. With the exception of courses offered at Historically Black Colleges and Universities (HBCUs), it is very difficult to find survey history courses, in which mainstream curriculum includes the contributions of African Americans. Although the representation of black history in the academy is insufficient, there are areas that are less explored than others. Art history is one such discipline where the absence of African Americans in is quite noticeable. Based on my own experiences as the University of Illinois, and in researching art history programs throughout the United States, courses surveying African American contributions to art are extremely rare, while concentrations on African American art seem simply non-existent. In an effort to increase the interest in critical discussions about African American art and history, this paper will examine from both a social and art historical perspective. I In All My Years first examine the photographs in a socio-cultural context, highlighting the themes of family, spirituality, and community that radiate throughout the book. I then analyze them for their visual elements, with details and descriptions of what Raymond Bial wanted to convey aesthetically. In relation to Raymond Bial’s work, I also discuss the conventions of fine art photography and what elements make the photographs “art.” Because all fifty-five photographs in the book cannot be analyzed in this short paper, I have selected five to examine. The six individuals in these five photographs are as follows: Allen Rivers, a well respected member of the armed forces; Sarah Scott, a woman known for her commitment to servicing her community; Brothers Al and James Baker, owners of the Blue Island Tavern, an establishment in Champaign that operated for 39 years; James Algee, a man who man who lived a quiet lifestyle and was “Biggie” recognized for his passion for cooking; and Taylor Thomas, a well respected man known
is extremely limited. With the exception of courses offered at Historically Black Colleges and Universities (HBCUs), it is very difficult to find survey history courses, in which mainstream curriculum includes the contributions of African Americans. Although the representation of black history in the academy is insufficient, there are areas that are less explored than others. Art history is one such discipline where the absence of African Americans in is quite noticeable. Based on my own experiences as the University of Illinois, and in researching art history programs throughout the United States, courses surveying African American contributions to art are extremely rare, while concentrations on African American art seem simply non-existent. In an effort to increase the interest in critical discussions about African American art and history, this paper will examine In All My Years from both a social and art historical perspective. I first examine the photographs in a socio-cultural context, highlighting the themes of family, spirituality, and community that radiate throughout the book. I then analyze them for their visual elements, with details and descriptions of what Raymond Bial wanted to convey aesthetically. In relation to Raymond Bial’s work, I also discuss the conventions of fine art photography and what elements make the photographs “art.” Because all fifty-five photographs in the book cannot be analyzed in this short paper, I have selected five to examine. The six individuals in these five photographs are as follows: Allen Rivers, a well respected member of the armed forces; Sarah Scott, a woman known for her commitment to servicing her community; Brothers Al and James Baker, owners of the Blue Island Tavern, an establishment in Champaign that operated for 39 years; James “Biggie” Algee, a man who man who lived a quiet lifestyle and was recognized for his passion for cooking; and Taylor Thomas, a well respected man known
introduction(revised)_5d9219b8c1.docx