Preoccupied with Haiti

  title={Preoccupied with Haiti},
  author={K. Thompson},
  journal={American Art},
  pages={74 - 97}
Haiti was on mind and in the imagination of many African American artists throughout the 1920s and 1930s, a period that coincided with the U.S. occupation of the island. At this time many African American artists working in the United States represented the first black Republic through symbols of the Haitian revolution and its leaders. Their work was central in forging diasporic links between African American and Haitian contemporaries and inspiring black populations throughout the diaspora to… Expand
5 Citations


Th e Truth about Haiti , ” Crisis 20 , no . 5 ( September 1920 ) : 224 . For Dash ’ s characterization of “ racial geist
  • Carrera , Imagining Identity in New Spain : Race , Lineage , and the Colonial Body in Portraiture
  • 2003
Scholarly discussions of Haiti in the art of African American artists have been rare; for an example, see
  • Hayward Gallery and Institute of International Visual Arts
  • 1997
For a discussion of Scott's infl uence on Haitian art, see Peter Roberts
  • 1980
Th e Critical Temper of Alain Locke: A Selection of His Essays on Art and Culture
  • New York Times
  • 1939
For the Brady quote, see letter of support for Scott from Mary Brady, Harmon Foundation
  • Th e Politics of Vision: Essays on 19th Century Art and Society
  • 1932
With Gun and Camera in South Africa: Constructing the Image of Bushmen, ca. 1880-1940
  • Picturing Empire: Photography and the Visualization of the British Empire
  • 1931
On these connections in the early twentieth century, see, for example
  • On the connection between Haiti and black America in the nineteenth century
  • 1915
Only a year before Scott's trip, Motley created Martinique Dancer (1930) and Martinique Youth (1930)
  • Race, and Visual Culture
  • 1900
For Dash's characterization of "racial geist," see Haiti and the United States
  • Crisis