Preoccupied with Haiti

  title={Preoccupied with Haiti},
  author={Krista A. 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… 
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For a discussion of Johnson, see Renda, Taking Haiti, 190. For the quote, see Dash, Haiti and the United States
    Indianapolis: Indianapolis Museum of Art, 1996), 29. For the "landscape painting" quote, see Scott to George Arthur
    • A Shared Heritage: Art by Four African Americans
    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
    Seattle Museum of Art, 1986), unpaginated. See Alain Locke
    • Toussaint L'Ouverture
    Only a year before Scott's trip, Motley created Martinique Dancer (1930) and Martinique Youth (1930)
    • Race, and Visual Culture
    • 1900
    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
    Statement of Plan of Work
      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