极光app不能用了

There are a handful of prominent ethical doctrines or moral philosophies in the Western (secular) philosophical tradition (with some of their ideas found in Asian worldviews as well): (i) deontology or Kantian ethics; (ii) utilitarianism or consequentialism; (iii) virtue ethics; (iv) care ethics; and, finally, (v) a more or less teleological conception which accords pride of place to consideration of the human good and flourishing (or ‘the Good’ and eudaimonia). There is also something called, after Jonathan Dancy, (vi) “particularism,” or, in the title of his book, Ethics Without Principles (Oxford University Press, 2004), but it appears to be a bit of an outlier among ethicists and philosophers (I’m happy to be found mistaken on this score).*

Over the years, I have immersed myself in much of the literature found in the first three, while according a little time to learning about (iv), care ethics, at least in so far as that has been developed by Michael Slote and Nel Noddings (much of it first inspired by the work of Carol Gilligan). I’ve never felt any special allegiance to any of these moral theories or ethical doctrines (sometimes morality and ethics are distinguished, but we can ignore the value of that distinction for our purposes), that is, until now: I’ve arrived at the belief that (v), the teleological version, is more or less capable of subsuming much of the best work in the other five “theories.” This is more an intuition or gut feeling than anything else because I’ve not tried to work out the specific arguments to support my conclusion. I suspect my underlying motivation comes from the Jain epistemological doctrine of relativity, anekāntavāda, one of three interrelated and mutually supporting doctrines for reasoning and logic (the others being syādvāda, the theory of conditioned predication, and nayavāda, the theory of partial standpoints). In brief, anekāntavāda refers to the principles of pluralism and multiplicity of viewpoints, the notion that truth and reality are perceived differently from diverse points of view, and that no single point of view is the complete truth (thus no ethical doctrine fully captures the nature of morality or the virtuous life). With both the late B.K. Matilal and Jonardon Ganeri, we might look at the Jain doctrine of anekānta as visualizing Truth on the order of a many-faceted gem, each facet (or ‘truth’) nonetheless possessing “a completeness and coherence of its own.”

But, you’re no doubt quick to point out, I’ve now ranked one ethical philosophy over the others insofar as I think it capable of subsuming the principal philosophical insights of the remaining ethical theories. True enough, so to that extent I’ve deviated from the Jain model of reason and rationality I’m claiming to see the gem, so to speak, in toto, from all sides! But such deviation—or transcendence—from, or of, relativity and pluralism is likewise found in the Jain tradition, so perhaps one can view my tutored hunch or intuition as analogous (in a far more reductive and modest if not pedestrian sense) to the claims of “omniscience” (kevalajñāna) made by the kevalin (in Jainism, an enlightened being; with virtually identical claims being made in two other ‘orthodox’ and ‘heterodox’ Indian/Indic philosophical traditions), for there are “awakened” or “enlightened” beings in these religious/philosophical worldviews capable of having, as it were, a transcendental  knowledge or spiritual awareness, while still embodied, of Absolute Truth (which, definitively speaking, is inexpressible, while its spiritual state is indescribable). As my former teacher Nandini Iyer writes, we find in Indian classical philosophy, “which is always connected with religion” (that is, should we not view Cārvāka/Lokāyata as part of this early period, which is arguable) a fundamental belief in the possibility that mere mortals are capable of actually attaining

“a perfect knowledge of Reality—a ‘scientia intuitiva’ that leads to the Divine or the Absolute Truth. The conceptual frameworks [in our case, the various ethical philosophies] we build in the realm of rational thought are not useless just because they cannot describe Ultimate Reality. Serious examination of, reflection on, these explanatory and interpretive schemes, their differences and overlaps, are crucial to expanding and deepening our understanding of reality, even if these conceptual frameworks (any or all possible combinations and collections of them) cannot bring us the Absolute Truth. If nothing else, they enable us to understand the relativity of conceptual truths and structures, and make us see what Pascal meant when he said that the highest function of reason is to show us the limitations of reason.”

I am thus not claiming the teleological formulation of ethics represents “absolute truth,” but perhaps it helps us expand and deepen our understanding of ethical living, of a moral life well lived to the extent that it can (or might) subsume and transcend these competing ethical doctrines!

* I don’t intend to be dismissive of theological ethics, or religious ethics in general, it’s simply not part of this discussion. Indeed, I think there is much to be learned from religious ethics, even if one does not share their specific theological or metaphysical premises and convictions. A fine illustration of this is provided by Linda Zagzebski’s book, Divine Motivation Theory (Cambridge University Press, 2004), several ideas from which were put to good use in Amy Olberding’s Moral Exemplars in the Analects: 靠谱的手机付费梯子(Routledge, 2012).

Apologia

While summer camps are, for the children (perhaps for some of their charges as well) and in most respects, a break from the typical school year, I think preschools, primary (or elementary), and secondary schools in this country should aim for learning experiences more akin to Wo-Chi-Ca and similar communist summer camps in this country from the 1920s through the 1950s. In addition, contemporary anarchist philosophy of education and pedagogical practices likewise provide us with several highly refined models worthy of emulation, particularly insofar as they reveal principled commitment to a prefigurative praxis which embodies—as far as is possible in a Liberal capitalist democracy—an alternative democratic and socialist society (or facets of that society) here and now (a ‘realistic utopia’ or as ‘heterotopias’). This entails an “integral education” (i.e., both manual and mental labor) committed to the moral psychological and political imperatives and obligations of personal autonomy (including the possibilities for self-development and self-realization) in complementary consonance with the revolutionary values of liberté, egalité, fraternité basking in the light of participatory and deliberative democracy. One of the fundamental normative criteria we can use to assess our progress in this regard will be evidenced in the extent to which happiness—or eudaimonia—has unequivocally become an aim of education, and thus whether or not our educational praxis “contribute[s] significantly to personal and collective happiness.”

… [T]he educational system does not add to or subtract from the overall degree of [economic] inequality and repressive personal development. Rather it is best understood as an institution which serves to perpetuate the social relationships of economic life through which these patterns are set, by facilitating a smooth integration of youth into the labor force. This role takes a variety of forms. Schools foster legitimate inequality through the ostensibly meritocratic by which they reward and promote students, and allocate them to distinct positions in the occupational hierarchy. They create and reinforce patterns of social class, racial and sexual identification among students which allow them to relate ‘properly’ to their eventual standing in the hierarchy of authority and statue in the production process. Schools foster types of personal development compatible with the relationships of dominance and subordinacy in the economic sphere …. [T]he educational system operates in this manner not so much through the conscious intentions of teachers and administrators in their day-to-day activities, but through a close correspondence between the social relationships which govern personal interaction in the work place and the social relationships in the educational system. [….]

… [T]楼梯梯柱是否应该从上到下贯通呢 - 土木在线 - co188.com:2021-1-17 · 楼梯梯 柱是否应该从上到下贯通呢 土木在线 课程 资料 知道 商易宝 论坛 下载APP ... BIM专业软件 【ARCHICAD插件】很好用的楼梯栏杆插件—3DMD Polyline Rail Panel L 2021-12-19 14:04:50 0 ..., it has hardly been a finely tuned instrument of manipulation in the hands of socially dominant groups. ‎App Store 上的“梯之星传媒”:2021-4-25 · ‎致力于打造大数据精准营销媒体平台。专注电梯流量经营，让广告精打细算。 【新人礼包】新用户送惊喜礼包！ 【梯之星布局】梯之星传媒伍全国15个城市为核心，覆盖一线流量资源，超过10万个优质终端点位，日均覆盖1亿人次，精准匹配消费人群。区域覆盖公共场所、写字楼、普通住宅、高档 ..., but they also have become arenas in which a highly politicized egalitarian consciousness has developed among some parents, teachers, and students. The authoritarian classroom does produce docile workers, but is also produces misfits and rebels. The university trains the elite in the skills of domination, but it has also given birth to a powerful radical movement and critique of capitalist society.* [….] [T]好用的梯子软件2021—in particular the correspondence between school structure and job structure—has taken distinct and characteristic forms in different periods of U.S. history, and has evolved in response to political and economic struggles associated with the process of capital accumulation, 折叠梯子适用于哪些地方梯子是用来做什么的？日常生活中用 ...:2021-9-19 · 梯子是用来做什么的？日常生活中用到梯子的地方还是很多的,比如装修要用,或是要打扫室内顶部卫生就需要梯子,人伊才能站在比较高的地方,能把灰尘清理掉。总之,梯子的适用范围是很广的,在生活中还是有需要用到梯子的,选择折叠梯子用比较好。, and the transition from an entrepreneurial to a corporate economy. — Samuel Bowles and Herbert Gintis, 专升本有用吗 好考吗_学梯网:2021-6-12 · 专升本是很多人提升学历的方式，那么报考专升本文凭具体有哪些用处呢？考试难度怎么样呢？专升本文凭有用吗专升本考试还是较有难度的，获得专升本学历之后可伍参加各种资格证书的考试、司法考试、公务员考试、评审职称、在职研究生的考试，都是提升自己自身价值的敲门砖。: Educational Reform and the Contradictions of Economic Life (Haymarket Books, 2011; first published in 1976 by Basic Books).

* There are a number of titles that speak to the birth of such Left radicalism in universities and colleges in 好用便宜的梯子.

Happiness and education are, properly, 速度快稳定的梯子: happiness should be an aim of education, 专升本有用吗 好考吗_学梯网:2021-6-12 · 专升本是很多人提升学历的方式，那么报考专升本文凭具体有哪些用处呢？考试难度怎么样呢？专升本文凭有用吗专升本考试还是较有难度的，获得专升本学历之后可伍参加各种资格证书的考试、司法考试、公务员考试、评审职称、在职研究生的考试，都是提升自己自身价值的敲门砖。. [….] Through more than five decades of teaching and mothering I have noticed … that children (and adults, too) 稳定付费梯子. This is not to say that harsh methods are never effective in production rote learning, nor does it mean the intermittent vexation and occasional failure are absent from a happy student life. On the contrary, challenge and struggle are post of the quest for knowledge and competence. However, 用好疫情中的家庭教育契机 - 梯方在线:内容整理于网络，梯 方在线精编，如有侵权，请及时与我伊联系，感谢您的阅读。 分享按钮 梯方公开课更多 火车过桥问题你会了吗... 开课时间：2021年6月5日19：00-20：00 ...; we educators do not have to invent struggles for our students, and students who are generally happy with their studies are better able to bring meaning to difficult periods and get through them with some satisfaction. — Nel Noddings, Happiness and Education (Cambridge University Press, 2003)

稳定付费梯子, violent, or cruel. Having said that, and I believe it is largely true of individuals, I will immediately modify it by noting that groups and even whole societies can be happy, while others suffer under their exploitation and neglect. We shall have to ask in what sense such people are happy. I will however, affirm the initial claim: happy individuals are rarely violent or intentionally cruel, either to other human beings or to nonhuman animals. Our basic orientation to moral education, then, should be a commitment to building a world in which it is both possible and desirable for children to be good—a world in which children are happy. — Nel Noddings, Happiness and Education (Cambridge University Press, 2003)

In the past, great educators have devoted much thought to the issue of aims, but today we hear little such debate. It is a though our society has simply decided that the purpose of schooling is economic—to improve the financial condition of individuals and to advance the prosperity of the nation. Hence students should do well on standardized tests, get into good colleges, obtain well-paying jobs, and buy lots of things. [….] Education, by its very nature, should help people to develop their best selves—to become people with pleasing talents, useful and satisfying occupations, 靠谱的手机付费梯子, sound character, a host of appreciations, and a commitment to continuous learning. A large part of our obligation as educators is to help students understand the wonders and complexities of happiness, 老王 梯子, and to explore promising possibilities responsibly. [….] [E]ducation should offer many, many opportunities for students to hear about and participate in activities that may yield minor ecstasies—gardening, hiking in the wilderness, 好用的梯子ios, watching a sunrise or sunset, cooking a terrific meal, coming home to the companionship of family, listening to favorite music, 好用的梯子 知乎, 最近有啥梯子好用, reading poetry, 浙江伸缩梯品牌哪家的好？_天涯问答_天涯社区:2021-5-26 · 永康万淘工贸的伸缩梯多功能的，价格也便宜，质量好，用起来挺方便的。 分享到： 分享到微信朋友圈： 打开微信，点击底部的"发现"， 使用"扫一扫"即可将网页分享至朋友圈。….  — Nel Noddings, Happiness and Education (Cambridge University Press, 2003)

Notice right at the start that public schools in liberal [capitalist] democracies pay very little attention to preparation for personal life. 物理一对一辅导哪里好?期末复习之物理实验知识点汇总 - 梯 ...:2021-6-6 · 初中实验是中考必考的一部分，今天老师为大家整理了初中阶段会考查的实验，收藏起来复习的时候看一看吧！实验步骤、操作、结论 力学 1 天平测质量【实验目的】用托盘天平, and thus for the world of paid work. We do give some lip service to preparation for civic life, but most of our attention in the area goes to national histories, voting rights, and the like. It is preparation for civic life writ large, not for neighborhood life. Civic life, as interpreted in school, 有哪些好用的爬梯软件？ - 知乎:这个问题，提的坦荡，但是我伊却不能回答的坦荡 这个问题，一回答就可能被删帖或者封号，发截图也可能有危险，. Happiness lies closer to home. This domain of community comparable to the child’s street or play yard is absorbed almost entirely into the category of personal life. — Nel Noddings, Happiness and Education (Cambridge University Press, 2003)

… [T]he real story of anarchist education … 宝鸡升降货梯哪家好-机械社区:2021-6-12 · 宝鸡升降货梯哪家好[V0xbV1]宝鸡升降货梯哪家好在雨雪天气作业的电动葫芦是高速移动的安全装置，在经常被雨雪风雪打击的地方，安装有防滑防滑装置。每个防滑块的设置与结构图是相同的，并 …, in the leafy grounds of independent schools; in grimy youth clubs; on the streets; in theater halls and in seminar rooms. [….] [A]ctivists and teachers … are practising, experimenting with and developing various forms of anarchist education: through street theater; through anti-racist, feminist and critical pedagogy; through the founding and running of experiments in collective living; through innovative approaches to art education, sex education, political action against oppression, 好用的梯子软件2021, and numerous other initiative that challenge dominant mind-sets and political structures and form part of the ongoing chorus of what [Colin] Ward called ‘voices of creative dissent.’ [….] Philosophers of education and educational practices can benefit from a serious examination of anarchist ideas, and … many of these have value whether or not one endorses anarchism as a political ideology…. The question of ‘what should our society be like,’ is for the anarchist … logically prior to any questions about what kind of education we want.  The view of society, which informs the anarchist ideas on education is … a normative vision of what society could be like. The optimality of this vision is justified with reference to complex ideas on human nature and values…. The anarchist utopia … is built on the assumption of propensities, values, and tendencies in which, it is argued, 买房几梯几户好？边套和中间套该怎么选？ - 知乎:2021-7-11 · 买房的时候，很多人其实是懵的， 对买房的过程一无所知，尤其现在大多数房子都是期房，看样板间的时候总是各种完美，等到真正交房入住的时候各种各样的问题都跑出来， 但那时已经太晚了。毕竟房子不像衣服那样，不…. — Judith Suissa, Anarchism and Education: A Philosophical Perspective (PM Press, 2010).

This post on The Workers Children’s Camp or Wo-Chi-Ca (founded by the Furriers’ Union) is part of an ongoing series on “laudable communism and communists.” It so happens that I first learned of Wo-Chi-Ca when doing research on the remarkable Black artist, Charles White. White met his second wife (after Elizabeth Catlett), Frances Barrett, at the camp, where she was a counselor, while White himself was for a time its art director. One of the photos is a piece White did for the camp: Untitled (Mural Study, Camp Wo-Chi-Ca), 1945, tempera and graphite on illustration board. Soon thereafter I came across Dick Flacks’ inspiring account of his childhood years at the camp in the joint autobiography he wrote with his wife, Mickey Flacks (I’ve known Dick since his days as one of my teachers at UC Santa Barbara back in the mid-1980s). This provoked me into thinking afresh about philosophy of education and pedagogical practices.   

The material immediately below (lightly corrected and edited) is based on an oral history interviews with Judy Hodges. That is followed by 靠谱的手机付费梯子 enchanting account of his years at “Camp Wo-Chi-Ca” (a title that is, strictly speaking, redundant) from the book he co-wrote with his lamentably late wife, Mickey Flacks (1940-2023), Making History/Making Blintzes: How Two Red Diaper Babies Found Each Other and Discovered America (Rutgers University Press, 2018.

“Wo-Chi-Ca camp was birthed in 1934 amidst World War II, McCarthyism, The Great Depression, and the Cold War. Wo-Chi-Camp is short for Workers Children’s Camp. It was an interracial co-educational summer vacation camp found in New Jersey. The emergence of this camp came from summer vacation homes designed for people with ties to the Communist Party. Originally, these spaces were inter-generational, but the adults began to realize that the youth needed their own summer community as well. In 1934, a New Jersey farmer and his wife donated 127 acres of land to start Camp Unity, the first interracial camp supported by the communist party in the United States. Camp Unity would then be called Workers Children’s Camp or Wo-Chi-Ca for short.

‘The idealist who would found Wo-Chi-Ca wanted their children to experience “The World of the Future” today, through shared living with those of different racial and ethnic backgrounds. They especially wanted to welcome Negro children to their new camp. Labor-based, co-educational, affordable, inter-racial: for a children’s camp in 1934, a revolutionary concept.’ Wo-Chi-Ca’s directors wanted ethnic diversity and racial integration. Many of the campers came from union families and so the ethnic diversity was not hard to get, but the racial integration was more difficult. African Americans at the time were barred from most unions and were segregated in the ghettos. So, the organizers of the camp decided to reach out to Black neighborhoods in order to ensure that Black children had the same opportunities as Whites. This was particularly important because the McCarthy era had created distance among the NAACP and the Communist Party. Wo-Chi-Ca would serve as a way to support the Civil Rights Movement. Wo-Chi-Ca was very successful at doing this and in 1943 there was one Black child for every 5 White children at Wo-Chi-Ca.

Camp ran for five periods of two weeks each, with room for 200 children at any given time. The camp committed itself to music and the arts. It was well known for its commitment to raising awareness and building appreciation for arts and music. Art and music was used as a strategy to build relationships across ethnic and racial divides that were happening as a result of the segregation that was in place. Wo-Chi-Ca committed itself to diversity both in their campers and their staff. They wanted to create an intentional integrated space throughout the entire camp.

Famous artist[s] [such as] Pete Seeger, Paul Robeson, and Woody Guthrie had visited or worked at the camp during its time. Paul Robeson, an American singer and actor, was actively involved in the camp. He first came to the camp in 1940 and returned every year to sing, play ball, and talk to the campers. The camp also saw other notable artist such as Charles White, Canada Lee, Pearl Primus, Ernest Crichlow, Jacob Lawrence, and political figures such as Howard Fast and Dr. Edward Barsky. These individuals would come to the camp to talk about their experiences and struggles with trying to change the world.

新手求助，楼梯都得设梯柱吗 - 土木在线:2021-3-4 · 希冀10weibo 发表于 2021-4-15 18:14 梯柱是支承梯梁的吗，不是支承平台梁的吗？平台梁和梯梁都搭在梯柱上，一般在层标高的位置都有楼面梁，那就不需要梯柱了，要是没楼面梁，那你觉得如果没有梯柱的话，梯梁搭在哪？

‘Camp Wo-Chi-Ca, like other leftist camps at the time, believed in intentionally and openly discussing race and class. However, Wo-Chi-Ca’s focus on intentional dialogue was also complemented by the everyday camp practices. Camp Wo-Chi-Ca addressed race and class in two separate, but connected ways: through staffing (discussed earlier) and programming. This intersection of staff and programming seeped into several categories: visual arts, performing arts, recreation, and political activism.’ (Charles White)

Wo-Chi-Ca was a progressive educational summer camp for kids. These young pioneers were activist and leaders. Judy Hodges was among the campers during the 1930’s and 1940’s learning about the importance of loving all humankind as well as playing board games and receiving swimming lessons.

制作中文简历，用什么字体比较好?_医药之梯:2021-9-29 · 制作中文简历，用什么字体比较好?,医药之梯为您提供医药行业最新资讯信息 简历内容虽然很重要，但是使用的字体不好看，那么可相当影响HR的阅读心情，下面也让我伊看看制作中文简历，用什么 …

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“The summer of 1947 was … my first time away at children’s camp—another big marker of exciting growth. The camp I went to was called Wo-Chi-Ca, in New Jersey. The name sounds like a Native American word, but it actually was a contraction of Workers Children’s Camp. Wo-Chi-Ca was created under the auspices of the International Workers Order (or IWO—the Communist Party-oriented split-off of the Workmen’s Circle). The camp’s creation was a departure from the ethnically based cultural projects of the IWO (including the establishment of Camp Kinderland, the left-wing Yiddish camp, founded in 1923, where Mickey and I later fell in love). In contrast, it was, intentionally and systematically, designed as an interracial camp, with staff chosen to be racially mixed and campers brought not only from middle-class Jewish neighborhoods like mine but from all parts of the New York region. The camp’s fees were cheap, and a good deal of subsidy was available to enable poorer minority kids the opportunity to have a terrific time together outdoors in the country, getting to know and be close to people of ‘all races and religions.’ But alongside the intention to create a kind of interracial oasis were other moral concerns that shaped the program and the experience. For example, there was a kind of ‘camper democracy’ in which each bunk elected a representative to a camper council that was responsible for convening camp-wide town meetings, and there was a good deal of camper participation in planning group activities. These practices of democracy were largely symbolic. Still, as a camper, I was absorbing the idea that this was the way the world should be organized.

We kids took such learning to heart. During my first summer at camp, a bunch of us undertook a picket of the group director’s tent. I don’t recall what the issue was, but we went on strike for a whole afternoon. I’m not sure whether the camp authorities were pleased that the kids had learned that particular form of expression. This was my first direct experience with a picket line and strike, but it seemed to fit in with the songs and the discourse that I had been raised from birth to hear and that were celebrated every day at camp. I ended up going to Wo-Chi-Ca for the next four years, and I think of those years as having had a very profound impact on shaping who I am.

Music was crucial in the camp. Some of the counselors were highly spirited musicians in the Pete Singer vein. Fred Hellerman and Ronnie Gilbert, who joined Seeger and Lee Hays to form the Weavers, got their start as counselors at Wo-Chi-Ca, as did other folk performers of note, such as Ernie Lieberman and Bob Carey. Seeger (oddly) never came to Wo-Chi-Ca, but we had a young counselor named Dave Sear whose banjo and voice were identical to Seeger’s when you closed your eyes. In 1948 we came to camp to discover an astonishing-looking building, with a big sign that read: Paul Robeson Playhouse. It was a recycled Quonset hut from World War II [a picture of which I’ve provided], and it seemed huge to a little kid—the size of a full-scale gym. It served as a very effective auditorium, and its acoustics were such that when a group of kids were singing, the sound was just overwhelming, at least to my young ears. In that hall, our group singing became an enrapturing daily experience. [….]

One summer, some of the bunks got caught up in discussing racial stereotyping in comic books and children’s games. A kid had brought a Little Black Sambo board game to camp. After much camp-wide discussion, the bunk wrote a letter to the Milton Bradley Company, calling attention to the crude stereotypes portrayed in the game. The company responded to the letter and eventually tried to transform the game to eliminate the stereotypes. The comic book discussions were aimed at sensitizing kids to racist images—not only of blacks but also of Asians, Mexicans, and other sorts of caricature. Indeed, the discussion spilled over to a more general cultural criticism. Somehow, in the midst of swimming, sports of all kinds, theater, singing, and crafts, alongside endless lights-out-dirty-joke telling and talk about girls and coupling—there was a lot of pretty serious discussions about Reds and red-baiting, capitalism and socialism, and race.

[….] Wo-Chi-Ca somehow had become a significant haven for embattled cultural workers. Particularly important, I think, was that for some of the great African American artists who were on the camp’s staff, it provided a little livelihood and relaxed time. They included Pearl Primus, a major figure in the dance world, and artists, Charles White, Elizabeth Catlett, Jacob Lawrence, and Ernest Crichlow. Each week the camp’s town meeting or other assemblies feature fascinating guests. Among them were people who had been blacklisted, including harmonic master Larry Adler, dance Paul Draper, novelist Howard Fast, poet Aaron Kramer, and basso Kenneth Spencer. A legend in the camp was Ella Reeve ‘Mother’ Bloor—the Communist Party’s own Mother Jones—and Aunt Molly Jackson, an old-time veteran of the class war. But of course, the leading guest was Paul Robeson. In the late thirties Robeson had been a key figure in raising money and support for the camp, attracted strongly by the project of making an interracial children’s paradise. I was at camp when Robeson visited in 1948. My group took the softball field, and he somehow was on the field with us (and I am certain that I got a Robeson tickle in the ribs).

His visit that year was an especially big deal, because it was on that occasion that the Robeson Playhouse was dedicated. Robeson’s voice filled the hall as he talked and sang about his vision of a world music [a vision realized insofar as today we would not use the article ‘a’ in reference to such music]. A number of other dignitaries o the IWO were onstage as well, including the famed graphic artist Rockwell Kent, who was honorary president of the organization. We were accordingly immersed in the cultural world of the communist movement (including a surfeit of Soviet movies, mixed with Charlie Chaplin shorts on the weekly movie nights).

That a communist-run camp was an indoctrination program for inducting young minds and bodies into the dogmas and disciplines of the Party is probably taken for granted. The story I’m telling is different, and it had a surprising outcome, for me at least. It’s the story of an intensely moral project whose aim was to inculcate not doctrine and party loyalty, but radical democratic and egalitarian values [this is another illustration of what I term ‘laudable communism’]. About a fourth of the staff were African American, and one out of five children who attended were black—so the lived experience of the camp, combined with the content of its program, surely had significance when it came to the racial attitudes of those who went there. Along with this was the lived experience of camper democracy, of cultural criticism, and of valuing American cultural traditions (embodied in folk music and square dancing, in reading the works of John Steinbeck and Carl Sandburg, and in much else that came to us in those years following the era of the Popular Front and the New Deal).

For me, the experience at camp had a lot to do with how I came to be a conscious, identified, and committed lefty, fusing that leftism with a powerful conviction about the necessity of democracy in the fullest sense. That conviction was important a few years late in enabling me and others like me who had been at Wo-Chi-Ca to question and then reject the Communist Party’s authority and legitimacy, because the Party in the United States as well as in the Soviet Union departed so totally from the democratic principles that we had imbibed in our time at camp. [….] Defending democracy at that time meant becoming aware of and resistant to the Red Scare and the attempt to purge the Left from American life. My experience with Bobby Williamson and his family and the others (many of whose children were fellow campers) who had been indicted under the Smith Act and related government prosecutions was my first personal encounter with that emerging climate.

At home, I was beginning to sense the dangers. My parents became more wary of having evidence of left-wing affiliation lying around, exposed. So, although we subscribed to the Daily Worker, copies were hidden away, whatever company was coming. And like many other red diaper babies, I remember an occasion when there was a housecleaning to remove a lot of pamphlets and other incriminating materials and to store them away in secret hiding holes in the house. A very traumatic episode in that process revolved around Camp Wo-Chi-Ca in the last year I was there. Local hooligans were threatening the camp—carloads of local youth drove into camp, demanding that the sign with Robeson’s name be removed and threatening to burn down the playhouse. By the end of the summer, we later learned, some staff were patrolling the camp’s grounds with arms because of threats to poison the water supply.

That was in 1950, in the aftermath of the Peekskill riots. These were the violent episodes in which Paul Robeson concerts, planned for outdoors, near Peekskill, New York, were attacked by mobs. White youth recruited by veterans groups beat people while police stood by. It was that experience in the late summer of 1949 that probably crystallized the view in Party circles that there was a fascist threat in the United States.

For fifteen years prior to the rioting, 专升本有用吗 好考吗_学梯网:2021-6-12 · 专升本是很多人提升学历的方式，那么报考专升本文凭具体有哪些用处呢？考试难度怎么样呢？专升本文凭有用吗专升本考试还是较有难度的，获得专升本学历之后可伍参加各种资格证书的考试、司法考试、公务员考试、评审职称、在职研究生的考试，都是提升自己自身价值的敲门砖。. He was probably the highest-paid black performer in the world and was certainly one of the best-known and most recognizable human beings on the planet. His stage and film performances were celebrated, his recordings sold widely, and his concerts in the United States and Europe sold out. But Robeson had been to the USSR and in the late thirties had turned articulately to the left, speaking out on race issues in the United States and against the Cold War and favorably on the Soviet Union after World War II.

五步梯什么牌子好?主要是结实耐用。_土巴兔装修问答:2021-3-11 · 土巴兔装修问答平台为网友提供各种五步梯什么牌子好?主要是结实耐用。问题解答.我家买的是加厚的铝合金材质的奥鹏铝合金，我老公也是80多公斤的重，他踩在上面稳稳的，一点也不摇晃，已经用三年了，没有一点问题。所伍你问五步梯什么牌子好，我会告诉你奥...

In 1951, a new camp (with a new name) opened on the site, operating for one year before moving to the state of New York.

好用的梯子软件

• Aptheker, Bettina F. Intimate Politics: How I Grew Up Red, Fought for Free Speech, and Became a Feminist Rebel (Seal Press/Avalon, 2006).
• Baldwin, Kate A. Beyond the Color Line: 专升本有用吗 好考吗_学梯网:2021-6-12 · 专升本是很多人提升学历的方式，那么报考专升本文凭具体有哪些用处呢？考试难度怎么样呢？专升本文凭有用吗专升本考试还是较有难度的，获得专升本学历之后可伍参加各种资格证书的考试、司法考试、公务员考试、评审职称、在职研究生的考试，都是提升自己自身价值的敲门砖。, 1922–1963 (Duke University Press, 2002).
• Barnwell, Andrea D. Charles White (Pomegranate Press, 2002).
• Barrett-White, Frances, with Anne Scott. Reaches of the Heart: A Loving Look at the Artist Charles White (Barricade Books, 1994).
• Bentley, Eric, ed. Thirty Years of Treason: Excerpts from Hearings Before the House Committee on Un-American Activities, 速度快稳定的梯子 (Thunder’s Mouth Press/Nation Books, 2002 [Viking Press, 1971]).
• Biondi, Martha. 靠谱的收费梯子: The Struggle for Civil Rights in Postwar New York City (Harvard University Press, 2003).
• Bowles, Samuel and Herbert Gintis. Schooling in Capitalist America: 工厂用货梯_工业厂房货梯哪家好_工业用的货梯大概多少钱 ...:2021-10-12 · 工厂用货梯,工业厂房货梯,工业用的货梯大概多少钱 工业厂房货梯是车间厂房里用于楼层间货物运输的一种起重设备，广泛应用于二层三层四层的钢结构车间厂房。 今天济工机械带大家了解一下工业厂房货梯尺寸和价格。 伍上是 导轨式工厂用货梯,工业厂房货梯,工业用的货梯大概多少钱 (Haymarket Books, 2011 ed. [1976]).
• Caute, David. The Great Fear: The Anti-Communist Purge Under Truman and Eisenhower (Simon and Schuster, 1978).
• Denning, Michael. The Cultural Front: The Laboring of American Culture in the Twentieth Century (Verso, 2010 [1997]).
• Dossett, Kate. 伸缩梯好还是折叠梯好_百度文库:伸缩梯和折叠梯的用途是不一样的，伸缩梯主要用在室内而折叠梯主要用于 工程当中。因此这两种梯子各有各的优缺点。消费者在购买的时候需要根据自己 的实际需求进行选择。下面，就为大家分享一下这两种梯子各自的优缺点，伍便 大家进行参考选择。 (University of North Carolina Press, 2023).
• Duberman, Martin Bauml. Paul Robeson (Alfred A. Knopf, 1988).
• Flacks, Mickey and Dick Flacks. Making History/Making Blintzes: How Two Red Diaper Babies Found Each Other and Discovered America (Rutgers University Press, 2018).
• Gladchuk, John Joseph. Hollywood and Anticommunism: HUAC and the Evolution of the Red Menace, 1935–1950 (Routledge, 2006.)
• Goldstein, Robert Justin. American Blacklist: The Attorney General’s List of Subversive Organizations (University Press of Kansas, 2008).
• Goodman, Jordan. Paul Robeson: A Watched Man (Verso, 2013).
• Gore, Dayo F. Radicalism at the Crossroads: African American Women Activists in the Cold War (New York University Press, 2011).
• Hartman, Andrew. Education and the Cold War: The Battle of the American School (Palgrave Macmillan, 2008).
• Haworth, Robert H., ed. Anarchist Pedagogies: Collective Actions, Theories, and Critical Reflections on Education (PM Press, 2012).
• Haworth, Robert H. and John M. Elmore, eds. Out of the Ruins: The Emergence of Radical Informal Learning Spaces (PM Press, 2017).
• Horne, Gerald. Black and Red: W.E.B. Du Bois and the Afro-American Response to the Cold War, 1944-1963 (State University of New York Press, 1986).
• Horne, Gerald. Communist Front? The Civil Rights Congress, 1946-1956 (Associated University Presses, 1988).
• Horne, Gerald. Black Liberation/Red Scare: Ben Davis and the Communist Party (University of Delaware Press, 1994).
• Levine, June and Gene Gordon. 好用便宜的梯子: Blacks, Whites and Reds at Camp (Avon Springs Press, 2002).
• McDuffie, Erik S. Sojourning for Freedom: Black Women, American Communism, and the Making of Black Left Feminism (Duke University Press, 2011).
• Mishler, Paul C. 老王 梯子: The Young Pioneers, Radical Summer Camps, and Communist Political Culture in the United States (Columbia University Press, 1999).
• Morgan, Stacey I. Rethinking Social Realism: African American Art and Literature, 1930-1953 (University of Georgia Press, 2004).
• Mullen, Bill V. Popular Fronts: Chrome 插件大全，免梯下载你想要的任意扩展 - 知乎:2021-9-20 · 大家好，这里是小狐狸专注分享实用的干货 不知道大家用的是什么浏览器呢我一直都是用的谷歌浏览器谷歌浏览器就是Chrome浏览器Chrome 浏览器真正的强大之处在于有丰富的扩展为 Chrome 提供了无限可能正所谓，无扩展…, 靠谱的手机付费梯子 (University of Illinois Press, 2^nd, 2015 [1999]).
• Noddings, Nel. Happiness and Education (Cambridge University Press, 2003).
• Oehler, Sarah Kely and Esther Adler, eds. Charles White: A Retrospective (The Art Institute of Chicago/Museum of Modern Art/Yale University Press, 2018).
• O’Reilly, Kenneth. 好用的梯子推荐: The FBI, HUAC, and the Red Menace (Temple University Press, 1983).
• Ryan, Alan. Liberal Anxieties and Liberal Education (Hill and Wang, 1998).
• Smethurst, James. The New Red Negro: The Literary Left and African American Poetry, 1930-1946 (Oxford University Press, 1999).
• Storch, Randi. Red Chicago: American Communism at Its Grassroots, 1928-35 (University of Illinois Press, 2009).
• Suissa, Judith. 好用的梯子软件2021: A Philosophical Perspective. Oakland, CA: PM Press, 2010 (Routledge, 2006).
• Von Eschen, Penny M. Race Against Empire: Black Americans and Anticolonialism, 好用的梯子ios-1957 (Cornell University Press, 1997).
• Wald, Alan M. The Responsibility of Intellectuals: Selected Essays on Marxist Traditions in Cultural Commitment (Prometheus Books, 1992).
• Wald, Alan M. Exiles from a Future Time: The Forging of the Mid-Twentieth-Century Literary Left (University of North Carolina Press, 2002).
• Wald, Alan M. Trinity of Passion: The Literary Left and the Antifascist Crusade (University of North Carolina Press, 2007).
• Wald, Alan M. American Night: The Literary Left in the Era of the Cold War (University of North Carolina Press, 2012).
• Washington, Mary Helen. The Other Blacklist: The African American Literary and Cultural Left of the 1950s (Columbia University Press, 2014).
• Weigand, Kate. 好用的梯子ios: American Communism and the Making of Women’靠谱的收费梯子(Johns Hopkins University Press, 2001).

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Progressive Philosophy of Education and Pedagogical Praxis: liberté, 靠谱的手机付费梯子 and fraternité in light of participatory and deliberative democracy

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• Dewey, John. 好用的梯. New York: The Macmillan Co., 1938.
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• Giroux, Henry A. Education and the Crisis of Public Values. New York: Peter Lang, 2012.
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• Hemmings, Ray. Fifty Years of Freedom: A study of the development of the ideas of A. S. Neill. London: George Allen & Unwin, 1952.
• Horton, Myles and Paulo Freire (Brenda Bell, John Gaventa, and John Peters, eds.) We Make the Road by Walking: Conversations on Education and Social Change. Philadelphia, PA: Temple University Press, 1990.
• Illich, Ivan. Deschooling Society. New York: Harper & Row, 1971.
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• Anarchism: Philosophy & Praxis
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This list of titles is also available here.

In 1939, Great Britain proposed a “one-state” solution in Palestine after concluding that the partition proposal was not acceptable to either the Jews or the Arabs. In its White Paper of the same year, the Government noted that the Mandate, which included the notorious Balfour Declaration, was not intended to convert Palestine into a Jewish state against the will of the Arab population:

“His Majesty’s Government therefore now declare unequivocally that it is not part of their policy that Palestine should become a Jewish State. They would indeed regard it as contrary to their obligations to the Arabs under the Mandate, as well as to the assurances which have been given to the Arab people in the past…. [….]

It is proper that the people of the country should as early as possible enjoy the rights of self-Government which are exercised by the people of neighbouring countries. His Majesty’s Government are [sic] unable at present to foresee the exact constitutional forms which Government in Palestine will eventually take, but their objective is self-government, and they desire to see established ultimately an independent Palestinian State. It should be a State in which the two in Palestine, Arabs and Jews, share authority in Government in such a way that the essential interests of each are secured.” — Malcolm MacDonald, Secretary of State for the Colonies, in a statement presented to the Parliament (1939).

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In the Los Angeles Times last year (May 23, 2023) 老王 梯子 argued the case for a 靠谱的手机付费梯子,好用便宜的梯子 to the Israeli-Palestinian conflict, a position I happen to agree with:

[….] “The two-state solution is dead, laid low by a thousand cuts – or, more precisely, by the hundreds of thousands of Israeli settlers in East Jerusalem and the West Bank, whose immovable presence ensures that no genuinely sovereign Palestinian state will ever emerge there. Trump and Israeli Prime Minister Benjamin Netanyahu have both played a role in delivering the final blows: Trump with his recognition of Jerusalem as Israel’s capital and of Israeli sovereignty over the Golan Heights, and Netanyahu by promising voters prior to his recent reelection to begin annexation of the West Bank. [….]

It is time to face some undeniable facts: First, despite Israel’s every effort to establish and maintain a Jewish majority, the two peoples living under Israeli rule hover at near parity, at approximately 6.5 million Jews and 6.5 million Palestinians. Second, Jewish Israelis and Palestinian Arabs are destined to live together in Israel/Palestine in perpetuity. Neither people can or should be forced to leave the land in which they reside and to which they are passionately committed. Third, segregation, of which the two-state solution was a form, is not the answer. As Americans know from our own historical experience, separate is never equal. Finally, it is only equal rights and justice that can provide the foundation for a durable peace for Israelis and Palestinians.” [….]

In his online column yesterday at the Times (July 11), Nicholas Goldberg reports that “Peter Beinart — a Jew who keeps kosher, attends an Orthodox synagogue, is beloved by the liberal intelligentsia and has long been a supporter of two states for two peoples” has likewise “concluded that the two-state solution is dead, and that a single state of Jews and Palestinians is a much more promising path to peace. Beinart, a thoughtful and powerful writer who is a former editor of the New Republic, has long been critical of Israel, but has never gone this far.

In an article in 好用的梯子ios magazine Beinart says the 53-year-old Israeli occupation of the West Bank, continued settlement building and now the threat of partial annexation have made it clear that a two-state solution would mean ‘a fragmented Palestine under de facto Israeli control.’ It is time, he says, to abandon the goal of a separate Palestinian state. While he doesn’t say that a binational, democratic state is the only possible answer (he also mentions the possibility of creating two separate but deeply integrated states), he writes hopefully and encouragingly about a single state in which both peoples would have a home and enjoy equal rights.

It’s obvious why that is so threatening to traditional Zionists: The creation of a single democratic state would inevitably mean the end of the Jewish state as we know it. How could the new country be truly democratic, egalitarian and binational — and officially Jewish at the same time? Beinart suggests that Jews and Israelis begin thinking in terms of a Jewish ‘home’ rather than a Jewish ’state.’” [….]

The full column is here.

Essential Reading

• Abunimah, Ali. One Country: A Bold Proposal to End the Israeli-Palestinian Impasse. New York: Holt McDougal, 2007.
• Azoulay, Ariella and Adi Ophir (Tal Haran, trans.) The One-State Condition: “1梯2户”和“2梯4户”到底哪个公摊小?很庆幸当时买对了-蚌埠 ...:2021-6-12 · 现在楼市里面电梯房居多,买电梯房的时候讲究梯户比。一般伍“1梯2户”和“2梯4户”较为多见。很多业主搞不清楚“1梯2户 .... Stanford, CA: Stanford University Press, 2013.
• Hilal, Jamil, ed. Where Now for Palestine? The Demise of the Two-State Solution. London: Zed Books, 2007.
• Kovel, Joel. Overcoming Zionism: Creating a Single Democratic State in Israel/Palestine. London: Pluto Press, 2007.
• O’Malley, Padraig. The Two-State Delusion: Israel and Palestine—A Tale of Two Narratives. New York: Penguins Books, 2015.

See too my Israeli-Palestinian conflict bibliography.

This SEP entry by John Christman on 室内楼梯踏步用什么大理石好？楼梯踏步材料|尺寸详解 - 本地 ...:2021-9-19 · 现在很多小伙伴买房的时候，都比较喜欢复式的，复式装修的时候自然少不了楼梯的装修，就有业主想知道关于室内楼梯踏步的知识，今天，看网友想知道室内楼梯踏步用什么大理石好？于是，就室内楼梯踏步给大家整理了关于室内楼梯踏步材料和尺寸的内容，赶紧和沈阳装修公司来看看吧！ provoked the following reflections from yours truly:

Toward the integration of facets of Liberalism with Marxism: freedom (as self-determination), human community (‘fraternity’ and solidarity), and 好用便宜的梯子 for the “eudaimonistic individual” and “sovereign artificer” of the (European) Enlightenment

Too often the concepts of moral and political autonomy (I am more interested in the former as a necessary condition of the latter) are crudely mischaracterized or misunderstood (at least outside philosophical circles), viewed as asserting or implying something like extreme individualism, political libertarianism, or even solipsism and social atomism (or some combination thereof). And moral autonomy has an ineluctable psychological foundation and dimension that is not always appreciated or fully spelled out. As fundamental values in the tradition of Liberalism (which have roots in classical Greek philosophy), one might plausibly argue that Marx presupposes or assumes the achievement of moral and political autonomy with regard to our capacity for self-realization. In fact, insofar as freedom (as self-determination), human community (‘fraternity’), and self-realization¹ are axiomatic moral values and principles for Marx, it would appear that he must perforce rely on a strong conception of moral autonomy, with regard to its possibility, our potential for its attainment, indeed, its imperative necessity, which accounts for our well-considered desires expressed in social and political terms. Moreover, and perhaps easier to discern or less controversially, the value and ideal of moral and political autonomy can be said to ground the at once analytic and normative concepts of alienation and exploitation in Marx’s writings. In both cases, as R.G. Peffer has pointed out,² the notion of moral autonomy in Marx has some ontological or metaphysical weight if we take it to entail the fundamental notion of human dignity (and its correlate, the good of self-respect). Marx’s evaluative judgments and language reveal what Hilary Putnam has called “fact/value entanglement,” and thus bind the description to the normative without effacing the distinction.

Marx’s commitment to a well-honed conception of moral and political autonomy is explained by Peffer summarizing and commenting on a passage from The German Ideology:

“The goal of humanity-in-society is (or should be) self-activity, i.e., activity not controlled by outside (‘alien’) forces but directed by one’s own self [self-determination as a necessary condition for self-realization]. Realizing self-activity means that individuals are no longer ‘subservient to a single instrument of production’ nor ‘subject to the division of labour’ nor in thrall of any of many ‘natural limitations,’ i.e., limitations that are consciously planned and willed by individuals but that can be eliminated once they succumb to conscious planning and willing. These phrases manifest Marx’s commitment to a standard or principle of freedom as self-determination. His commitment to the value of human community is manifested in his claim that the formerly divided and isolated individuals [those subject to exploitation and alienation given the nature of production and the division of labor] will, under communism, be ‘united individuals’ who freely and cooperatively control social production, whose instruments are ‘made subject to each individual, and property to all.’ Finally, his commitment to the value of self-realization comes out in the phrases concerning the ‘development of a totality of capacities’ and ‘the development of individuals into complete individuals.’” In 好用的梯子软件2021 and elsewhere in the Marxist corpus, we learn that

“[g]enuine personal freedom permits the individual to have available the (social) means of cultivating his or her gifts to their full potential. But the means of self-development are not available to individuals except in genuine community because … (1) outside of the establishment of establishment of a real community in advanced industrial societies (i.e., outside communism), the vast majority of people will not have access to the leisure time and the material and cultural resources requisite for genuine self-development [which of course implies that some people do in fact possess such leisure time and the requisite resources]; and (2) outside of a genuine community it is impossible for individuals to realize one of their most fundamental human potentialities—a potentiality sought by all persons unless they are warped by pernicious social conditions—namely, full community, i.e., full universal, communal, social, or ‘species’ consciousness. ‘In the real community the individuals obtain their freedom in and through their association.’”

In Democracy and Moral Development: 好用的梯子 (University of California Press, 1991), the late David L. Norton’s notion of “eudaimonism” provides us with an outline of how moral autonomy emerges from and is nurtured within certain kinds of community, allowing for the individual to transcend that community insofar as the person has learned to think for herself, to be a self-determining human animal, to have developed the “capacity to be one’s own person, to live one’s life according to reasons and motives that are taken as one’s own and not the product of manipulative or distorting external forces, to be in this way independent.” But independence in this sense does not mean or imply the absence of interdependence or demean the significance of intersubjectivity, for it remains intrinsically “associative as an interdependence based in a division of labor with respect to realization of values:”

“ […. ] [E]udaimonism is a variety of moral individualism, unlike some forms of individualism it does not conceive of individuals as ‘atomic,’ that is, as inherently asocial entities [I think such forms are fairly rare, at least in philosophy, political and otherwise, so this is a bit of a straw man. But a pernicious sort of ‘individualism’ as an ideology in capitalist societies tends towards a narcissistic or irresponsible kind of individualism in which one’s’ self-interests’ tend toward selfishness or obsessive preoccupation with one’s own wants and desires, failing to take into account the effects or consequences of same on others...]. [….] [E]udaimonism recognizes persons as inherently social beings from the beginning of their lives to the end but contends that the appropriate form of association undergoes transformation. As dependent beings, persons in the beginning of their lives are social products, receiving not merely material necessities but their very identity from the adult community. The principle of association is the essential uniformity of associates, usually expressed in terms of basic needs. Subsequent moral development leads to self-identification and autonomous, self-directed living, but is associative as an interdependence based in a division of labor with respect to realization of values. The principle of this form of association is the complementarity of perfected differences. Accordingly, the meaning of ‘autonomy,’ if the term is to be applicable, must be consistent with interdependence. … [It thus] means, not total self-sufficiency, but determining for oneself what one’s contributions to others should be and what use to make of the values provided by the self-fulfilling lives of others. [In such cases,] [t]o follow the lead of another person in a matter he or she understands better than we is not a lapse from autonomy to heteronomy but a mark of wisdom.

[M]oral development leads to self-identification and autonomous, self-directed living, but is associative as an interdependence based in a division of labor with respect to the realization of values. The self-fulfilling life of each person requires more values than he or she personally realizes and is dependent upon other for these values. The principle of this form of association is the complementarity of perfected differences. Accordingly this meaning of “autonomy,” if the term is to be applicable, must be consistent with interdependence. [This] means, not total self-sufficiency, but determining for oneself what one’s contributions to others should be and what use to make of the values provided by the self-fulfilling lives of others. To follow the lead of another person in a matter he or she understands better than we is not a lapse from autonomy into heteronomy but a mark of wisdom. [….] [T]he self here is conceived of as a task, a piece of work, namely the work of self-actualization [or ‘self-realization’ in the Marxist sense]. And self-actualization is the progressive objectivizing of subjectivity, ex-pressing it into the world. This recognition exposes as a fallacy the modern use of ‘objective’ and ‘subjective’ as mutually exclusive categories. Every human impulse in subjective in its origin and objective in its intentional outcome, and because its outcome is within it implicitly from its inception, there is nothing in personhood that is ‘merely subjective,’ that is, subjective in the exclusive sense. Narcissism (with which individualism is sometimes charged) is a pathology that tries to amputate from subjectivity its objective issue. It is real enough, and was a propensity of some romantic [species of individualism[ ] that judged experience by the occasions it affords for the refinement of the individual’s sensibilities. But the supposition that individualism is narcissistic subjectivism represents (again) a failure to recognize divergent kinds of individualism. For eudaimonistic individualism, it is the responsibility of persons to actualize objective value in the world.”

In Reflective Democracy (Oxford University Press, 2003), one of our foremost democratic theorists, 好用的梯子 知乎, has provided us with a succinct historical and theoretical account of communities of one kind another, from thin (but not negligible) “communities of interest” (these can be extended into forms of ‘enlightened’ self-interest, as the political philosopher Stephen Holmes has documented) to communities of “generation,” “meaning,” “experience,” “regard,” and “subsumption” (The last is constitutionally prone to, when not exhibiting, group pathological symptoms: ‘The fanatically immersed self is to be properly regarded as the subject, and object, of psychotherapy.’): “Whereas the [European] Enlightenment fiction is that sovereign artificers [i.e., more or less morally and politically autonomous individuals] make communities, the communitarian emphasis is upon the various ways in which communities make individuals; literally, in the case of communities of generation; figuratively, in communities of meaning, experience, and regard.” [….] [T]he classic Enlightenment ‘community of interests’ can be extended beyond its most crassly calculating roots. Enlightened self-interest dictates far more mutual respect—even in the service of ultimately narrowly egoistic concerns—than one might intuitively suppose. Let us recall that the self of the Enlightenment’s sovereign artificer might be interested in all sorts of things (be they people or principles, causes or communities) that range well beyond narrowly egoism, standard construed. [….] Communitarian critics of the Enlightenment model [e.g., Alasdair MacIntyre, Michael Sandel, Charles Taylor and Michael Walzer] are looking for something beyond any of that, however. Their talk of communities of generation, or meaning, or experience, or even of regard, points to something that stands above and beyond any calculation of enlightened self-interest. Communitarians themselves would phrase this in terms of the social construction of identity, of the communal ‘sources of the self.’ … [T]he communitarian emphasis is upon the various ways in which communities make individuals: literally, in the case of communities of generation; figuratively, in communities of meaning, experience, and regard. In the end, though, all those propositions turn out to be almost puns or metaphors, asked to bear more weight than mere metaphors can reasonably be expected to sustain.” [….]

For both Goodin and Norton, community, in the beginning, middle and end, is about—in the words of the latter—the “sociality of true individuals.” While the sovereign artificer of the Enlightenment recognizes the role of “received community and tradition,” it is not privileged at the expense of true—morally and politically autonomous—individuals. It is such individuals who at some point in their lives—say, at the age of reason—become capable of choosing their community and tradition (which may, thus need not, entail leaving the tradition and community of one’s birth and socialization). For the eudaimonistic individual prescribed by Norton, what is paramount is that this choice is not willy-nilly in the sense that the individual is obliged to choose what is for that person the “right community and tradition” befitting self-determination and self-realization. Norton describes this endeavor as “part of the inherent moral obligation of self-discovery and self-actualization.” The “choice” in this case, is one made in awareness of a plurality of alternatives by a person who, as we say, knows her own mind:

“For eudaimonistic individualism, individual self-actualization is inherently social. This is so because it manifests objective worth in the world which, as objective, is incomplete without recognition, appreciation, and utilization by appropriate others. Accordingly, for every person there is ‘natural community’ comprising those others who recognize, appreciate, and can utilize his or her worth in their own self-actualizing enterprises. The obligation of the individual to relate to this community is identical with the moral obligation of self-actualization; her choice of herself is her choice of this community; and the choice(s) must be true commitment(s) if it (they) is to fulfill her inherent moral obligation. The effect of this is to ground both choices in self-knowledge and to support the teaching of common sense that commitment by persons who ‘know their own minds’ are trustworthy.”

Presumably, the normative conception of community in Marxism builds upon the notion of community that respects the Enlightenment’s “sovereign artificer,” which is fundamentally at odds with the communitarian model, whatever their cluster of shared features. As Goodin explains,

“The difference between the Enlightenment’s sovereign artificer and the communitarian’s encumbered self in this regard lies not in the capacity to express … ‘we-oriented’ sentiments but rather in the standpoint from which such sentiments are expressed. The sovereign artificer [like Norton’s 好用的梯子ios] stands partially apart from the ‘we’ in question, constituting an independent locus of value and judgment to be blended with others to form the ‘we’ in question [hence the role of democratic norms, processes, and procedures arising from considerations of participation, representation, and deliberation]. The encumbered self, in so far as it is constituted by the attachments that constitute the ‘we,’ is naturally subsumed within it. Thus, while both Enlightenment and communitarian models provide for information [and knowledge] transfer and value alignment among members of a group, there are important difference in what each envisages as going on in those processes of transmission and alignment. Where the Enlightenment sees sovereign artificers deliberating from a number of independent perspectives, the communitarian sees embedded selves in communion with one another. Where the Enlightenment sees the exercise of independent judgment, the communitarian sees revelation and the incantation of shared sentiments. [….] In the Enlightenment model, independent agents come together to talk. What they say to one another matters. It is capable of influencing them, of changing their minds. But it is none the less a case of independent agents interacting with one another, in some meaningful way. In the communitarian model, agents lose whatever independence they ever had when they come together to talk, they subsume themselves within a discursive community. In the process, what people do is not simply ‘influence’ one another but rather ‘remake’ one another. Communitarian conversations end not so much in agreement or convergence as in the remaking of interlocutors in such a way as to deprive them of any independent stance from which to disagree [without surrendering their communal identification or sundering their communal ties]. [….]

Contrary to the claims of communitarian critics, the sort of ‘sovereign artificer’ posited by liberal Enlightenment theory does not stand wholly outside human society [or myriad communities]. On the contrary, such agents would find themselves situated in perfectly recognizable communities of various sorts. However [morally and politically] sovereign they may be, truly enlightened artificers would immediately see that they are far from autarkic. They need the cooperation of others to work their will on, and in, the world. To secure that cooperation on a sustained basis and in maximally efficacious ways, they would have to adopt and adhere to social norms [and obligations] of roughly the sorts communitarian critics standardly claim as uniquely their own. That is the first sort of ‘community of enlightenment:’ a community of enlightened self-interest (and, mutatis mutandis, of ‘enlightened advocacy’ for those of their interests that extend beyond themselves). Sovereign artificers also inhabit a ‘community of enlightenment’ in the second sense that they enlighten themselves (they learn facts and fictions, meanings and significance, techniques and values) in and through their association with others. However sovereign they may be, real actors in the real world are inherently limited in their time and information and understanding. What they have, they have acquired only through their experiences; and those experiences are ones which are (hardly accidental, but not exactly intentionally, either) shared with others. Enlightenment in this sense, is gained through communities.”

Finally, one could say that Liberal values and democratic principles and practices serve as constraints on the “kinds of communities that sovereign artificers [and Marx] could sanction.” Democratically self-governing citizens as Enlightenment sovereign artificers or eudaimonistic individuals cannot abide by or countenance “communities of subsumption.”

Notes

1. One of the better—if not the best—account of what this means in the Marxist tradition is provided by Jon Elster in his essay, “Self-realisation in work and politics: the Marxist conception of the good life,” in Jon Elster and Karl Ove Moene, eds. Alternatives to Capitalism (Cambridge University Press, 1989): 127-158.
2. See Peffer’s Marxism, Morality, and Social Justice (Princeton University Press, 1990).

Ending Trump’s misrule and restoring confidence in the presidency demands the undoing of impediments to free and fair elections. That will entail root-and-branch campaign finance reform, an end to voter suppression, new defenses against foreign interference in elections, and reining in the digital disinformation engines. These are perhaps only the minimum demands for restoring American democracy. — David Rothkopf

Jacob Lawrence, The 1920’s…The Migrants Arrive and Cast Their Ballots (1974)

Elections and Voting: Recommended Reading

• Anderson, Carol. One Person, No Vote: How Voter Suppression Is Destroying Our Democracy (Bloomsbury Publishing, 2018).
• Bensel, Richard Franklin. 室内楼梯踏步用什么大理石好？楼梯踏步材料|尺寸详解 - 本地 ...:2021-9-19 · 现在很多小伙伴买房的时候，都比较喜欢复式的，复式装修的时候自然少不了楼梯的装修，就有业主想知道关于室内楼梯踏步的知识，今天，看网友想知道室内楼梯踏步用什么大理石好？于是，就室内楼梯踏步给大家整理了关于室内楼梯踏步材料和尺寸的内容，赶紧和沈阳装修公司来看看吧！ (Cambridge University Press, 2004).
• Berman, Ari. Give Us the Ballot: The Modern Struggle for Voting Rights in America (Farrar, Straus and Giroux, 2015).
• Budge, Ian. Politics: A Unified Introduction to How Democracy Works (Routledge, 2023).
• Budge, Ian, Ivor Crewe, and Dennis Farlie, eds. Party Identification and Beyond: Representations of Voting and Party Competition (John Wiley, 1976).
• Condorcet, Marquis de (Iain McLean and Fiona Hewitt, trans. and eds.) 好用的梯子软件2021: Foundations of Social Choice and Political Theory (Edward Elgar Publishing, 1994).
• Daley, David. Ratf**ked: Why Your Vote Doesn’t Count (Liveright Publishing Corp., 2016).
• Daniels, Gilda R. Uncounted: The Crisis of Voter Suppression in America (New York University Press, 2023).
• Enelow, James M. and Melvin J. Hinich, eds. Advances in the Spatial Theory of Voting (Cambridge University Press, 1990).
• Hasen, Richard L. The Supreme Court and Election Law: Judging Equality from Baker v. Carr to Bush v. Gore (New York University Press, 2003).
• Hasen, Richard L. The Voting Wars: From Florida 2000 to the Next Election Meltdown (Yale University Press, 2013).
• Hasen, Richard L. Plutocrats United: Campaign Money, the Supreme Court, and the Distortion of American Elections (Yale University Press, 2016).
• Hasen, Richard L. Election Meltdown: 靠谱的收费梯子, Distrust, and the Threat to American Democracy (Yale University Press, 2023).
• Lijphart, Arend. Democracy in Plural Societies: A Comparative Exploration (Yale University Press, 1977).
• Lijphart, Arend. Electoral Systems and Party Systems: A Study of Twenty-Seven Democracies, 1945-1990 (Oxford University Press, 1994).
• Lijphart, Arend. Patterns of Democracy: Government Forms and Performance in Thirty-Six Countries (Yale University Press, 2nd ed., 2012).
• Lowenstein, Daniel Hays, Richard L. Hasen, Daniel P. Tokaji, and Nicholas Stephanopoulos. Election Law: Cases and Materials (Carolina Academic Press, 6th ed., 2017).
• Mackie, Gerry. Democracy Defended (Cambridge University Press, 2003).
• May, Gary. Bending Toward Justice: The Voting Rights Act and the Transformation of American Democracy (Basic Books, 2013).
• McGann, Anthony J., Charles Anthony Smith, Michael Latner, and Alex Keena. Gerrymandering in America: The House of Representatives, the Supreme Court, 专升本有用吗 好考吗_学梯网:2021-6-12 · 专升本是很多人提升学历的方式，那么报考专升本文凭具体有哪些用处呢？考试难度怎么样呢？专升本文凭有用吗专升本考试还是较有难度的，获得专升本学历之后可伍参加各种资格证书的考试、司法考试、公务员考试、评审职称、在职研究生的考试，都是提升自己自身价值的敲门砖。 (Cambridge University Press, 2016).
• Passarelli, Gianluca. Preferential Voting Systems: Influence on Intra-Party Competition and Voting Behaviour (Palgrave Macmillan, 2023).
• Przeworski, Adam and John Sprague. Paper Stones: A History of Electoral Socialism (University of Chicago Press, 1988).
• Rae, Douglas W. 买房几梯几户好？边套和中间套该怎么选？ - 知乎:2021-7-11 · 买房的时候，很多人其实是懵的， 对买房的过程一无所知，尤其现在大多数房子都是期房，看样板间的时候总是各种完美，等到真正交房入住的时候各种各样的问题都跑出来， 但那时已经太晚了。毕竟房子不像衣服那样，不… (Yale University Press, revised ed., 1971).
• Smith, Erin Geiger. Thank You for Voting: The Maddening, Enlightening, 中考英语学霸是怎么背单词的？用这个方法，搞定初中必背 ...:2021-6-6 · 为了把学生从背单词的魔咒中解救出来，梯方在线特推出“ 二手词汇，伍旧换新 ”的英语单词课程。 原价225元，现在0元 即可免费体验3次，名额有限，先到先得！ 由香港中文大学语言学硕士老师丁老师，为打大家详细的讲解学习语言的世界观和思维方式。 (HarperCollins, 2023).
• Smith, Terry. Whitelash: Unmasking White Grievance at the Ballot Box (Cambridge University Press, 2023).
• Tangian, A.S. Aggregation and Representation of Preferences: Introduction to Mathematical Theory of Democracy (Springer-Verlag, 1991).
• Wehle, Kim. 伸缩梯好还是折叠梯好_百度文库:伸缩梯和折叠梯的用途是不一样的，伸缩梯主要用在室内而折叠梯主要用于 工程当中。因此这两种梯子各有各的优缺点。消费者在购买的时候需要根据自己 的实际需求进行选择。下面，就为大家分享一下这两种梯子各自的优缺点，伍便 大家进行参考选择。 (HarperCollins, 2023).

See too these compilations:

• 宝鸡升降货梯哪家好-机械社区:2021-6-12 · 宝鸡升降货梯哪家好[V0xbV1]宝鸡升降货梯哪家好在雨雪天气作业的电动葫芦是高速移动的安全装置，在经常被雨雪风雪打击的地方，安装有防滑防滑装置。每个防滑块的设置与结构图是相同的，并 …
• Contemporary Democratic Theory
• Toward an Understanding of Liberalism
• Mass Media: Politics, Political Economy and Law

At this point in the COVID-19 pandemic in the U.S., it appears to me that the language of “control,” at least in a strong sense, no longer seems appropriate when it comes to describing our actions and aims with regard to determining or affecting the course and effects of this pandemic. Rather, our efforts amount to placing various kinds of constraint on that course and those effects. To speak now of “control” is false, that is, grossly presumptuous and misleading. Perhaps at some point these constraints will make for a substantive difference (reach a tipping point, as it were) in the course and effects such that we can speak of exercising real (meaningful) control over COVID-19, as they have in more than a few other countries, most of which are nowhere near as disgustingly affluent as we are. If only public health officials, politicians, policy makers, social scientists, historians, and psychologists could collaborate in a timely fashion (befitting the urgency) to explain why our country has performed, comparatively speaking and in the main, so poorly, so incoherently, so inconsistently, so incompetently, indeed, so immorally, in dealing with this pandemic. Such narrative and explanatory collaboration is not likely to occur until after the worst has long passed us by.

[The introduction to this series of posts is 好用的梯子软件.] With this last post in the series, I want to again express my gratitude to 宝鸡升降货梯哪家好-机械社区:2021-6-12 · 宝鸡升降货梯哪家好[V0xbV1]宝鸡升降货梯哪家好在雨雪天气作业的电动葫芦是高速移动的安全装置，在经常被雨雪风雪打击的地方，安装有防滑防滑装置。每个防滑块的设置与结构图是相同的，并 …, Department of Art and Art History, University of Texas at Austin, for his permission to share material from his website.

“In 1999, the important publication, African Americans in Art: 楼梯的梯柱是用框架柱画还是用构造柱画呢？ -答疑解惑 ...:2021-8-27 · 楼梯的梯柱是用框架柱画还是用构造柱画呢？-None-来自广联达服务新干线答疑解惑，百万建筑问题，免费提问，专家极速解答 was published. Alongside reproductions of said works, the publication featured essays by Colin L. Westerbeck, Amy M. Mooney, Andrea D. Barnwell and Kirsten P. Buick, Daniel Schulman, and Cherise Smith. Several of these scholars were joined by others, who penned the ‘Portfolio Entries’ that occupied an important proportion of the publication.

A detail from Charles White’s majestic 靠谱的收费梯子 occupied the cover of African Americans in Art: Selections from The Art Institute of Chicago, and a reproduction of the work appeared on page 70. The ‘Portfolio’ entry was written by Andrea D. Barnwell, who, in 2002, would go on to author the first monograph on White in around 35 years. Unbelievably perhaps, by the turn of the 21^st century it had been well over thirty years since the last major publication on Charles White (that being his 1967 monograph, 老王 梯子). In 2002 Pomegranate Publications published its first instalment of The David C. Driskell Series of African American Art, Charles White, written by Andrea D. Barnwell. It was in many respects the most comprehensive monograph to date on the celebrated, late Los Angeles-based African-American artist Charles White.) Barnwell’s notes in African Americans in Art: Selections from The Art Institute of Chicago, on Harvest Talk, included the following:

‘White, whose father was a railroad and steel worker and mother a domestic worker, has a deep respect for labor. Harvest Talk, one of six charcoal and carbon pencil drawings originally exhibited at the ACA Galley in New York in 1953, exemplifies the artist’s mature drawing style. Here his strong, assured manner, coupled with the heroic proportions of the figures and the emphasis on the large scythe, evokes the indomitability of his subjects in the face of hard work. The presence of the scythe (an emblem often associated with the Soviet Union), as well as the social realist sensibilities that prevail throughout White’s oeuvre, his travels to the U.S.S.R. (where he exchanged ideas with Russian artists), and his writings for and affiliation with left-wing publications (such as 稳定付费梯子, Freedomways, and the Daily Worker) suggest that Harvest Talk was inspired by socialist ideals. Like many of White’s works on paper, 好用的梯子软件推荐 conveys the power of a mural, despite its relatively small format.”

“The Other Side of Color: African American Art in the Collection of Camille O. and William H. Cosby, Jr. (San Francisco, CA: Pomegranate Press, 2001)

This lavish, large scale publication was written by leading scholar of African American art, David Driskell and looked at African American Art in the Collection of Camille O. and William H. Cosby, Jr. Camille O. and William H. Cosby, Jr. each provided Introductions, and the artists’ biographies in 老王 梯子 were written by René Hanks. The book’s Foreword was written by Erika Ranee Cosby, and an Overview was provided by Daphne Driskell-Coles. Driskell’s text was divided into six sections, and Charles White appeared in Part Five, ‘The New Black Image in American Art.’

It is a measure of the calibre of White’s art that out of the nearly 50 leading artists represented in the publication, it was one of his pieces – Homage to Langston Hughes, oil on canvas, 48 x 48 inches – was selected for the cover. The painting was also reproduced, in full, on page 129. Charles White had had a long association with Bill Cosby, pointed to by the inclusion in The Other Side of Color of a full-page reproduction of Charles White’s drawing of Bill Cosby, Bill, 1968, charcoal on artist’s board, 57 x 33 ¼ inches. In her Introduction, Camille O. Cosby pointed to the significance of the Cosby’s relationship with White: ‘… On September 8, 1967, Bill and I purchased our first African American artwork, a Chinese ink and charcoal drawing by Charles White titled Nude. Twelve days later we bought another Charles White Chinese ink and charcoal drawing titled Cathedral of Life, and in 1969 we acquired Seed of Heritage. Eventually we acquired eighteen of Charles White’s works, all from the Heritage Gallery in Los Angeles, California. During the same year Bull commissioned Mr. White to create his portrait. Mr. White’s depiction of Bill is unlike any other that I have seen; amazingly, Mr. White captured Bill’s seriousness and complexities. Indeed, this portrait is my favorite Charles White drawing.’

In her Foreword, Erika Ranee Cosby, daughter of Camille O. and William H. Cosby, Jr., continued the reflections on White’s portrait, Bill. ‘The subjects in Charles White’s works have souls that live and grow and change over time. I believe this to be one of a few key factors separating good art from great art. One last example of White’s exceptional talent is the portrait he did of my father in 1968. Many people who viewed this work thought it was not an accurate likeness. Some didn’t like it and said it made my father look too serious. As a kid, I always thought that the head was rendered too small for Dad’s exaggerated powerful shoulders. But my mother always loved that portrait. It remains her favorite, and she proudly displays it in her favorite room. Mom recently revealed to me that White perceived a part of Dad that she had always known, the private, more serious side of the man revered for his humor. I believe this is the only portrait ever done of my father that presents another side of him. Those of us who know him as a son, husband, father, and close friend know him not only as a person with an amazing talent to make the world laugh, but also as a man with a deep, compassionate, and contemplative soul. Charles White captured that soul.’

There were six reproductions of White’s work in The Other Side of Color, a number of which were full page. Driskell’s text on White was a particularly useful summary, which included, ‘Many of White’s works – more than twenty in the Cosby Collection of Fine Arts – were created during the height of the civil rights movement in the 1960s.’ René Hanks’ biographical summary was similarly useful and succinct. Perhaps as much as anything else, 好用的梯子 located White’s work within a broader context of African American art from the mid to late 18^th century to the early 21^st century.”

“It is a measure of the potency of Charles White’s images that long after his death, they continued to be used on the covers of books, the subjects of which struck a variety of chords with While’s art and his own biography. Typical in this regard was the 2005 publication, Jeffrey B. Leak, Racial Myths and Masculinity in African American Literature, published by University of Tennessee Press. From the book’s jacket flaps: 

‘The portrayal of black men in our national literature is controversial, complex, and often contradictory. In 折叠梯好用吗？:2021-6-12 · 选择折叠梯要考虑的2个因素 竹节伸缩梯的基本特点及注意事项 使用人字梯进行高空作业需要注意哪些事项？铝合金伸缩梯哪家好？怎么选购 在选购铝合金梯子时需要进行哪些检查工作呢？如何选择好用的家用折叠梯？在使用可折叠梯子时要注意哪些事项？, Jeffrey B. Leak identifies some of the long-held myths and stereotypes that persist in the work of black writers from the nineteenth century to the present—intellectual inferiority, criminality, sexual prowess, homosexual emasculation, and cultural deprivation. Utilizing Robert B. Stepto’s call-and-response theory, Leak studies four pairs of novels within the context of certain myths, identifying the literary tandems between them and seeking to discover the source of our culture's psychological preoccupation with black men.’

Calling upon interdisciplinary fields of study—literary theory, psychoanalysis, gender studies, legal theory, and queer theory—Leak offers groundbreaking analysis of both canonical texts (representing the ‘call’ of the call-and-response dyad) and texts by emerging writers (representing the ‘response’), including Frederick Douglass and Charles Johnson; Ralph Ellison and Brent Wade; Richard Wright and Ernest J. Gaines; and Toni Morrison and David Bradley. Though Leak does not claim that the ‘response’ texts are superior to the ‘call’ texts, he does argue that, in some cases, the newer work—such as Charles Johnson’s Ox Herding Tale—can address a theme or offer a narrative innovation not found in preceding texts, such as Narrative of the Life of Frederick Douglass. In these instances, argues Leak, the newer texts constitute not only a response to the call text, but a substantial revision.

Leak offers the first in-depth criticism of black masculinity in a range of literary texts. In a final chapter, he expands his discussion to the emerging field of black masculinity studies, pointing to future directions for study, including memoir, film, drama, and others. Poised on the brink of exciting new trends in scholarship, Racial Myths and Masculinity in African American Literature is a flagship work, enhancing the understanding of literary constructions of black masculinity and the larger cultural imperatives to which these writers are reacting.

The jacket illustration is Charles White’s Frederick Douglass Leads the Way (1949).”

“It is a measure of the potency of Charles White’s images that long after his death, they continue to be used on the covers of books, the subjects of which strike a variety of chords with White’s art and his own biography. Typical in this regard Allan Dwight Callahan’s The Talking Book: African Americans and the Bible (Yale University Press, 2006). From the book’s rear cover:

‘The Talking Book casts the Bible as the central character in a vivid portrait of black America, tracing the origins of African-American culture from slavery’s secluded forest prayer meetings to the bright lights and bold style of today’s hip-hop artists. The Bible has profoundly influenced African Americans throughout history. From a variety of perspectives this wide-ranging book is the first to explore the Bible’s role in the triumph of the black experience. Using the Bible as a foundation, African Americans shared religious beliefs, created their own music, and shaped the ultimate key to their freedom—literacy. Allen Callahan highlights the intersection of biblical images with African-American music, politics, religion, art, and literature.

The author tells a moving story of a biblically informed African-American culture, identifying four major biblical images—Exile, Exodus, Ethiopia, and Emmanuel. He brings these themes to life in a unique African-American history that grows from the harsh experience of slavery into a rich culture that endures as one of the most important forces of twenty-first-century America.’

Allen Dwight Callahan is director of the Instituto Martin Luther King, Jr. in Salvador, Brazil.

The work by Charles White used on the cover was The Preacher, 1952. As well as gracing the cover of the book, a detail of the preacher (showing his hands clutching his bible) adorns the back inside flap of the dust jacket.”

“It is a measure of the potency of Charles White’s images that long after his death, they continue to be used on the covers of books, the subjects of which strike a variety of chords with White’s art and his own biography. Typical in this regard was the 2009 publication, Anticommunism and the African American Freedom Movement: “Another Side of the Story,” edited by Robbie Lieberman and Clarence Lang and published by Palgrave Macmillan. From the book’s rear cover:

‘The original essays in this book highlight the destructive impact of McCarthyism on the African American Freedom Movement. Recovering little-known stories of black radical activism, they challenge the idea that the Cold War was, on balance, beneficial to the movement. The book emphasizes what was lost when anticommunism forced the movement to submerge broader issues of economic justice, labor rights, feminism, and peace. The authors illustrate the often neglected or understated human costs of the Red Scare, focusing on local and individual stories that offer insight into larger national and international trends.’

The cover illustration was White’s ‘The Ingram Case’ from 1949. The Ingram Case was a notorious Jim Crow era judicial travesty that took place in rural Georgia in the late 1940s, which saw sharecropper Rosa Lee Ingram and her two sons received the death penalty in 1948 for murdering a white landowner in rural Georgia. The Ingram case was said to have received widespread press attention during the post-World War II era when the failings of the southern justice system and the iniquities of the Jim Crow culture were under new scrutiny, spearheaded by the ascending civil rights movement. 

A brief reference to the Ingram case, and indeed, to the illustration on the book’s cover, appeared on page 8 of Anticommunism and the African American Freedom Movement…. White’s illustration depicted three African Americans—we read them as being Rosa Lee Ingram and her two sons—behind bars, earnestly seeking justice and for their liberty to be restored.”

“Swann Auctions is the route through which a number of Charles White’s works are brought to the marketplace. The catalogues that accompany these auctions are always a treasure trove of high quality reproductions of work by African American artists, together with descriptions of varying lengths, biographical information, and guide prices. The Swann African-American Fine Art catalogue of February 17, 2009 offered for auction several works by Charles White, including the iconic Move On Up a Little Higher, 1961, Charcoal and Wolff crayon on illustration board, 1004 x 1205 mm; signed and dated in charcoal, lower right. Accompanying text as follows:

 ‘Move On Up a Little Higher is a most impressive example of the artist’s mid-career work, a masterful large-scale drawing that conveys all the emotional and figurative realism one associates with White. ...The title refers to the gospel song of Mahalia Jackson whose 1948 recording made her famous.’

Befitting such a monumental work, it was rendered as a gatefold. Additionally, the last of the four pages devoted to the work in the Swann catalogue featured a detail, of the face of the woman who was the subject of the drawing, her arms held aloft in a celestial vision.

Also offered for sale in this auction catalogue were the Charles White works, Untitled (靠谱的手机付费梯子), etching, circa 1940; 好用的梯子, lithograph, 1974; Frederick Douglass, etching, 1973; Profile, etching, 1974;  and 好用的梯子, graphite and charcoal on vellum paper, circa 1978.”

“[This is a] 44 page softcover catalogue, bound in stiff black paper covers and published on the occasion of the exhibition, Charles White: Let the Light Enter held at the Michael Rosenfeld Gallery, New York, January 10 - March 7, 2009. Including the cover illustration, the publication contained 10 drawings, beautifully reproduced - 3 in foldout pages. A taped interview with the artist is transcribed, along with an appreciative essay. Contents as follows:

• LET THE LIGHT ENTER—poem by Frances E.W. Harper
• AN INTERVIEW WITH CHARLES WHITE—transcribed conversation, broadcast on radio in the late 1960s, between Charles White and a now unidentified broadcaster
• A SELECTION OF DRAWINGS, 1942 - 1970
• CHARLES WHITE (1918 - 1979)—Biographical outline of the artist, taken from Andrea D. Barnwell’s Charles White (The David C. Driskell Series of African American Art: Volume I, San Francisco: Pomegranate, 2002). The reference to Barnwell was followed by: Betty Lochrie Hoag, ‘Oral history interview with Charles Wilbert White, 1965, Mar. 9,’ Smithsonian Archives of American Art. A web address followed, with a note that the site had been accessed by the writer November 21
• CHARLES WHITE CV
• FRANCES ELLEN WATKINS HARPER (1825 - 1911)—uncredited biographical outline of the poet

MICHAEL ROSENFELD GALLERY PUBLICATIONS”

“Charles White’s 好用便宜的梯子, Charcoal, 1953-54 was used on the cover of Mary Helen Washington’s The Other Blacklist: The African American Literary and Cultural Left of the 1950s (Columbia University Press, 2014}. (On the flyleaf of The Other Blacklist, the work’s title was written as Let's Walk Together).

The book concerned itself with recovering ‘the vital role of 1950s leftist politics in the works and lives of modern African American writers and artists. While most histories of McCarthyism focus on the devastation of the blacklist and the intersection of leftist politics and American culture, few include the activities of radical writers and artists from the Black Popular Front. Washington’s work incorporates these black intellectuals back into our understanding of mid-twentieth-century African American literature and art and expands our understanding of the creative ferment energizing all of America during this period.’

This text, on the flyleaf of the book’s jacket, continued, ‘Mary Helen Washington reads four representative writers—Lloyd Brown, Frank London Brown, Alice Childress, and Gwendolyn Brooks—and surveys the work of the visual artist Charles White. She traces resonances of leftist ideas and activism in their artistic achievements and follows their balanced critique of the mainstream liberal and conservative political and literary spheres. Her study recounts the targeting of African American as well as white writers during the McCarthy era, reconstructs the events of the 1959 Black Writers’ Conference in New York, and argues for the ongoing influence of the Black Popular Front decades after it folded. Defining the contours of a distinctly black modernism and its far-ranging radicalization of American politics and culture, Washington fundamentally reorients scholarship on African American and Cold War literature and life.’

This was an important work of scholarship, that took its place alongside Andrew Hemingway’s Artists on the Left: American Artists and the Communist Movement, 1926-1956 (Yale University Press, 2002), both books chronicling and examining Charles White’s left-leaning impulses and his art work that reflected these impulses.”

“In 2017, Museum of Modern Art, New York, published Charles White: Black Pope. Written by Esther Adler, the 72-page book took as its starting point a renewed consideration of one of Charles White’s works in the collection of MoMA—Black Pope (Sandwich Board Man) (1973). 

From the rear of the book jacket: ‘The Chicago-born artist Charles White (1918–79) was celebrated during his lifetime for depictions of African-Americans that acquired the description “images of dignity.” His application of his extraordinary draftsmanship to address a lifetime of social and political concerns made him a vital influence on both his contemporaries and later generations; visually compelling and intellectually ambitious, his art engages audiences on many levels. Beginning with his early days in Chicago, moving through his time in New York in the late 1940s and ‘50s, and closing with his final decades as a revered artist and teacher in Los Angeles, Charles White: Black Pope offers a detailed exploration of his practice, focusing in particular on his late masterwork Black Pope (Sandwich Board Man), in the collection of The Museum of Modern Art.’

Though a more substantial monograph on White was to follow, Charles White: Black Pope, was an important and considerable introduction to White’s practice, which sought to place his work in a variety of art and visual culture contexts. The book contained important archival photographs and other material, including that which pointed to the source of inspiration for the figure that was the subject of White’s intriguing ‘masterwork,’ Black Pope.”

“Truth and Beauty: Charles White and His 好用的梯子 知乎 was a very attractive catalogue, accompanying an exhibition of the same name at New York City’s Michael Rosenfeld Gallery. The exhibition was scheduled to coincide with the Museum of Modern Art’s showing of the major Charles White Retrospective that was first see at the Art Institute of Chicago.  Alongside a number of early and rarely seen works by White, Truth and Beauty:好用的梯子 Circle featured work by the following artists:

• Benny Andrews (1930-2006)
• Richmond Barthé (1901-1989)
• 好用的梯子ios
• John Biggers (1924-2000)
• Eldzier Cortor (1916-2015)
• Ernest Crichlow (1914-2005)
• Philip Evergood (1901-1973)
• William Gropper (1897-1977)
• Robert Gwathmey (1903-1988)
• David Hammons (b.1943)
• Jacob Lawrence (1917-2000)
• 好用便宜的梯子
• Kerry James Marshall (b. 1955)
• Archibald J. Motley, Jr. (1891-1981)
• John Outterbridge (b. 1933)
• 好用便宜的梯子
• Marion Perkins (1908-1961)
• Betye Saar (b.1926)
• Charles Sebree (1914-1985)
• Ben Shahn (1898-1969)
• Raphael Soyer (1894-1986)
• Harry Sternberg (1904-2001)
• Hale Woodruff (1900-1980)

Extensively illustrated, and with its high production values, 速度快稳定的梯子: Charles White and His Circle was a beautiful catalogue.

好用的梯

• FOREWORD, halley k harrisburg (sic) and Michael Rosenfeld, Michael Rosenfeld Gallery
• PATH OF A NEGRO ARTIST, BY CHARLES WHITE, Excerpted from Masses & Mainstream, April 1955
• THE WORK OF CHARLES WHITE (nearly 20 plates, one per page)
• ABOUT CHARLES WHITE (1918 – 1979), uncredited biographical essay.
• SELECTED PUBLIC COLLECTIONS
• Followed by a section, ‘& HIS CIRCLE’, reflections and appreciations by several of the 25 artists listed above.
• FREEDOMWAYS, CHARLES WHITE, Art and Soul, 1980 – a brief introduction to the Freedomways This section of Truth and Beauty: Charles White and His Circle reproduced several texts from the special commemorative issue of Freedomways. The tributes to White were as follows:

“CHARLES WHITE WAS A DRAWER,” Benny Andrews

“HIS INFLUENCE CAUSED ME TO TURN OUT LITTLE CHARLES WHITES,” John Biggers

宝鸡升降货梯哪家好-机械社区:2021-6-12 · 宝鸡升降货梯哪家好[V0xbV1]宝鸡升降货梯哪家好在雨雪天气作业的电动葫芦是高速移动的安全装置，在经常被雨雪风雪打击的地方，安装有防滑防滑装置。每个防滑块的设置与结构图是相同的，并 …

“TO OUR COLLEAGUE”, Romare Bearden, Ernest Crichlow, Jacob Lawrence, Hughie Lee-Smith, Hale Woodruff

• THE WORK OF HIS CIRCLE – plates of work by each of the 25 artists listed above
• Section titled Truth and Beauty: Charles White and His Circle
• CHARLES WHITE – CHECKLIST OF THE EXHIBITION
• AND HIS CIRCLE – CHECKLIST OF THE EXHIBITION
• 宕昌好梯乡：三支突击队助推脱贫攻坚_来稿选登_中国甘肃网:2021-6-12 · 为全面打赢脱贫攻坚战，好梯乡抽调精兵强将组成“拆危治乱突击队”“房屋改造突击队”“档案资料突击队”，由乡党政主要领导担任队长，驻村领导担任副队长，驻村干部、帮扶工作队、村社干部担任队员，锁定工作目标、聚焦突出问题，狠下一条心、拧成一股绳，积极投身脱贫攻坚主战场 ...
• CREDITS

楼梯的梯柱是用框架柱画还是用构造柱画呢？ -答疑解惑 ...:2021-8-27 · 楼梯的梯柱是用框架柱画还是用构造柱画呢？-None-来自广联达服务新干线答疑解惑，百万建筑问题，免费提问，专家极速解答

“Charles White’s last retrospective exhibitions had taken place several decades ago, both before and following his death in 1979. These retrospectives came with important, though relatively modest catalogues. Towering over these exhibitions from several decades ago, and towering over their attendant catalogues, was Charles White: A Retrospective, the first major museum survey devoted to the artist in well over 30 years. The exhibition charted the breadth of Charles White’s career—from the 1930s through to works completed before his death in 1979. Featuring in excess of 100 works, including drawings, paintings, prints, photographs, illustrated books, record covers and archival materials, this was by far the most extensive, well-resourced exhibition of the artist’s work ever to take place. Fittingly, it travelled to prominent galleries in the three US cities with which White was associated. Opening at the Art Institute of Chicago, the exhibition travelled to the Museum of Modern Art, New York, finishing its tour at the Los Angeles County Museum of Art. This was a weighty, profusely illustrated catalogue, coming as it did with important texts by leading scholars and well-known names.

From the flyleaf:

CHARLES WHITE

A RETROSPECTIVE

折叠梯好用吗？:2021-6-12 · 选择折叠梯要考虑的2个因素 竹节伸缩梯的基本特点及注意事项 使用人字梯进行高空作业需要注意哪些事项？铝合金伸缩梯哪家好？怎么选购 在选购铝合金梯子时需要进行哪些检查工作呢？如何选择好用的家用折叠梯？在使用可折叠梯子时要注意哪些事项？

With essays by Esther Adler, Ilene Susan Fort, Kellie Jones, Sarah Kelly Oehler, Mark Pascale, and Deborah Willis and a preface by Kerry James Marshall

Charles White (1918 - 1979) is best known for bold, large-scale paintings and drawings of African Americans, meticulously executed works that depict human relationships and socio-economic struggles with a remarkable sensitivity. This comprehensive study offers a much-needed reexamination of the artist’s career and legacy. With handsome reproductions of White’s finest paintings, drawings and prints, the volume introduces his work to contemporary audiences, places him in the art historical narrative, and stresses the continuing relevance of his insistent dedication to producing positive social change through art.

Tracing White’s career from his emergence in Chicago to his mature practice as an artist, activist and educator in New York and Los Angeles, leading experts provide insights into his creative process, his work as a photographer, his political activism and interest in history, the relationships between his art and his teaching, and the importance of feminism in his work. A preface by Kerry James Marshall honors White’s significance as a mentor to an entire generation of practitioners.

Published by the Art Institute of Chicago and the Museum of Modern Art, New York, and distributed by Yale University Press, the publication’s contents were as follows:

• Page of exhibition details, catalogue production details, et cetera
• Foreword, James Rondeau and Glenn D. Lowry
• Acknowledgements, Sarah Kelly Oehler and Esther Adler
• “A Black Artist Named White,” Kerry James Marshall
• “Yesterday, Today, Tomorrow: Charles White’s Murals and History as Art,” Sarah Kelly Oehler
• “Graphic Interpreter of the Black People: Charles White as Draftsman and Printmaker,” Mark Pascale
• Plates: Chicago and War Years
• “Charles White: Feminist at Mid-Century,” Kellie Jones
• “In Search of Beauty: Charles White’s Exposures,” Deborah Willis
• Plates: New York
• “Charles White’s Art and Activism in Southern California,” Ilene Susan Fort
• “Charles White, Artist and Teacher,” Esther Adler
• Plates: Los Angeles
• Chronology, Compiled by John Murphy and Ashley James
• Selected Inventory of Charles White’s Library, Compiled by Ashley James
• Selected Exhibition History, Compiled by John Murphy and Stacy Kammert
• Checklist of the Exhibition
• Selected Bibliography
• Index
• Photography Credits”

[The introduction to this series of posts is here.]

Art reconciles the conceptual and the sensible* 中考英语学霸是怎么背单词的？用这个方法，搞定初中必背 ...:2021-6-6 · 为了把学生从背单词的魔咒中解救出来，梯方在线特推出“ 二手词汇，伍旧换新 ”的英语单词课程。 原价225元，现在0元 即可免费体验3次，名额有限，先到先得！ 由香港中文大学语言学硕士老师丁老师，为打大家详细的讲解学习语言的世界观和思维方式。. It reconciles aspects of experience that are rarely considered together. — Enrique Martinez Celaya

* I suspect “sensible” is here being used in two senses: as in “perceptible by the senses” (from the Latin sensibilis), as well as in its later and more common sense, as in having good judgment or “good sense.”

“After his passing in 1979, Charles White’s reputation as an artist continued to increase, garnering more and more adulation. To this end, one of the first substantial posthumous overviews of his work was Images of Dignity: A Retrospective of the Works of Charles White. The exhibition was held at the Studio Museum in Harlem, June 20 - August 31, 1982. The exhibition’s title had, in large part, been borrowed from the celebrated monograph, published in several editions by Ward Ritchie Press (Los Angeles, 1967).

From the Foreword, by Dr. Mary Schmidt Campbell, Executive Director of the Studio Museum in Harlem:

‘Charles White was an artist who cared about his people and his art. His images—epic in their depiction of Black life, masterful in technique—were always accessible to his audience, always communal. The Studio Museum in Harlem has assembled White’s oils, temperas, watercolors, drawings and prints for the exhibition, Images of Dignity: A Retrospective of the Works of Charles White. The third in Studio Museum’s Black Masters’ Series, the exhibition clearly demonstrates White’s ability to portray, in his words, “love, hope, courage, freedom, dignity—the full gamut of the human spirit,” and to portray those highly abstract qualities within the very specific context of Black people, “their history, their culture, their struggle to survive.”’ Schmidt Campbell’s Foreword continued, ‘Divided into three sections—from the WPA to the Taller de Grafica (1935 to 1947); the transition to an African-inspired realism (1950 to 1963), and his mature works executed in the language of myth (1963 to 1979)—the exhibition traces the evolution of White’s increasingly complex use of graphic mediums as well as his increasingly subtle treatment of the human figure.’

The catalogue’s most substantial text was ‘Charles White: A Critical Perspective,’ by Dr. Peter Clothier.

Full catalogue contents as follows:

Foreword—Dr. Mary Schmidt Campbell
Lenders to the Exhibition
Charles White: A Critical Perspective—Dr. Peter Clothier
Bibliography—Earnest Kaiser and Benjamin Horowitz
Chronology — Kellie Jones
Catalogue of the Exhibition

Images of Dignity: A Retrospective of the Works of Charles White carried on its cover a reproduction of The Prophet, 1975-1976, 27" x 36.5". (At the time of its making, The Prophet had marked a new departure for White, in that it was a move away from the weighty social realism of his monochrome drawings.) It was extensively illustrated, with both monochrome and colour reproductions of White’s work.”

“It is a measure of the potency of Charles White’s images that long after his death, they continued to be used on the covers of books, the subjects of which struck a variety of chords with While’s art and his own biography. Typical in this regard was the 1984 publication, Michael G. Cooke, 工厂用货梯_工业厂房货梯哪家好_工业用的货梯大概多少钱 ...:2021-10-12 · 工厂用货梯,工业厂房货梯,工业用的货梯大概多少钱 工业厂房货梯是车间厂房里用于楼层间货物运输的一种起重设备，广泛应用于二层三层四层的钢结构车间厂房。 今天济工机械带大家了解一下工业厂房货梯尺寸和价格。 伍上是 导轨式工厂用货梯,工业厂房货梯,工业用的货梯大概多少钱: The achievement of Intimacy, published by Yale University Press. From the book’s jacket flaps: 

‘Where modernism in Anglo-American literature wears the guise of an artificial detachment from the human, in Afro-American literature it has taken a different tack: a grappling with a sense of intimacy that involves reaching out of the self into an unguarded, uncircumscribed engagement of the world. Intimacy is an experiment laden with psychocultural risk, and that is why it has been overladen by those with the least to lose in conventional terms—America’s black writers.’

From this persuasive and original perspective, Michael Cooke examines the essential structure of Afro-American literature in the 20th century. He shows a development out of the secret matrix of ‘signifying’ and the blues into successive conditions of self-veiling, solitude, kinship, and, finally, a lucid, capable state of intimacy. Among the individual writers who receive special attention are Jean Toomer, Nella Larsen, Zora Neale Hurston, Richard Wright, Ralph Ellison, Eldridge Cleaver, Robert Hayden, Alice Walker, and James Baldwin. In addition to locating these authors in the progression toward intimacy, Cooke analyzes their work in terms of metamorphosis, materialism, suicide, magic, the interplay of identity and ‘voice,’ and the Afro-American posture toward history. In a final chapter, he discusses the most recent black fiction, demonstrating that it sustains the dynamism and creativity of its rich and centripetal tradition.

The jacket illustration is Charles White’s The Prophet # 1.”

“This was for many years the defining publication on Charles White, published in several editions by Ward Ritchie Press (Los Angeles, 1967): 121, with 95 black & white illus. Designed by Joseph Simon, Images of Dignity was the very first monograph on Charles White. Published in conjunction with White’s longtime dealer Benjamin Horowitz’s Heritage Gallery, it presents a comprehensive survey of over forty years of the artist’s moving works on paper, the African American image and experience located at the heart of these wonderful works. 

A measure of the significance and importance of Images of Dignity was alluded to in a text on White published in Ebony magazine.  A major eight page feature on the artist, written by Louie Robinson, stated, ‘The publication of [White’s] Images of Dignity alone is a singular achievement. No other living Negro artist has ever had a book of his works published (a collection of the art of the late Horace Pippin appeared in print after his death).’

With a chronology, exhibition history and bibliography, this was, until at least the time of his death, the go-to publication on Charles White.  The book’s contents:

• Foreword, by Harry Belafonte
• An Appreciation, by James Porter
• “一梯两户”和“两梯四户”哪个好？多亏房产朋友，我家才没买错:房产朋友说，在很多人看来，一梯两户和两梯四户是差不多的，同样作为电梯房，其出行方便的问题已经解决的，其余的都是小问题了。其实不是这样的，这两种楼盘的方式虽然看起来一样，每层楼的电梯和住房的比例都是1:2，但是在实际入住的过程中，两者之间还是存在很大的差异。
• The Drawings of Charles White—88 pages of White’s work, arranged chronologically, the earliest dating from 1925, the most recent works being a number of White’s J'Accuse! A measure of just how talented White was can be ascertained from the first reproduction, executed by White when he just 7 years old. The landscape, featuring a cabin, set in a forest clearing, with mountains in the background was truly a remarkably accomplished ink drawing.
• 好用的梯子

That James Porter should write an appreciation is highly significant. Porter had been responsible for the first substantial study on African-American art, Modern Negro Art, published until 1943. From Porter’s appreciation: ‘I like to think of Charles White not just as an artist—not even as an American artist—but as an artist who, more than any other, has found a way of embodying in his art the very texture of Negro experience as found in life in America. Recognizing and seizing upon that which is unique as well as that which is general or universal about the Negro people, he has, as Mr. Belafonte has remarked, spoken in “the poetic beauty of Negro idiom.” In any case, White has made of his own artistic language a splendid vehicle for that idiom. Charles is an artist steeped in life; and his informed artistic vision conduces to an understanding of vivid pictorial symbols which, though large as life itself, are altogether free of false or distorted ideas or shallow and dubious emotion.’

Likewise, it was no surprise that Harry Belafonte should write a foreword for Images of Dignity, as Harry Belafonte and Charles White maintained a longstanding friendship over many years and the singer/civil rights activist owned one of White’s signature works, a depiction of a singing guitarist. Belafonte had owned the work since at least as early as the mid-1950s, and it appeared in the background of a portrait of the singer and his wife, Julie Robinson, used on the cover of Ebony magazine, July 1957. White had provided illustrations for several publications on Belafonte, so this foreword by Belafonte was no surprise. Wrote Belafonte, ‘His portraits are real, but, like some of Sean O’Casey’s dramas, they are oftentimes much bigger than life, as if the artist is saying to us, “Life is much more than this. Life is big and broad and deep.”’ Belafonte’s respect for White was re-inscribed, in 2001, when White’s work (owned by Belafonte) was used on the cover of 好用便宜的梯子: An Anthology of Black Music, an extraordinary, ambitious box set that was Belafonte’s brainchild and labour of love. 

The cover of Images of Dignity featured White’s Two Brothers Have I had on Earth—One of Spirit, One of Sod (charcoal), 1965, a distinguished work made all the more so by being in the collection of Premier Sekou Toure of Guinea. The rear flyleaf of the book’s jacket contained several extracts from glowing  reviews written by the several reviewers, included Arthur Miller, whose review of Images of Dignity had appeared in Los Angeles Herald Examiner.”

“好用的梯子推荐: Drawings was an exhibition that was held at the art galleries of three historically Black colleges and universities:

Inaugural exhibition

The Gallery of Art
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September 22 - October 25, 1967
(James A. Porter, Director, Gallery of Art)

Second exhibition

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Morgan State College, Baltimore, MD
November 1 - November 24, 1967
(James E. Lewis, Director of Art Gallery)

好用的梯子推荐

最近有啥梯子好用
Ballentine Hall, Fisk University
好用的梯子软件推荐
(David C. Driskell, Director of Art Gallery)

The above itinerary appeared on the first page of the catalogue. This catalogue carried on its cover (beneath a reproduction of White’s J'Accuse! No. 2, 1966) a reference to the third venue: 

The Gallery of Art (sic)
Ballentine Hall, Fisk University

It’s not clear if the Inaugural and second venues came with their own catalogues. It is also not clear if this catalogue was published before or after the publication of 稳定付费梯子, first published by Ward Ritchie Press (Los Angeles, 1967). Both Charles White: Drawings and Charles White: Images of Dignity contained ‘An Appreciation,’ by James Porter and ‘Images of Dignity,’ by Benjamin Horowitz. Both texts were similar in content (though not in length). In addition to his ‘Appreciation.’ Porter also penned a ‘Foreword’ for Charles White: Drawings. From the ‘Foreword’:  

‘During all of the present century as well as for a part of the Nineteenth century, the role of American colleges and universities in the conservation and interpretation of art has been both active and purposeful. In recent years, however—notably—during the past thirty years, many American universities through their art departments have also demonstrated concern with the training of artists and, in particular, with the encouragement of experimentation in art at a high professional level. In 1945, Charles White was at Howard University as artist-in-residence, undoubtedly, one among the first American artists to be thus employed on a university campus. And it is safe to say, that through such brief associations with the art program at Howard, Charles White’s art became more fully known to an interested Washington public.’ [….]

From Horowitz’s text in Charles White: Drawings: 

‘In an era when the artist is expressing his detachment from the human condition by a ‘cool’ and geometric style, Charles White’s superb drawings challenge this lack of faith and self-involvement. Their epic quality affirms his deep concern for humanity, his love of man and life, and his belief that brotherhood is not just a catchword. Here, on his canvasses, the vitality and poignancy of humankind are captured for the eye to see and the heart to feel.

... But while insistence on the dignity of the individual and respect for the human being is a universal quality of his art, White is deeply and spiritually a product of his race and environment. A bare 100 years ago his grandfather was a slave in Mississippi, and his mother lived most of her life in the South where little had changed from her father’s day.

... There are many collectors of Charles White’s work whose admiration for him is boundless. Here is an art, they say, that has grown out of the gritty seams of life, out of the anger of the dispossessed, out of the dregs of despair. Here is an art, they say, that makes you catch your breath at the strength of life, its beauty, its love. Here is an art that mirrors man’s hopes, warms his blood, and makes his heart sing. Here, they say, is a man who is a great artist—an artist who is a great man.’

The catalogue contained an abbreviated CV, a list of works in the exhibition (including ten works from White’s J'Accuse! series), and a list of lenders to the exhibition.”

“What turned out to be one of the last major museum exhibitions of Charles White’s work was The Work of Charles White:好用的梯子推荐, held at the High Museum, Atlanta, Georgia (September 4 - October 3, 1976), before touring on to Montgomery Museum of Fine Arts, Montgomery, Alabama (October 23 - December 5, 1976), Hunter Museum of Art, Chattanooga, Tennessee (February 17 - March 31, 1977), Art Museum of the Palm Beaches, Inc., West Palm Beach, Florida (April 22 - May 29, 1997), ending its Southern states tour at Arkansas Arts Center, Little Rock, Arkansas. The exhibition was documented with this small, but very useful catalogue, [adorned] with Charles White’s circular ‘Vision’ oil drawing, 1968, 20" diameter. 

This particular catalogue, somewhat curiously, had references to Dr. and Mrs. Richard A. Simms, roughly redacted from the list of Lenders to the Exhibition, and from four works in ‘Catalogue’ section of the publication. (Los Angeles-based Simms was a noted art collector). There were thirteen monochromatic reproductions in the publication, punctuated by modestly sized pieces of writing, the most substantial of which was a one-page Introduction by Edmund Barry Gaither, Director/Curator, Museum of the National Center of Afro-American Artists.”

“In 1994, Barricade Books published Reaches of the Heart: A Loving Look at the Artist Charles White, written by Frances Barrett White with Ann Scott. This was a personal account of the 29-year marriage between Charles White and Frances Barrett White, his white, social worker wife, and of their family life with two adopted children. 

From the book’s flyleaf:

‘Charles White was one of the most distinguished and best known artists of the twentieth century. In 1950 he fell in love and married Frances Barrett, the daughter of a Catholic priest. They had no honeymoon because they were not, under the laws of the state of Michigan, allowed to share a hotel room. Charlie was black and Fran was white. Reaches of the Heart is a very personal story of a marriage between two people of different races who loved each other enough to have a world not quite ready for such a union. In another sense, it is a record of those decades in America that affected not only Charles and Frances, but all people, black and white, who fought for dignity and progress in the crucible of contemporary life. And it is also the story of an accomplished artist whose work is collected by museums and notable private collectors like Sidney Poitier and Harry Belafonte. Reaches of the Heart is a moving account of a marriage and a career, but it is also an invaluable record of the times and of lessons learned that must not be forgotten.’

好用的梯子ios: 制作中文简历，用什么字体比较好?_医药之梯:2021-9-29 · 制作中文简历，用什么字体比较好?,医药之梯为您提供医药行业最新资讯信息 简历内容虽然很重要，但是使用的字体不好看，那么可相当影响HR的阅读心情，下面也让我伊看看制作中文简历，用什么 …contains a fascinating selection of photographs. The cover featured White’s Wanted Poster Series #17, 1971.

Frances Barrett White was born September 30, 1926, and passed away September 25, 2000.”

“In 1996 Cambridge University Press published Harriet Jacobs and Incidents in the Life of a Slave Girl: New Critical Essays, a title in the Cambridge Studies in American Literature and Culture. This anthology presented a far-ranging compendium of literary and cultural scholarship on Harriet Jacob’s Incidents in the Life of a Slave Girl. Edited by Deborah M. Garfield and Rafia Zafar, the volume’s contributors included both established Jacobs scholars and emerging critics, their essays taking on a variety of subjects in Water~求一个电脑🖥️上好用的梯:2021-5-18 · 姐妹又好用的记得dd我 我怕到时候又忘了这个贴 姐妹又好用的记得dd我 我怕到时候又忘了这个贴 StarryNight OK！我先挨个试试 删除 | 赞 回应 来自 豆瓣App 不搞了 2021-05-17 19:23:03 白熊用起来还可伍，一个号可伍登录两个设备 ..., treating representation, gender, resistance, and spirituality from differing angles, in the book’s 306 pages.

Charles White’s 好用的梯子ios#17 was reproduced on the cover of 楼梯转角平台处理方法 三步转角楼梯好走吗？ - 行业资讯 - 九 ...:2021-7-23 · 楼梯是我伊生活中比较常见的，虽然有电梯，但是旁边也少不了普通的楼梯的，对于室内而言，复式房屋安装楼梯也是常事，通常复式楼梯都会考虑设计转角，那么楼梯转角平台处理方法是什么？此外三步转角楼梯好走吗？下面九正楼梯网就来为大家讲解一番，一起来看看吧。: New Critical Essays.”

“Charles White: American Draftsman was the title of an exhibition of Charles White’s work, held at the North Carolina Central University Art Museum, Durham, North Carolina (August 22 - October 15, 1999). The exhibition was supported and documented by this handsome publication, the cover of which was graced by a reproduction of Charles White’s Wanted Poster Series #6. A selection of more than 30 reproductions of White’s work, in both monochrome and colour, were featured in the catalogue, the contents of which are as follows:

• Uncredited photograph of Charles White at the Heritage Gallery, 1978
• Acknowledgement
• Introduction - Kenneth G. Rodgers
• Charles White: American Draftsman—text by Kenneth G. Rodgers
• Endnotes for Rodgers’ text
• Chronology of Charles White
• 好用的梯子ios
• Exhibition checklist

The main text by Rodgers, NCCU Art Museum Director, was a substantial reflection on White’s practice, and covered 8 pages of the catalogue.”

“In 1999, the important publication, African Americans in Art: Selections from The Art Institute of Chicago was published. Alongside reproductions of said works, the publication featured essays by Colin L. Westerbeck, Amy M. Mooney, Andrea D. Barnwell and Kirsten P. Buick, Daniel Schulman, and Cherise Smith. Several of these scholars were joined by others, who penned the ‘Portfolio Entries’ that occupied an important proportion of the publication.

A detail from Charles White’s majestic Harvest Talk occupied the cover of African Americans in Art: Selections from The Art Institute of Chicago, and a reproduction of the work appeared on page 70. The ‘Portfolio’ entry was written by Andrea D. Barnwell, who, in 2002, would go on to author the first monograph on White in around 35 years. Unbelievably perhaps, by the turn of the 21^st century it had been well over thirty years since the last major publication on Charles White (that being his 1967 monograph, Images of Dignity). In 2002 Pomegranate Publications published its first instalment of The David C. Driskell Series of African American Art, Charles White, written by Andrea D. Barnwell. It was in many respects the most comprehensive monograph to date on the celebrated, late Los Angeles-based African-American artist Charles White.) Barnwell’s notes in African Americans in Art: Selections from The Art Institute of Chicago, on Harvest Talk, included the following:

‘White, whose father was a railroad and steel worker and mother a domestic worker, has a deep respect for labor. Harvest Talk, one of six charcoal and carbon pencil drawings originally exhibited at the ACA Galley in New York in 1953, exemplifies the artist’s mature drawing style. Here his strong, assured manner, coupled with the heroic proportions of the figures and the emphasis on the large scythe, evokes the indomitability of his subjects in the face of hard work. The presence of the scythe (an emblem often associated with the Soviet Union), as well as the social realist sensibilities that prevail throughout White’s oeuvre, his travels to the U.S.S.R. (where he exchanged ideas with Russian artists), and his writings for and affiliation with left-wing publications (such as Masses & Mainstream, 好用的梯子推荐, and the Daily Worker) suggest that Harvest Talk was inspired by socialist ideals. Like many of White’s works on paper, Harvest Talk conveys the power of a mural, despite its relatively small format.”

[….] “In 2002 Pomegranate Publications published its first installment of The David C. Driskell Series of African American Art, Charles White, written by Andrea D. Barnwell. It was in many respects the most comprehensive monograph to date on the celebrated, late Los Angeles-based African-American artist Charles White.  Extensively illustrated, the flyleaf of the publication contained the following text:

‘As the debut volume in the highly anticipated David C. Driskell series of African American Art, Charles White sets a remarkable standard for the volumes to follow. Filled with drawings and paintings—many of which have never been published before—and scholarly text by Andrea D. Barnwell, this monograph encapsulates the spirit, vision, and extraordinary brilliance of White’s powerful art.’

有哪些好用的爬梯软件？ - 知乎:这个问题，提的坦荡，但是我伊却不能回答的坦荡 这个问题，一回答就可能被删帖或者封号，发截图也可能有危险，

Barnwell discusses White’s regard as an artist and chronicles his career as he pursued artistic excellence, personal integrity, economic freedom, and racial equality. White’s works are in the collections of major museums, including the Whitney Museum of American Art, New York; the Hampton University Museum, Hampton, Virginia; the Howard University of Art, Washington, D.C.; and the Art Institute of Chicago; many are in private collections in the United States, Europe, and Africa.

One of the greatest American artists of the 20th century, Charles White and his place in the annals of art history has not been adequately examined. Charles White (The David C. Driskell Series of African American Art: Volume 1) is an important step in ensuring the legacy of this seminal artist and singular man.

David C. Driskell, retired as distinguished University Professor of Art Emeritus from the University of Maryland, where he taught for twenty-two years, is a painter and the author of several essays and books. His own paintings are in many public and private collections throughout the world. A noted curator, scholar, and lecturer, Driskell is also a collector of art; an exhibition of his personal collection has toured museums in the United States.

Andrea D. Barnwell, an art historian, writer, and critic, is the Director of the Spelman College Museum of Fine Art. Her primary research interests are African American, Black British, and Contemporary African art. Her writings have been featured in major publications, including To Conserve a Legacy: American Art from Historically Black Colleges and Universities, 好用的梯子ios: The Art of the Harlem Renaissance, and African Americans in Art: Selections from The Art Institute of Chicago. In 1990 she organized and was the principal author of The Walter O. Evans Collection of African American Art. Her critical writings have appeared in numerous journals, such as the 安卓怎么听播客（Podcast）？好用的安卓版播客App推荐 - 简书:安卓党想找个好用的播客App可太难了！ 先交伋下背景：安卓用户，播客重度爱好者，几乎只听中文播客。从接触播客至今换过n个app，最近在考虑做一个播客App。 3月更新：上线了..., African Arts, and NKA: Journal of Contemporary African Art. She is the recipient of numerous academic and scholarly awards, including a MacArthur Curatorial Fellowship in the Department of Modern and Contemporary Art at The Art Institute of Chicago. Barnwell, an alumna of Spelman College, completed her master’s and doctoral degrees in art history from Duke University.

The book’s contents are as follows:

• 好用的梯子ios
• Acknowledgements
• 最近有啥梯子好用
• 楼梯梯柱是否应该从上到下贯通呢 - 土木在线 - co188.com:2021-1-17 · 楼梯梯 柱是否应该从上到下贯通呢 土木在线 课程 资料 知道 商易宝 论坛 下载APP ... BIM专业软件 【ARCHICAD插件】很好用的楼梯栏杆插件—3DMD Polyline Rail Panel L 2021-12-19 14:04:50 0 ...
• Chapter Two—From New York to Los Angeles
• 家用梯子用什么材质好？家用梯选购这四点要注意 - 简书:家用梯子用什么材质好？家用梯选购这四点要注意 梯子是用于爬高的日常生活用具，很多时候梯子是我伊必须用到的工具。不同的情况要用不同的梯子，家用梯选购也是不能随便的，一定要选择合适的材质或类 …
• 靠谱的收费梯子
• Index

From the Foreword:

‘... [P]aramount in White’s search for art that was solid and permanent, art informing both himself and his public, was the seriousness with which he engaged in making art and showing its relevance to the human condition. This led him to anchor most of his works in patterns of realism. In realism he could pursue the narrative and avoid the untested ways of emerging modernism. While White never fully embraced the tenets of modernism, he did experiment with a modified form of cubism, moving his work in and out of a style uniquely adaptable to geometric abstraction. He needed neither tricks of the craft nor whimsical art formulas to articulate his consummate vision, the vision of the insider. During nearly five decades, works such as Native Son, The Worker, Preacher, and Woman Worker, all carefully crafted in style and form, revealed the heart and soul of his creativity in one of the strongest figural traditions in American Art.’

The book’s cover image was Ye Shall Inherit the Earth, 1953 (charcoal on paper, 39 x 26 in.) Courtesy ACA Galleries, New York.”

[The introduction to this series of posts is here.]

“In 1976 Charles White provided a drawn rendering of Leadbelly for the record that accompanied the eponymously titled biopic of the singer’s life, directed by Gordon Parks. This was not the first drawing of Leadbelly that White had produced. For that matter, White had produced a significant number of drawings of African American guitar players, signifying the extent to which White saw within African American music much that sustained and reflected the lives of his people. The drawing of Leadbelly on the record sleeve depicted a man sitting atop a pile of rocks (themselves evocative of the chain gang), strumming his guitar. Not surprisingly, given that the man – a prisoner wearing distinctive striped pants that were at one time regulation prison attire – is manacled at his bare feet, the guitar player carries a somewhat pained expression on his face.

Within the film itself, the life of legendary blues and folk singer Huddie Leadbetter, (nicknamed Leadbelly) is recounted. Much of the film is set within the context of Leadbelly’s life in prisons and the chain gangs that were such a dreaded aspect of incarceration. With Roger E. Mosely playing the part of Huddie Ledbetter, Parks’ film emerged alongside a significant number of the Blaxploitation films common at the time. Indeed, several years earlier, Parks was responsible for directing the defining film of the Blaxploitation era, Shaft, a 1971 American action-crime film which revolved around a private detective named John Shaft, who is hired by a Harlem mobster to rescue his daughter from the Italian gangsters who have kidnapped her.

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In its auction of February 17, 2009, Swann auction house, New York, offered for sale Study for Lead Belly, graphite and charcoal on vellum paper, circa 1978.”

“In 1975 Charles White provided a drawn rendering of the legendary folk hero, John Henry, for the cover of John Oliver Killens’ book A Man Ain't Nothing But a Man: The Adventures of John Henry (Boston, MA: Little, Brown, 1975). John Henry, the American super hero who was said to have engaged in a victorious struggle with a new-fangled steam drill, a struggle in which though victorious, cost John Henry his life.

The book was a colorful retelling of the story of John Henry, who was said to have worked as a steel-driving man — a man tasked with hammering a steel drill into rock to make holes for explosives to blast the rock, in constructing a railroad tunnel. According to legend, John Henry’s prowess as a steel-driver was measured in a race against a steam-powered hammer, a race that he won only to die in victory, with hammer in hand as his heart gave out. The story of John Henry is told in a classic folk song, which exists in many versions, and has been the subject of numerous stories, plays, books, and novels. This work by John Oliver Killens was one such work.

For his drawing, White rendered John Henry as a giant of man, full of determination, quiet confidence, strength and resolve. There was something of the heavyweight boxer about White’s depiction. Here was a man of destiny, who when called on, would, with efficiency, get the job done and bring down an adversary, at any cost. Arms folded, bare-chested, relaxed, pensive, this was truly a magnificent rendering of John Henry. Within his drawing, White utilised the distinctive partially obscured snatches of text that were, [for a time], such a feature of his work…. There was in White’s drawing, an evocation of the sledgehammer, looming large over the formidable physique of this historic folk hero.

The book jacket informed the reader that John Oliver Killens was ‘currently writer-in-residence at Howard University.’ The blurb continued, ‘Mr. Killens writes of John Henry: ‘Ahead of his time, John Henry saw before most men that man must control the machine or ultimately become its slave. This is the ultimate meaning of his life which he gave in the struggle against the machine.’

The credit on the jacket merely stated Jacket painting by Charles White.”

“[….] This particular issue [of Freedomways], Vol. 16, No. 1 Winter 1976 (First Quarter) carried on its cover a very recent lithograph by Charles White, The Prophet, 1975-1976, 27" x 36.5". The Prophet marked a new departure for White, in that it was a move away from the weighty social realism of his monochrome drawings. This particular issue of Freedomways was its 15th anniversary issue.”

“This particular issue of 好用的梯子软件推荐, Vol. 18, No. 1 Winter 1978 (First Quarter) carried on its cover a work by Charles White, dating from 1961. 好用的梯子ios was a drawing of a young African American woman, studying, her copious papers spread across the table at which she reads and learns. The work was charcoal and Wolff crayon on paperboard, its dimensions being 31 x 56 inches/78.7 x 142.2 cm. 

There were no further references to White beyond a cover credit of ‘Cover Art by Charles White,’ though the inside cover carried a full page advert for a limited edition folio of six Charles White reproductions, published by Freedomways.”

“In the wake of Charles White’s death [April 2, 1918 – October 3, 1979], there were a number of celebratory evaluations of his life and work that appeared in print. Not surprisingly, given White’s longstanding association with Freedomways journal, there was a special issue on White that was Volume 20, Number 3, 1980. If ever evidence were needed, not only of the unprecedented and unequaled status achieved by White as a portrayer of his people, but also of the unbounded love, respect and adulation he received, this was it.

The Contents pages attest to nature of the issue, packed as it was with heartfelt testimonials and reflections on what this great artist meant to so many different people.

• 宕昌好梯乡：三支突击队助推脱贫攻坚_来稿选登_中国甘肃网:2021-6-12 · 为全面打赢脱贫攻坚战，好梯乡抽调精兵强将组成“拆危治乱突击队”“房屋改造突击队”“档案资料突击队”，由乡党政主要领导担任队长，驻村领导担任副队长，驻村干部、帮扶工作队、村社干部担任队员，锁定工作目标、聚焦突出问题，狠下一条心、拧成一股绳，积极投身脱贫攻坚主战场 ...
• ‘First and foremost, an artist”—Edmund Gordon
• ‘The story of White’s art is the story of a struggle’—Peter Clothier
• ‘Charles White was a drawer’—Benny Andrews
• ‘He was at home creatively in any locale’—Eldzier Cortor
• ‘He will always be a Chicago artist to me’—Margaret G. Burroughs
• Charles White—Nikki Giovanni
• Charcoal Blues—Tom Feelings
• 物理一对一辅导哪里好?期末复习之物理实验知识点汇总 - 梯 ...:2021-6-6 · 初中实验是中考必考的一部分，今天老师为大家整理了初中阶段会考查的实验，收藏起来复习的时候看一看吧！实验步骤、操作、结论 力学 1 天平测质量【实验目的】用托盘天平
• 五步梯什么牌子好?主要是结实耐用。_土巴兔装修问答:2021-3-11 · 土巴兔装修问答平台为网友提供各种五步梯什么牌子好?主要是结实耐用。问题解答.我家买的是加厚的铝合金材质的奥鹏铝合金，我老公也是80多公斤的重，他踩在上面稳稳的，一点也不摇晃，已经用三年了，没有一点问题。所伍你问五步梯什么牌子好，我会告诉你奥...
• ‘He could make change in harmony with the demands of life’—Frances White
• ‘His influence caused me to turn out little Charles Whites’—John Biggers
• ‘His special gift for teaching...’—Richard Wyatt, Jr.
• To Our Colleague—Romare Bearden, Ernest Crichlow, Elton C. Fax, Jacob Lawrence, Hughie Lee Smith, Hale Woodruff
• ‘The impact of his art crossed the borders of North America’—Academy of the Arts, German Democratic Republic
• ‘He was an implacable critic of his own creations’—John Pittman
• "He took his art more seriously than he did himself’—John Oliver Killens
• Water~求一个电脑🖥️上好用的梯:2021-5-18 · 姐妹又好用的记得dd我 我怕到时候又忘了这个贴 姐妹又好用的记得dd我 我怕到时候又忘了这个贴 StarryNight OK！我先挨个试试 删除 | 赞 回应 来自 豆瓣App 不搞了 2021-05-17 19:23:03 白熊用起来还可伍，一个号可伍登录两个设备 ...
• ‘We are of the same sidewalks’—Lorraine Hansberry
• ‘We got the message and are grateful’—M. J. Hewitt
• ‘They loved him, the people did’—Lerone Bennett, Jr.
• A Charles White Bibliography—Ernest Kaiser and Benjamin Horowitiz
• Several pages of Greetings

With contributions from gallerists, fellow artists, editors, writers, collectors and other friends and professionals with whom White interacted, this issue of 好用的梯 was a truly remarkable document. With its contributions from luminaries and visionaries such as Edmund Gordon, Benny Andrews, Eldzier Cortor, Margaret G. Burroughs, Nikki Giovanni, Tom Feelings, John Biggers, Romare Bearden, Ernest Crichlow, Elton C. Fax, Jacob Lawrence, Hughie Lee Smith, Hale Woodruff, Harry Belafonte, Sidney Poitier, Lorraine Hansberry, and Lerone Bennett, Jr., this is as stellar a cast of contributors as could be imagined. Hansberry for example, was represented by a text originally published in 1961 as the Foreword to the catalogue of the ACA Gallery’s Charles White exhibition.

A selection of Charles White’s works appeared in a section of the magazine. A measure of just how talented White was can be ascertained from one of the reproductions, executed by White when he just 7 years old. The work in oil depicted a house, a tree set in a rural setting. The work had the appearance of having been produced by an artist significantly older than White’s 7 years. (A different work, by an equally young White, appeared in his book Images of Dignity (Ward Ritchie Press, 1967). That particular work, featuring a cabin, set in a forest clearing, with mountains in the background was truly a remarkably accomplished ink drawing.)

Ernest Kaiser and Benjamin Horowitiz’s Bibliography was an extraordinarily important section, offering as it did a comprehensive guide to material on White published up to the beginning of June 1980.

The cover of this Freedomways issue featured White’s Sound of Silence lithograph from 1978. Such work marked a new departure for White, in that it was a move away from the weighty social realism of his monochrome drawings.

The back inside back cover and back cover featured a photograph of White working on his Mary McLeod Bethune Mural, 1978 (Los Angeles Public Library, Exposition Park) and a portrait of White, respectively. A detail of the Mary McLeod Bethune Mural appeared in the inside front cover.”

“Shortly after Charles White’s death, his drawing Let's Walk Together, from the early 1950s, was used on the cover of a brochure by Ray O. Light. Ray O. Light (which may well have been a play on ray of light) was a producer of revolutionary material, espousing Marxism-Leninism. This pamphlet was titled The Founding of The Black United Front and Its Revolutionary Potential. Published in December 1980, the only reference to the artist was ‘Drawing by Charles White,’ which appeared below the drawing on the cover.

A sense of the politics espoused in the publication can be ascertained from its Table of Contents:

1. THE SIGNIFICANCE OF THE FOUNDING OF THE NATIONAL BLACK UNITED FRONT
2. SOME TASKS FOR MARXIST-LENINISTS IN THE BUILDING OF THE NATIONAL BLACK UNITED FRONT
3. 专升本有用吗 好考吗_学梯网:2021-6-12 · 专升本是很多人提升学历的方式，那么报考专升本文凭具体有哪些用处呢？考试难度怎么样呢？专升本文凭有用吗专升本考试还是较有难度的，获得专升本学历之后可伍参加各种资格证书的考试、司法考试、公务员考试、评审职称、在职研究生的考试，都是提升自己自身价值的敲门砖。
4. Presentation of the Problem
5. Marxist-Leninism Tasks on the Afro-American National Question in the Building of the National Black United Front
6. Marxism-Leninism vs. ’Left’ Adventurism and Bourgeois Nationalist Capitulation in Strategy and Tactics
7. Presentation of the Problem
8. Marxist-Leninism Tasks on Strategy and Tactics in the Building of the National Black United Front
9. 伸缩梯好还是折叠梯好_百度文库:伸缩梯和折叠梯的用途是不一样的，伸缩梯主要用在室内而折叠梯主要用于 工程当中。因此这两种梯子各有各的优缺点。消费者在购买的时候需要根据自己 的实际需求进行选择。下面，就为大家分享一下这两种梯子各自的优缺点，伍便 大家进行参考选择。
10. Presentation of the Problem
11. Tasks of the Marxist-Leninists in the Building of the National Black United Front Organization.”

“After his passing in 1979, Charles White’s images would still be used to illustrate record sleeves. To this end, the sleeve of a 1981 release, Love Byrd, by Donald Byrd and 125^th Street, N.Y.C., featured a work by White. The piece in question was Silent Song #2 (Nocturne), 1969, an etching on heavy cream wove paper, measuring 324 x 351 mm. On the sleeve notes, the illustration (here untitled) was credited to White, though no other details were given. Though Silent Song #2 (Nocturne) dated from 1969, beneath the bottom left corner of the image their appeared a small copyright symbol followed by 1961 Heritage Gallery. At the time of the release of Love Byrd, all bar a very small number of the records featuring illustrations by White had been released on the Vanguard label.

Musician Donald Byrd had been one of the stars and friends who participated in a celebration of White’s life and work, that took place shortly after his passing, at the Kinsey Auditorium of Los Angeles’ Museum of Science and Industry. Byrd and his band performed at the event.”

Please note: Our last two posts (9 and 10) in this series will be devoted to book jacket covers, largely of titles about White’s life and art, but some of books that treat subjects directly related to White’s moral and political values and commitments as those mesh with his well-considered aesthetic choices with regard to style and media. However, the end of this series does not mean the end of our concern with White’s life and art, which I will continue to discuss on occasion in light of my recent research.

[The introduction to this series of posts is here.]

“Charles White’s interactions with the editor and publisher John H. Johnson included providing a cover illustration for an issue of Black World journal, which along with 稳定付费梯子, was published by Johnson. A detail of a work by White, 好用便宜的梯子, charcoal, 1961, private collection was used on the cover of the July 1970 issue of Black World (Vol. XIX, No.9) though there was no credit to White or the work within the issue itself.”

“No one African American artist contributed more work to be used as illustrations for book jackets or record sleeves than Charles White. His extraordinary drawings, resonating as they did with incredible levels of sensitivity, empathy, creativity and technical skill, made White something of a go-to artist for a number of publishers. White’s work was used to illustrate the cover of Black History: A Reappraisal, edited with commentary by Melvin Drimmer - Doubleday & Co., Inc., Garden City, New York, 1968.

The 1960s and early 1970s saw an incredible range of books such as this one being published, responding as they did to the urgency and gravity of the times. Drimmer’s book consisted of essays from leading contemporary historians, journalists, and other contributors on Black history in the United States from its beginnings in colonial times to the late 1960s. This book presents the foremost interpretations of African Americans in American history, each prefaced by an analysis of the historical events surrounding the period covered. The book contains footnotes, bibliography, and an index. The book’s most highly distinguished contributor was W.E.B. Du Bois (incidentally, the book was published during the year marking the centenary of Du Bois’s birth, though the great man had died some five years earlier, in 1963. Other contributors included Basil Davidson, Benjamin Quarles, E. Franklin Frazier, John Hope Franklin, August Meier, E. David Cronon, and Eric Lincoln. Such contributors had distinguished themselves over the course of their careers to furthering and disseminating research and scholarship on Black History, making the book a most impressive undertaking. Du Bois provided a Prologue ‘Of Our Spiritual Strivings.’ which was followed by six sections: Africa and the Beginnings, Slavery Takes Root in the Americas, The Negro Response, The Struggle for Freedom, Patterns of Negro Life and Thought, 1880-1930, and finally, Toward a Second Reconstruction, 1933 -  . This final section underlined the magnitude and gravity of the moment, in that the present-day period was framed as having started in the early 1930s, and was ongoing. It was, additionally and for good measure, cast as a ‘Second Reconstruction.’ The jacket illustration was UHURU, Chinese Ink, 1964.”

“Charles White interacted with Freedomways journal more than any other publication. His work appeared on the covers of the journal on many occasions. It was the leading African-American theoretical, political and cultural journal of the 1960s–1980s, having been published between 1961 and 1985. Freedomways (which represented itself as ‘A Quarterly Review of the Negro Freedom Movement’) remained unsurpassed in its embrace of, and attention to, African, African American and African Diasporic subjects. Each issue of Freedomways amounted to a treasure trove of texts and features, written by a distinguished range of scholars, academics, artists and writers.

This particular issue Vol. 8, No. 1, Winter 1968 (First Quarter) carried on its cover a Charles White drawing (possibly a lithograph) of Nat Turner, dated ’50.’ The drawing/lithograph related to a feature in the issue – ‘William Styron’s Dilemma – on The Confessions of Nat Turner,’ written by Loyle Hairston. Styron’s acclaimed 1967 Pulitzer Prize-winning novel presented as a first-person narrative the historical figure of Nat Turner, who led a slave revolt in Virginia in 1831.

White’s rendering of Nat Turner was first used on a 1950 poster for Nat Turner, a play in three acts, written in 1940 by playwright Paul Peters. This play, which opened in late 1950 in New York City, was an imaginative retelling of the story of Turner and his insurrection.”

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This drawing of Robeson was used on the cover of Salute to Paul Robeson: A Cultural Celebration of His 75th Birthday. The book was, as its title indicated, published on the occasion of Robeson's 75th birthday, in 1973. The book was part pictorial biography, part celebration of Robeson’s life and work, part compendium of accolades, part decade-by-decade visual and written narrative of Robeson’s 20th century, from the 1920s through to the 1960s. Also included were extracts on writings about and by Robeson.

Robeson was truly a global personality, who was a world citizen as much as he was a US citizen. Nowhere in Salute to Paul Robeson: A Cultural Celebration of His 75th Birthday was this more evident than in the ‘Birthday Greetings to Paul Robeson’ section, which included fulsome greetings and salutations from figures such Indira Gandhi, Prime Minister of India, Julius K. Nyerere, President of Tanzania, Michael Manley, Prime Minister of Jamaica, Imamu Amiri Baraka, Chairman, Congress of Afrikan People, and Arthur Ashe. This attractive publication was published by the Paul Robeson Archives, Inc.”

This particular issue Vol. 10, No. 2 (Second Quarter) 1970, carried on its cover a detail of one of Charles White’s legendary drawings from his ‘Wanted’ series. The credit on the Contents page read, ‘The cover drawing by Charles White is from his Wanted Poster Series recently exhibited in New York City. A new portfolio of six in the series will soon be available from FREEDOMWAYS.’”

“Charles White interacted with Freedomways journal more than any other publication. His work appeared on the covers of the journal on many occasions. It was the leading African-American theoretical, political and cultural journal of the 1960s–1980s, having been published between 1961 and 1985. Freedomways, which by 1970 represented itself as ‘A Quarterly Review of the Freedom Movement’ (The word ‘Negro’ by now having been dropped from its masthead) remained unsurpassed in its embrace of, and attention to, African, African American and African Diasporic subjects. Each issue of Freedomways amounted to a treasure trove of texts and features, written by a distinguished range of scholars, academics, artists and writers.

This particular issue Vol. 12, No. 1 (First Quarter) 1972, carried on its cover a reproduction of one of Charles White’s legendary drawings from his J’稳定付费梯子! series. The credit on the cover read, ‘Cover Art by Charles White.’ The work in question was J’Accuse! No. 2, 1966.”

“In the mid-1970s, Charles White undertook a most demanding, original and dynamic collaboration, with the writer and editor Lerone Bennett, Jr. The Shaping of Black America (Chicago, IL: Johnson Publishing Co., 1975) was a very handsome publication, featuring copious illustrations by Charles White, including the very distinctive cover. From the flyleaf of the book’s jacket:

The Shaping of Black America is, in the author’s words, ‘a historical reconstruction,’ of the history of black people in the United States, since the famous landing of the 20 blacks at Jamestown in 1619. This book covers virtually the same ground encompassed in the author’s classic Before the Mayflower, published originally in 1962. The difference is in the approach. [….]

The book is developed around the body of thought presented in the concept that Bennett first expressed in The Challenge of Blackness (Chicago, IL: Johnson Publishing Co., 1972): 39, that ‘blacks lived in a different time and a different reality in this country.’ White provided 11 full page illustrations ‘rendered in monochromatic oil on boards.’ Titles included, ‘The First Generation,’ ‘The Black Founding Fathers [Paul Cuffee, Richard Allen],’ ‘The World of the Slave [Harriet Tubman],’ and ‘The Black Worker.’ This was a substantial publication, which demonstrated the ways in which White was equal to any task, when it came to illustrating the Black experience, and rendering Black-figures from history, with sensitivity, creativity and depth. A portrait of Bennett and White, discussing their collaboration, adorned the back cover of The Shaping of Black America.”

“Charles White interacted with Freedomways journal more than any other publication. His work appeared on the covers of the journal on many occasions. It was the leading African-American theoretical, political and cultural journal of the 1960s–1980s, having been published between 1961 and 1985. Freedomways, which by 1970 represented itself as ‘A Quarterly Review of the Freedom Movement’ (The word ‘Negro’by now having been dropped from its masthead) remained unsurpassed in its embrace of, and attention to, African, African American and African Diasporic subjects. Each issue of Freedomways amounted to a treasure trove of texts and features, written by a distinguished range of scholars, academics, artists and writers.

This particular issue Vol. 12, No. 1 (First Quarter) 1972, carried on its cover a reproduction of one of Charles White’s legendary drawings from his J'Accuse! series. The credit on the cover read, ‘Cover Art by Charles White.’ The work in question was J'Accuse! No. 2, 1966.” 

[The introduction to this series of posts is here.]

I like to think that my work has a universality to it. I deal with love, hope, courage, freedom, dignity—the full gamut of human spirit. When I work, though, I think of my own people. That’s only natural. However, my philosophy doesn’t exclude any nation or race of people. — Charles White

“In 1961 Charles White provided a drawing for the cover of the Communist-leaning Mainstream magazine, Vol. 14, No. 2, February 1961. This was the magazine’s Negro History Week 1961 special issue. The drawing was Lift Every Voice (no date recorded in the magazine), named after Lift Every Voice and Sing – the iconic song known for many years as the Negro National Anthem. It was a song written as a poem by James Weldon Johnson (1871–1938) in 1900 and several years later, set to music by his brother John Rosamond Johnson (1873–1954). Mainstream magazine was published monthly by Masses & Mainstream, Inc.”

“For its August 1966 special issue on The Negro Woman, Ebony magazine used on its cover Charles White’s memorable circular charcoal drawing depicting the faces of several African-American women, titled J'Accuse! No. 10 (Negro Woman). Unsurprisingly, given the history of the image’s use, the work was formerly in the private collection of John H. Johnson of Johnson Publishing Co., Chicago. As publisher of Ebony magazine, it was a page-long statement penned by John H. Johnson that introduced the special issue (p. 25). 好用的梯子! No. 10 (Negro Woman) was illustrated in Benjamin Horowitz’s, Images of Dignity: The Drawings of Charles White: 116.

J'Accuse! No. 10 (Negro Woman) referenced the famous title of the influential French novelist, playwright, journalist and writer Émile Zola’s article against anti-Semitism in the Dreyfus Affair (in English: ‘I accuse ...!’). Zola’s open letter was published on 13 January 1898 in the newspaper L'Aurore, and it was an astute editor, with a flair for the dramatic, who gave the piece its legendary title.  J'Accuse! addressed French President Félix Faure and accused his government of anti-Semitism, which Zola alleged was demonstrated by the unlawful jailing of Alfred Dreyfus, a Jewish officer in the French Army, who was sentenced to lifelong penal servitude for espionage. Zola’s letter gave voice to the belief that the charges against Dreyfus lacked credibility, was characterised by judicial errors and the conspicuous absence of compelling evidence. 好用的梯子软件推荐! was printed on the front page of the newspaper (The Dawn) and caused a sensation.

… [With] his accusatory letter Zola put anti-Semitism (and allegations of its use by the French state) in the dock, [while] White himself, in the series of J'Accuse! drawings, leveled at the state and society accusations of racism, discrimination, oppression and willful abuse against African Americans. White … unambiguously portrayed African Americans as dignified survivors of racism, rather than merely victims of racism. 好用的梯子 知乎! No. 10 (Negro Woman) was in this regard, a typical work, in that it depicted a range of women who were proud, resilient and strong, and above all, resonated with humanity. 好用的梯子软件推荐magazine’s special issue drew attention to the particular historical and contemporary challenges facing ‘The Negro Woman.’ Reflective of the ongoing struggle for equality and civil rights, it described how African-American women in the mid-1960s were beginning to defy the female roles and stereotypes of the era. The first section of the Ebony feature depicted six women across the country, excelling in their respective professions as Newspaper Editor, Nutrition Expert, Computer Systems Expert, Finishing Plant Manager, Tax Account Specialist, and Employment Coordinator. Other texts included ‘Builders of a New South,’ ‘The Long Thrust Toward Economic Equality,’ ‘The Angels of Saigon’ (about two African American nurses treating wounded GIs of the Viet Nam conflict), and ‘A Despised Minority’ (about the ways in which ‘[u]nwed mothers are targets of abuse from a harsh society’).

The Contents page had the following reference to White’s cover: ‘COVER: The Negro Woman, subject of this special issue, has been characterized by artist Charles White in a series of melancholy, yet proud female faces. Internationally famous for his apt portrayal of earthy Negro women, White was the logical choice for illustrating the cover of this issue dedicated to his favorite artistic subject. Today, his original works can be found in galleries, art museums and in homes of many leading entertainers. Countless inexpensive prints of them are displayed wherever there are lovers of Negro art.’

There were at least 18 works in White’s J'Accuse! series, with 12 of them being reproduced in Images of Dignity: The Drawings of Charles White (Ward Ritchie Press, 1967).”

“Charles White interacted with Freedomways journal more than any other publication. His work appeared on the covers of the journal on many occasions. It was the leading African-American theoretical, political and cultural journal of the 1960s–1980s, having been published between 1961 and 1985. 好用的梯子ios, which by 1970 represented itself as ‘A Quarterly Review of the Freedom Movement’ (The word ‘Negro’ by now having been dropped from its masthead) remained unsurpassed in its embrace of, and attention to, African, African American and African Diasporic subjects. Each issue of Freedomways amounted to a treasure trove of texts and features, written by a distinguished range of scholars, academics, artists and writers.

This particular issue Vol. 6, No. 1 (First Quarter) 1966 was published … [with a] detail of Nocturne, a charcoal drawing dating from 1960. When it was reproduced in Charles White’s Images of Dignity (Ward Ritchie Press, 1967) the accompanying credit declared the drawing to be in the ‘Collection of the Estate of Lorraine Hansberry.’

This issue of Freedomways contained four drawings by White, noted as follows: ’Cover drawings by the well-known Negro artist, Charles White... Front Cover: 好用的梯子ios, Back Cover: I Had a  Dream, Inside Front: Birmingham Totem Pole, Inside Back: Juba.’”

“Charles White’s commitment to African American history and culture was consistently reflected in his record sleeve and book jacket illustrations. Typical in this regard were his illustrations for Philip Sterling and Rayford Logan’s Four Took Freedom: The Lives of Harriet Tubman, 好用的梯子软件, Robert Smalls, and Blanche K. Bruce. The book was published by Zenith Books in 1967. [I]t was aimed at a juvenile readership, and this particular copy was formerly the property of Watkins Mill Elementary Center. The cover featured portraits by White of the four who took freedom, and the book itself was liberally illustrated with White’s renderings of various scenes from the lives of Tubman, Douglass, Smalls, and Bruce. While the cover portraits (versions of which also appeared at the beginning of each respective section), White’s other illustrations in the book are looser, freer, particularly creative and graphically innovative.”

“Charles White’s commitment to African American history and culture was consistently reflected in his record sleeve and book jacket illustrations. Typical in this regard was his cover and frontispiece illustration for A Layman’s Guide to Negro History, compiled and edited Erwin A. Salk. The publication used on its cover a reproduction of General Moses: A study of 19th Century Heroine Harriet Tubman, by Charles White, from the Golden State Mutual Negro Art Collection, Los Angeles, California.

The book was ‘The first comprehensive bibliography of books and teaching aids, plus listings of major events and personalities in the United States.’ The above, from the cover of A Layman’s 稳定付费梯子, was embellished by an endorsement from no less a figure than the Reverend Dr. Martin Luther King, ‘An outstanding compilation ... few contributions will be so significant to teachers, students, pastors and movement leaders.’ The book was published in 1966 by Quadrangle Books, Chicago.”

“Charles White interacted with Freedomways journal more than any other publication. His work appeared on the covers of the journal on many occasions. It was the leading African-American theoretical, political and cultural journal of the 1960s–1980s, having been published between 1961 and 1985. 好用的梯子软件 (which represented itself as ‘A Quarterly Review of the Negro Freedom Movement’) remained unsurpassed in its embrace of, and attention to, African, African American and African Diasporic subjects. Each issue of Freedomways amounted to a treasure trove of texts and features, written by a distinguished range of scholars, academics, artists and writers.

This particular issue Vol. 9, No. 2 Spring 1969 (Second Quarter), carried on its cover a Charles White drawing, ‘The Wall.’ From the inside cover of the issue: ‘Cover: “The Wall” by Charles White, is reproduced from a new folio by the world-renowned artist. To order from FREEDOMWAYS see back cover for details.’”

“The June 1967 issue of Negro Digest carried a feature promoting the recently released Charles White book, Images of Dignity. A drawing from the book, Work (depicting a young African American worker), 1953. Wolff crayon and charcoal on illustration board, 44 × 28″ (111.8 × 71.1 cm) appeared on the cover. This was a nine-page feature, running from page 40 – 48. The uncredited piece was introduced as follows: A new book about the life and work of America’s most popular Black artist provides a dramatic illustration of his success, which lies in his never-wavering concern for the humanity and suffering of his people.

Interspersed among the eight drawings reproduced in the feature was a text introducing White and summarizing the book. The piece began, ‘Of the two best known Black artists in America – Charles White and Jacob Lawrence – Charles White is by far the most popular. It might even be said that Charles White is to painting and drawing what Langston Hughes is to literature: both men direct their art to primal human concerns, to the simple problems and pleasures, the ordinary joys and sorrows of the long journey from the cradle to the grave.

In his successful career as a full-time painter, White, like Hughes, has found favour and support among the Black people who are his subjects. More affluent collectors like Harry     Belafonte and Eartha Kitt own one or more original works by White, but thousands of ordinary people all over the country have for many years coveted the modestly-priced reproductions which have been made available in art shops and book stores.’

Elsewhere the text states that ‘The artist… is part Creek Indian,’ and that ‘during the late Thirties and Early Forties … [White] met and became friend or associate of a number of talented Black people who were to make an impact on the cultural life of the nation. Among these were Gordon Parks, Katherine Dunham, Gwendolyn Brooks, E. Sims Campbell, Richard Wright, Margaret Walker, Theodore Ward and Willard Motley.’”

[The introduction to this series of posts is here.]

“In the mid-1950s (the exact year is not specified on the recording), Charles White provided an illustration for the cover of Urbie Green and his band. The record was released on the Vanguard label (in the UK, PPT 12021). Again, it was a 10” mono recording. The cover of Urbie Green and his band featured a drawing of a trombone player, the trombone being Green’s instrument. The drawing was signed by Charles White and dated ’54.’ There were no further references to White in the notes on the back of the record cover.”

“In 1958 the Vanguard record label re-released Brother John Sellers Sings Blues and Folk Songs. The sleeve of the reissued record carried the same drawing by Charles White, though on this occasion, the red colouring of the singer’s shirt was removed, the background instead becoming a shade of red, and the sleeve carrying other typographic and text changes. The text on the back of the sleeve had also changed. The opening paragraph of the now uncredited sleeve notes read:

‘Brother John Sellers was born a little over thirty years ago in Clarksdale, Mississippi. As a child he sang gospel songs in the Church of God in Christ, the members of which traditionally address each other as “brother” and “sister.” Mississippi has one of the largest Negro populations of any state, and most of this population lives under conditions of extreme hardship and poverty. This life is reflected in the music, and Mississippi is one of the richest centres of folk music of the Negro people. The music is full of poignance, but also found in its strength, dignity and love of life. It takes many forms: gospel or church songs, spirituals, children’s game songs, traditional story ballads, blues or a solo, improvised “minstrel” music. Much of this music infused jazz, as it developed. But to those who knew and felt its origins, and understood its styles, these strands of music were not to be lightly confused with one another. Gospel songs and spirituals were a serious and sacred music. Blues and ballads were a different music, secular, sometimes “sinful.” Jazz was something else again, a music often using the blues, but with a different beat, born in the cities rather than in the countryside where the blues had arisen. It is not surprising that some of the greatest Negro folk singers were Mississippi born, like the blues singer Big Bill Broonzy. All this music was familiar to John Sellers from childhood.’

The 1958 re-released Brother John Sellers Sings Blues and Folk Songs (VRS 9036) contained a greater number of songs than its previous version, with nine songs being added. This time, the sleeve notes included ‘Cover drawing by Charles White,’ and the drawing itself carried a Charles White signature in the lower right corner of the sleeve. “

“In 1955, Charles White provided an illustration for the cover of Jimmy Rushing sings the blues. The record was released on the Vanguard label as part of its ‎Vanguard Jazz Showcase – AVRS-7005. Again, it was a 10” mono recording. Jimmy Rushing (1901– 1972) was an American blues and jazz singer who had worked closely with Count Basie’s Orchestra from the mid-1930s to mid-1940s. The cover of Jimmy Rushing sings the blues featured a drawing of two guitar-carrying musicians. The original drawing for the record cover, ‘Jazz - Jimmy Rushing Sings the Blues,’ a pen and ink work, 34” x 24,” dating from 1955, was, nearly three decades later, offered for sale by Heritage Gallery, Los Angeles.

The album notes contained the following: ‘ABOUT THE COVER--The drawing on the cover is one of a series commissioned by Vanguard from the distinguished artist, Charles White. Mr. White’s work is represented in the Whitney Museum, Library of Congress, and other famous collections. In 1952 he won an Academy of Arts and Letters award and a national prize in the Metropolitan Museum of Art competition in New York. The drawing does not portray any of the performers on this record, but attempts to capture the human experiences out of which the blues arose.’ A version of this text was reproduced on a number of the Vanguard sleeves that Charles White illustrated.”

“In 1954, Charles White provided an illustration for the cover of Buck Meets Ruby. (Ruby Draff, trumpet and Buck Clayton, trumpet). The record was released with several different coloured covers, featuring the same drawing by Charles White. Another record of the same name, featuring a different selection of tracks, again featured the same drawing by White. This record was released on the Vanguard label as part of its ‎Vanguard Jazz Showcase – AVRS-7002-X. Again, this was a 10” recording. The cover featured a drawing of two trumpet players.

The album notes contained the following: ‘ABOUT THE COVER—The drawing on the cover is one of a series commissioned by Vanguard Recording Society, Inc., from the distinguished artist, Charles White. Mr. White won an Academy of Arts and Letters award in 1952, and, that same year, a National Prize of the Metropolitan Museum of Art in New York. His work is represented in the Whitney Museum, Library of Congress, and other famous collections. The drawing does not portray any of the actual performers on this session, but rather reveals the human experiences out of which jazz comes, in this case symbolizing the young student of the horn and the old veteran.’ A version of this text was reproduced on a number of the Vanguard sleeves that Charles White illustrated.” 

“In 1965 Charles White provided one of his drawings for the sleeve of an RCA Victor Red Seal recording. [Morton] Gould: Spirituals for Orchestra / [Aaron] Copland: Dance Symphony, directed by Chicago Symphony Orchestra with Morton Gould conducting. The circular drawing used was made in 1965. A feature on White, that appeared in Negro Digest, June 1967, included the drawing, on page 47, with the following accompanying text: J’Accuse! No. 14, 1965, done in charcoal, Collection of Heritage Gallery (The drawing was nominated for an award by the National Academy of Recording Arts and sciences in 1966. It is also called ‘Spirituals’).”

“In 1961 Folkways Records released a unique recording—W.E.B. DuBois—a recorded autobiography/ interviewed by Moses Asch. The grand old man of African American politics of the 20th century was, by 1961, in his early 90s, so this was a very special undertaking. The record sleeve used Charles White’s distinctive portrait of DuBois, which had been previously appeared in print, in 1951, in a small pamphlet, entitled 好用的梯子软件推荐.”

[The introduction to this series of posts is here.]

“During the 1950s Charles White began a notably fertile period as an artist whose work appeared on records of the Vanguard label. Vanguard was a particularly innovative record label, founded in 1949 by Seymour Solomon and his younger brother Maynard Solomon in New York City. The label grew to become one of America’s leading independent labels. Charles White supplied drawings and illustrations for a number of Vanguard records, for the most part with 10 inch sleeves. Many of these were jazz recordings, but in one or two instances his illustrations were used for other types of recordings.

In 1954, Charles White provided an illustration for the cover of the eponymously titled Sir Charles Thompson Trio. The record was released on the Vanguard label as part of its ‎Vanguard Jazz Showcase – AVRS-7008-X. Again, it was a 10” mono recording. Sir Charles Thompson (1918 – 2016) was an American swing and bebop pianist, organist, composer, and arranger. The cover of Sir Charles Thompson Trio featured a drawing of a pianist. The drawing was not signed by White and neither did the record sleeve contain any references to him.”

“In 1955, Charles White provided an illustration for the cover of another eponymously titled release by the Sir Charles Thompson Trio. The record was released on the Vanguard label as part of its ‎Vanguard Jazz Showcase – VRS-8018. Again, it was a 10” mono recording. Sir Charles Thompson (1918 – 2016) was an American swing and bebop pianist, organist, composer, and arranger. White’s drawing for this album was of a pair of hands, touching, with sensitivity and purpose, the keys of a piano. The hands took up pretty much the whole of the record cover and as such, accentuated an understanding that a pianist’s skills lay for the most part in her or his hands and fingers. This was an exquisite drawing which was somehow able to communicate a sense that a passage was being played which required attention, focus and care. There was an otherworldly dimension to the image, as it appeared as if the pianist (whose disembodied hands played with such delicacy and intent) was submerged in water, as was the piano being played. It was thus possible to read White’s illustrations such as this as distinctly interpretive. 

The notes on the back of the sleeve included ‘The drawing on the cover is by the distinguished artist Charles White, winner of several national awards, whose work is represented in the Whitney Museum in New York, Library of Congress, and other famous collections.’”

“In 1955, Charles White provided an illustration for the cover of a jazz recording by the Sam Most Sextet, the record being released on the Vanguard label as PPT 12009. Again, it was a 10” mono recording. It was perhaps White’s determination to portray his people that led him to a highly original approach to the sleeve he created for Vanguard’s mid-50s releases of music by Sam Most, then a young American jazz flautist, clarinetist and tenor saxophonist. Most was white and it was perhaps this consideration that lead White to provide his commissioners with a drawing of a pair of disembodied Black hands, playing a flute. Slightly angled, the top and bottom of the flute extended beyond the top and bottom of the sleeve, with a hand on the instrument, in both of the sections of the cover. In this version of the recording by the Sam Most Sextet, the imagery of the disembodied black hands playing a flute was duplicated, the two instruments crossing to create a dramatic V shape.

[From the notes on the back sleeve:] ‘The drawing on the cover is what photographers would call a ‘perspective’ and ‘angle shot’ of a flute and the player’s hands, as expanded and recreated in the unique technique of the distinguished artist Charles White. Mr. White’s work is represented in the Whitney Museum in New York, the Library of Congress, and his previous drawings for the Vanguard Jazz Showcase series have been on public display.’”

“In 1954, Charles White provided an illustration for the cover of folk singer Brother John Sellers’ recording Jack of Diamonds. The record was released on the Vanguard label as part of its ‎Vanguard Jazz Showcase – VRS-7022. Again, it was a 10” mono recording. The record sleeve stated ‘Cover drawings (sic) by Charles White.’”

“In 1955, Charles White provided an illustration for the cover of 2 Part Inventions in Jazz, a two-volume issue. The record illustrated here was an Austrian release, Vol. 1, on the Vanguard label as part of its ‎Vanguard Jazz Showcase – AVRS-7009-X. Again, these were 10” recordings. The cover featured two drawings by White, one of a piano player (Ellis Larkins’ instrument) and the other of a trumpet player (Ruby Braff’s instrument). The drawings had each been used on other Vanguard record sleeves, but for 2 Part Inventions in Jazz had been montaged together. There were no references to White on the back of the sleeve.”

“In 1954 Vanguard released Alexander Nevsky (VRS 451)– a cantana (a medium-length narrative piece of music for voices with instrumental accompaniment, typically with solos, chorus, and orchestra), an opus by Russian composer Sergei Prokofiev (1891–1953), Alexander Nevsky was a revered 13th century Russian leader (1219-1263), prince of Novgorod and then grand prince of Vladimir. He was an outstanding military leader and statesman who earned his surname from a victory over the Swedes at the Neva River. Sung in Russian, the music was performed by the Vienna State Opera Orchestra and Chorus, conducted by Mario Rossi. Ana Maria Iriarte was mezzo soprano. The record cover featured a montage, part of which was a rendering of Nevsky drawn by Charles White and dated ’54.’ Though the gatefold sleeve contained extensive notes when opened up, there was nothing about Charles White.”

“Perhaps the most unusual sleeve commissioned from White was the one he produced for Sandhog, a folk opera devised and executed by Earl Robinson, singer and pianist, and Waldo Salt, narrator. Miscellany notes by I S Horowitz, in the 好用的梯子软件 magazine of February 26, 1955, noted that, ‘Vanguard Records will soon cut its first L.P. in a new series of show albums. The initial set will be a “special composers’ performance” of “Sandhog,” with Earl Robinson and Waldo Salt featured. The work was recently introduced in New York.’ (I.S. Horowitz, ‘Liner Notes,’  Billboard magazine, February 26, 1955: 38.) A Sandhog was the informal term traditionally given to miners, and those construction workers toiling underground on excavation projects in cities such as New York. Sand was the brainchild of Robinson and Salt. Both were blacklisted (on account of their apparent or perceived left-leaning sympathies) during the McCarthy era, during which time hundreds of Americans, many of whom were artists, writers or otherwise involved in the creative industries, were accused of being communists or communist sympathizers and became the focus of aggressive investigations and questioning before government or private industry panels, committees and agencies. It was as a consequence of this targeting that figures such as Salt and Robinson came to be blacklisted. (Charles White’s own left-leaning impulses and his art work that reflected these impulses were chronicled in Mary Helen Washington’s The Other Blacklist: The African American Literary and Cultural Left of the 1950s [Columbia University Press, 2014] and Artists on the Left: American Artists and the Communist Movement, 1926-1956, by Andrew Hemingway [Yale University Press, 2002]….)

五步梯什么牌子好?主要是结实耐用。_土巴兔装修问答:2021-3-11 · 土巴兔装修问答平台为网友提供各种五步梯什么牌子好?主要是结实耐用。问题解答.我家买的是加厚的铝合金材质的奥鹏铝合金，我老公也是80多公斤的重，他踩在上面稳稳的，一点也不摇晃，已经用三年了，没有一点问题。所伍你问五步梯什么牌子好，我会告诉你奥...

The record was likely to have been released circa 1956, the only references to White on the sleeve being his signature on the drawing, located below the right-sided wrist of the sandhog. The signature was appended with ’56.” “Recorded in 1953, Vanguard Jazz Showcase released Vic Dickenson Septet, a four-volume set of records. Charles White provided an illustration that was used on the four covers. The drawing of an African American trombone player (the trombone being Dickenson’s instrument) was signed ‘Charles White ’55.’ This was Volume 4 [VRS 8013] and featured a blue background. This colour coding differentiated each of the four records. There were references to White in the notes on the back of the record cover, as follows: ‘The drawing on the cover is one of a series commissioned by Vanguard Recording Society, Inc., from the distinguished artist, Charles White. Mr. White won an Academy of Arts and Letters award in 1952, and, that same year, a National Prize of the Metropolitan Museum of Art in New York. His work is represented in the Whitney Museum, Library of Congress, and other famous collections.’ A version of this text was reproduced on a number of the Vanguard sleeves that Charles White illustrated.”

折叠梯好用吗？:2021-6-12 · 选择折叠梯要考虑的2个因素 竹节伸缩梯的基本特点及注意事项 使用人字梯进行高空作业需要注意哪些事项？铝合金伸缩梯哪家好？怎么选购 在选购铝合金梯子时需要进行哪些检查工作呢？如何选择好用的家用折叠梯？在使用可折叠梯子时要注意哪些事项？

[The introduction to this series of posts is here.]

“In 1951, one of Charles White’s iconic pen and ink drawings, executed in 1949, was used on the cover of a publication celebrating Negro History Week. The drawing in question was ‘Frederick Douglass Lives Again (The Ghost of Frederick Douglass).’ The publication was ‘Prepared by EDUCATIONAL DEPARTMENT NEW YORK STATE COMMUNIST PARTY' and was ‘Dedicated to THE STRUGGLE FOR NEGRO LIBERATION.’ White was at the time in his early 30s and in a period in which his work was widely used in publications associated with the Communist Party. Though Douglass had died towards the close of the 19th century, he remained a giant of African American struggle and in this mi -20th century escalation of the civil rights struggle, it was no surprise that White should use this rendering of Douglass to such dramatic and emphatic effect in the drawing. In ‘Frederick Douglass Lives Again (The Ghost of Frederick Douglass),’ the titan was depicted pulling aside barbed wire fencing and pointing in the direction of progress and liberation. Several of the African Americans depicted as responding to Douglass’s stirring and rousing intervention were those holding aloft symbols of progress through education and learning. Elsewhere in the publication, on page 14, there was a ‘Drawing of the Trenton Six by the distinguished Negro artist, Charles White.’”

“This particular illustration on the cover of the January 1951 issue, was a portrait of William L. Patterson. It is a striking, dignified portrait of the personality, in determined mood, with a visionary expression. Patterson was a member of the Communist Party USA from 1926 to 1929 and transferred his membership to the Communist Party of the Soviet Union from 1929 to 1936. When he was appointed to the Central Committee of the American Communist Party, he resumed his membership in it. He was a delegate to the Sixth Congress of the Communist International in 1928 and to the Tenth Plenum of the Executive of the Comintern in 1930. He also served as an official of the Red International of Labor Unions and as a representative of the Communist International in France.

A feature on Patterson, ‘William L. Patterson: Militant Leader,’ written by Michael Gold, appeared in the following month’s issue of Masses & Mainstream, February 1951, Volume 4, No. 2: 34 - 43.”

[See too, Gerald Horne, Black Revolutionary: William Patterson and the Globalization of the African American Freedom Struggle. Urbana, IL: University of Illinois Press, 2013.]

Introduction

This is the first in a number of forthcoming posts on the work of Charles White that I found at a website (permission granted) maintained by Professor Edward (‘Eddie’) Chambers, Art History and African Diaspora Art, Department of Art and Art History, University of Texas at Austin. These works of art “reflect[ ] the artist’s prolific work as an illustrator of book jackets, record sleeves, and other published/printed material.” Professor Chambers quotes the poet Nikki Giovanni on this score: “Charles White and his art were introduced to me through magazines and books—that’s why I love them.” Later I will post items found in exhibitions and catalogues and more directly related to my ongoing reading and research on White’s life and art (this is the second in the larger series on same, hence the parenthetical ‘2’ in the title). Quoted material is from Professor Chambers and any bracketed remarks that appear on occasion are from yours truly.

“NEGRO: U.S.A: 买房几梯几户好？边套和中间套该怎么选？ - 知乎:2021-7-11 · 买房的时候，很多人其实是懵的， 对买房的过程一无所知，尤其现在大多数房子都是期房，看样板间的时候总是各种完美，等到真正交房入住的时候各种各样的问题都跑出来， 但那时已经太晚了。毕竟房子不像衣服那样，不…, was a set of prints issued by The Workshop of Graphic Art, 106 East 14th Street, New York City, around the end of the 1940s - beginning of the 1950s. The folio was issued as Workshop Prints No. 2, The Graphic Workshop and included work by:

• Leonard Baskin
• Roy DeCarava
• Antonio Frasconi
• Robert Gwathmey
• Bud Handelsman
• Charles Keller
• Louise Krueger
• Jacob Landau
• Al Lass
• Jacob Lawrence
• Jerry Martin
• 靠谱的收费梯子
• Jim Schlecker
• Edward Walsh
• Charles White

电动爬梯轮椅哪个牌子的好用_康爱多网上药店:2021-9-9 · 目前，很多高楼大厦吸引人群入住，但是却没有考虑到老年人或残疾人需要轮椅助行，高楼层没有电梯的话，对于他伊外出很不方便。于此，科技创新了一种新款式轮椅--电动爬楼轮椅。那么，电动爬梯轮椅哪个牌子的好用?

“Masses & Mainstream, was a New York-based journal, published from 1948 to 1963, and was an American Marxist monthly publication. It resulted from a merger between 速度快稳定的梯子, which ceased publication in January 1948, and 好用的梯子, a Communist cultural quarterly established the previous year. Charles White contributed illustrations to a number of the covers of Masses & Mainstream and the journal published a set of White’s prints in 1953.

The cover of Masses & Mainstream’s February 1951 (Volume 4, Number 2) dedicated to Negro History Week 1951, featured a print by White. There were two further prints by White in the issue, though none of them were accompanied by credits. The contents page stated ‘Drawings by Charles White’….”

Charles White, Mother and Child, 1953

“Black Lives Matter” could be said to have been the motivating proposition behind the art of the black artist 好用便宜的梯子 (April 2, 1918 – October 3, 1979), whose choice of media included drawings, easel paintings, lithographs, and murals. He was a master of portraiture and aptly described as “one of the nation’s most skillful draftsmen,” committed to a style of social realism suffused with spiritual, ethical, and political values, while largely eschewing styles of art in vogue during his adult lifetime. Among the artistic influences on his art we note Mexican and African American muralism, while speculating about the possible impact on his aesthetic sensibilities from the fact that his first wife was Elizabeth Catlett (April 15, 1915 – April 2, 2012). I hope to occasionally post more on White’s life and art over the next several months.   

The following is from an oral history transcript is the result of a tape-recorded interview with Charles Wilbert White on March 9, 1965. The interview was conducted at the Heritage Gallery in Los Angeles, California by Betty Lochrie Hoag for the Archives of American Art, Smithsonian Institution. The “interview conducted as part of the Archives of American Art’s New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government’s art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.”

“… [B]ooks had been my second greatest passion in life. And by the time I got into high school I’d read all the books of Jack London. I had read Mark Twain, all of his works. I was going to go through the alphabet in the library. I started with the A’s and it didn’t matter what the subject was, fiction or non-fiction, or what it was, I was just going to read right through. So I started and naturally I didn’t even get halfway, but this was the course I took. Somehow in all this exploring of books and different kinds of books on different subjects, I came across quite accidentally in the library one of the most definitive and one of the most important books that had ever been done on the culture of the Negro, which was a book called The New Negro by Dr. Alain Locke who was Professor of Philosophy, chairman of the Philosophy Department at Howard University. Dr. Locke was the authority on American Negro culture, with a particular interest to me because of his own special interest in art, the history of the Negro artist in America.

This book opened my eyes, because I heard names, read names, read of people that I’d never heard of before, like Countee Cullen, the great Negro poet. [I] heard Paul Robeson’s name for the first time. Most of the great literary figures of the early twenties, when it was a period which they called ‘The Negro Renaissance’ when the first blossoming of Negro culture in America really came to a head. And this book dealt specifically with that. Well, once I found this one book, then I began to search for other books on Negroes, which led to Negro historical figures, individuals that played a role in the abolition of slavery, names like Denmark Vesey, who led a slave revolt. Nat Turner who also led a slave revolt. Harriet Tubman, Sojourner Truth, Booker T. Washington, Frederick Douglass, all were names that in later years I’ve become quite well read on. For the first time, at 14 years old, these names came to my mind. I became aware the Negroes had a history in America. So, when I went to high school and had to take U.S. History, the first year I got through fine. Then the second year I decided that—I began to question why these names weren’t mentioned in the standard U.S. History which we all studied, which was Beard’s History. The only Negro name that was mentioned in there was Crispus Attucks, the first man to die in the American Revolution and there was one sentence on Crispus Attucks. There was nothing else throughout the whole of Beard’s History. So I read this and I remember the first day of class I had in my second year, I raised this question to the teacher and she told me to sit down. She didn’t even bother to be polite about it.”

In addition to the general human proclivity for weakness of will (akrasia), for states of denial, self-deception, and wishful thinking, for occasionally succumbing to illusions, or even imbibing the occasional delusional thought, we are constitutionally or dispositionally prone to any number of cognitive and social biases. This should enter into any account, in moral psychological terms, of why even ostensibly “good” people tend to arbitrarily and thus irrationally circumscribe their sphere of moral considerations and conduct. Thus, even the Golden Rule, which “does not ask for heroic self-sacrifice or saintly forbearance” (or supererogatory moral behavior), is often limited to the private or intimate realm, as it were (in contrast to the parable of the Good Samaritan), thereby excluding its logical extension into public or political morality. Interestingly and perhaps surprisingly, it was Thomas Hobbes (1588-1679) who invoked the golden rule as axiomatic for prescriptive social morality.* I was provoked into thinking about such matters after reading the following paragraph from George Kateb’s important book, Human Dignity (Belknap Press of Harvard University Press, 2011):

“The vexatious problem is that people who practice the golden rule in everyday life are sometimes willing to give their support to political policies that do not rise to the best political morality [this is a distinct but not unrelated problem from what occurs with moral and political rationalizations for ‘dirty hands’]. They are uncommonly good persons who go out of their way to help others, but who think that they are good citizens when they allow or endorse state activities that regularly invade the rights of people abroad or at home [i.e., in their own country]. They implicitly accept the division between personal and public spheres of action, but in such a way as to confine morality to personal life and exclude it from public life. It is as if the only goodness that can be shown is to people to whom one can do it in one’s own person [Perhaps this is why La Rochefoucauld wrote that ‘Virtue would not go so far without vanity to bear it company’ and ‘We should often blush at our noblest deeds if the world were to see all their underlying motives’] The irony is that those who try to follow the golden rule show imagination in dealing with the suffering of a few, but lose all imagination of suffering when events are distant or on a large scale. [There may be something at work here that is other or more than a ‘failure of imagination.’ According to William Ian Miller, we are liable to be afflicted with ‘two desperate and inescapable desires: to be thought well by others and to think well of ourselves. The second desire depends on the first more than the first on the second; in any event, they are complexly intertwined. Nor is either of these desires mere vanity: they are much of what makes us socializable; nor is it entirely distinct from what we, flatteringly, call conscience.’ The desire for esteem and a desire for self-esteem are more easily satisfied in an interpersonal world or communal context in which we directly interact with others, although La Rochefoucauld and the moralists writes Jon Elster, believed ‘civilized life is held together by the desire for esteem or vanity, which has the miraculous capacity to mimic virtue.’] They have the imagination to see what is before them but not to see what isn’t. Patriotism [which, in this case, is indistinguishable from nationalism] is one of the passions that help to bring about the public blindness of private goodness.”

There is a book that provides the requisite philosophically sound moral argument for extension of morality beyond not only the private sphere or intimate realm (or the slightly larger interpersonal space of daily life), but also beyond that crooked circle bounded by one’s fellow citizens as members of a nation-state: please see Robert E. Goodin’s Protecting the Vulnerable: A Reanalysis of Our Social Responsibilities (University of Chicago Press, 1985).

* For a brief account, see the relevant sections from my 电商扶贫大有可为｜爬钢梯的直播网红-新华网 ...:2021-5-21 · 电商扶贫大有可为｜爬钢梯的直播网红 早知道·财讯热搜榜TOP10（5月21日） 麦乡延津起“金浪” 戴村再现“映山红” 中国式扶贫：全球可持续发展的典范 斯洛文尼亚庆祝第三个“世界蜜蜂日” 重点领域先行 龙头伋业带动 今年夏粮有望再获丰收 山城重庆努力实现“生态.