Gylbert Coker
| ụdịekere | nwanyị  |
|---|---|
| mba o sị | Njikota Obodo Amerika |
| aha ezinụlọ ya | Coker |
| Ụbọchị ọmụmụ ya | 1944 |
| Ọrụ ọ na-arụ | onye na-ahu maka ihe nkiri, Odee akwụkwọ, art historian, exhibition curator |
| ebe agụmakwụkwọ | Pratt Institute, New York University, Hunter College, Florida State University |
| Ebe obibi | New York City, Tallahassee, Thomasville |
| Archive na | Stuart A. Rose Manuscript, Archives, and Rare Book Library |
Gylbert Coker (Gylbert Gavin Coker; b. 1944) bụ onye Africa-American na-akọ akụkọ ihe mere eme, ónyé na-ese ihe, na ónyé nlekọta nke rụrụ ọrụ iji guzobe ndị Black na-ese egwu na nka na Canon nke nka America.
Coker bụ Ónyé mbụ so na Where We At, otu ndị Black women artists guzobere na 1971 bụ ndị mepụtara ihe ngosi mbụ nke Black women's art.[1][2]
Mgbè ọ nwetasịrị BFA na Pratt Institute, Coker gụsịrị nzèrè masta na Mahadum New York na Hunter College na PhD na Mahaduma Florida State.[3] N'afọ 1977, Coker nwetara fellowship na Metropolitan Museum of Art; o mechara rụọ ọrụ na Guggenheim, Museum of Modern Art, na Zora Neale Hurston Museum.[4][3] Ọ bụ otu n'ime ndị ọkà mmụta Africa-America mbụ na-ede akwụkwọ mgbè niile màkà Art in America and Arts.[3]
Coker's reviews of exhibitions by African-American artists, which have included Bob Thompson, Ed Love, and Bill Traylor, her essays about African-American art,[5] and public talks (including Henry Ossawa Tanner[6]) brought these artists into the canon of American art history. Her 1978 exhibition on Bob Thompson was the first retrospective on the artist.
Ọrụ ndị a họọrọ[dezie | dezie ebe o si]
- edemede nkatọ e bipụtara na
- Hale Woodruff: Afọ 50 nke nka ya (1979)
- The Harmon and Harriet Kelley Collection of African American Art (San Antonio: San Antonio Museum of Art, 1994)
- [Ihe e dere n'ala ala peeji] The Negro Almanac: A Reference Work on the Afro-American (New York: A Wiley-Interscience Publication, 1983). Coker depụtakwara dị ka onye ndụmọdụ nka.
- Nke Coker dere
- Naptime (1978).
- Ụwa nke Bob Thompson: [ihe ngosi] November 5, 1978-January 7, 1979, The Studio Museum in Harlem (1978).
- Emma Amos: Akwụkwọ na Ákwà (1981).
- Vivian Browne: Ihe osise na Pastels (1983).
- Norman W. Lewis, 1909-1979: Mgbanwe nke abụọ, 1947-1951: Abstractions (1994).
- African American Art (1994).
- Dona Honoria Cummings Clarke: Otu n'ime ụmụ nwanyị kachasị baa ọgaranya na narị afọ nke 18 St. Augustine 1746-1804 (2012).
- Onye kacha nso na onye kachasị amasị: The Descendants of Thomas and Honoria Clarke Book 2 (2014).
Edensibia[dezie | dezie ebe o si]
- ↑ Brown, Kay. "‘Where We At’: Black Women Artists." Feminist Art Journal 1.1 (Apr. 1972): 25.
- ↑ Lovelace, Carey. "Optimism and Rage: The Women's Movement in Art in New York, 1969–1975." Woman's Art Journal 37, no. 1 (2016): 4-11. Accessed July 16, 2020. www.jstor.org/stable/26452049.
- ↑ 3.0 3.1 3.2 Gylbert Coker papers, 1968-2002. Emory Libraries & Information Technology (2008-04-29). Retrieved on 2020-07-16.
- ↑ “Fellowships and Educational Travel Stipends.” Annual Report of the Trustees of the Metropolitan Museum of Art, no. 107, 1976, pp. 89–89. JSTOR, www.jstor.org/stable/40304782. Accessed 16 July 2020.
- ↑ Kelley, Harmon. (1994). The Harmon and Harriet Kelley Collection of African American art : exhibition, Hyland, Douglas., Coker, Gylbert., Jennings, Corinne., Kelley, Harriet., San Antonio Museum of Art., [San Antonio, Texas]: San Antonio Museum of Art. ISBN 1-883502-01-2. OCLC 29999275.
- ↑ Coker. "Black History Month Talk", New York Times, 12 Feb 1985, p. C15.