Kymberly N Pinder – författare

Innovative and lavishly illustrated, Painting the Gospel offers an indispensable contribution to conversations about African American art, theology, politics, and identity in Chicago. Kymberly N. Pinder escorts readers on an eye-opening odyssey to the murals, stained glass, and sculptures dotting the city's African American churches and neighborhoods. Moving from Chicago's oldest black Christ figure to contemporary religious street art, Pinder explores ideas like blackness in public, art for black communities, and the relationship of Afrocentric art to Black Liberation Theology. She also focuses attention on art excluded from scholarship due to racial or religious particularity. Throughout, she reflects on the myriad ways private black identities assert public and political goals through imagery.  Painting the Gospel includes maps and tour itineraries that allow readers to make conceptual, historical, and geographical connections among the works.

Innovative and lavishly illustrated, Painting the Gospel offers an indispensable contribution to conversations about African American art, theology, politics, and identity in Chicago. Kymberly N. Pinder escorts readers on an eye-opening odyssey to the murals, stained glass, and sculptures dotting the city's African American churches and neighborhoods. Moving from Chicago's oldest black Christ figure to contemporary religious street art, Pinder explores ideas like blackness in public, art for black communities, and the relationship of Afrocentric art to Black Liberation Theology. She also focuses attention on art excluded from scholarship due to racial or religious particularity. Throughout, she reflects on the myriad ways private black identities assert public and political goals through imagery.  Painting the Gospel includes maps and tour itineraries that allow readers to make conceptual, historical, and geographical connections among the works.

Race-ing Art History is the first comprehensive anthology to place issues of racial representation squarely on the canvas. Art produced by non-Europeans has naturally been compared to Western art and its study, which refers to a binary way of viewing both. Each essay in this collection is a response to this vision, to the distant mirror of looking at the other.