is extremely limited. With the exception of courses offered at Historically Black Colleges and Universities (HBCUs), it is very difficult to find survey history courses, in which mainstream curriculum includes the contributions of African Americans. Although the representation of black history in the academy is insufficient, there are areas that are less explored than others. Art history is one such discipline where the absence of African Americans in is quite noticeable. Based on my own experiences as the University of Illinois, and in researching art history programs throughout the United States, courses surveying African American contributions to art are extremely rare, while concentrations on African American art seem simply non-existent. In an effort to increase the interest in critical discussions about African American art and history, this paper will examine In All My Years from both a social and art historical perspective. I first examine the photographs in a socio-cultural context, highlighting the themes of family, spirituality, and community that radiate throughout the book. I then analyze them for their visual elements, with details and descriptions of what Raymond Bial wanted to convey aesthetically. In relation to Raymond Bial’s work, I also discuss the conventions of fine art photography and what elements make the photographs “art.” Because all fifty-five photographs in the book cannot be analyzed in this short paper, I have selected five to examine. The six individuals in these five photographs are as follows: Allen Rivers, a well respected member of the armed forces; Sarah Scott, a woman known for her commitment to servicing her community; Brothers Al and James Baker, owners of the Blue Island Tavern, an establishment in Champaign that operated for 39 years; James “Biggie” Algee, a man who man who lived a quiet lifestyle and was recognized for his passion for cooking; and Taylor Thomas, a well respected man known
and…bruises me,” then the addition of the red tint is certainly what ”pricks and bruises” most in the photographs. The photographs in their original state may have already been quite haunting. But to see these individuals—whose expressions range from melancholy and despondency to anger and resentment—in a scarlet-red hue, truly invokes the violence and injustice of slavery. The effect of the red coloring intensifies the emotion and the misery in the eyes of the individuals becomes even more poignant. Although it is impossible to imagine what enslavement feels like, Paul Anderson explains, the photographs do successfully stimulate feelings of “horror.” The of Deborah Willis, Charles Harris, and Carrie Mae Weems all embody the elements of art photography that art philosophers deem critical. Although all of the photographic examples have a documentary quality, they each tell a story of the individuals depicted and successfully stimulate an emotion of their experiences. Given that their works meet the criteria that defines a work of art, it can then be said that African American documentary photographs certainly do qualify as art, or that they at least deserve an art historical analysis. In All My Years: An Art-Historical-Socio-Cultural Analysis The following analysis of Raymond Bial’s In All My photographs differs slightly from the analysis of the previously mentioned photographers. Several factors contribute to the distinction: Unlike Carrie Mae Weems’ photographs, which were appropriated, Bial actually took these photographs himself; Charles Harris, who identified himself as a photographer, Bial considers himself an artist; and finally, the