* I wish to thank Deborah Willis for selecting an earlier version of this paper for presentation on a panel she organized "Place, Space and Identity in African American Art," for AFRICAN DIASPORAS IN THE ANCIENT AND NEW WORLD, a conference held at the University of Paris, October 26-28, 2000.
1. See Joseph Harris,et al, The African Diaspora, College Station:Texas A & M Press, 1996, 7-23, for a most informative discussion of the term diaspora and its use in scholarly discourse.
2. See Lowery Sims, "A Life in Art and Politics," Elizabeth Catlett Sculpture: A Fifty Year Retrospective, Lucinda H. Giedon, ed. Purchase, New York: Neuberger Museum of Art, 1998, 11-25; Melanie Herzog, "Elizabeth Catlett in Mexico: Identity and Cross Cultural Intersections in the Production of Artistic Meaning," International Review of African American Art 11,3 (Summer 1994):18-35; A Courtyard Apart: The Art of Elizabeth Catlett and Francisco Mora, essay by Floyd Coleman, Jackson: The Mississippi Museum of Art, 1990.
3. Catlett remained in close contact with James A. Porter until his death in 1970.
4. See Paul Gilroy, The Black Atlantic, Cambridge: Harvard University Press, 1993.
5. For a most insightful discussion of Fanon's emancipatory attitude, see Richard Powell, Black Art and Culture of the 20th Century, London: Thames and Hudson, 1997.
6. See Richard Powell, "To Conserve a Legacy: American Art from Historically Black Colleges and Universities," in Richard J. Powell and Jock Reynolds, To Conserve a Legacy: American Art from Historically Black Colleges and Universities, Addison Gallery of Art and the Studio Museum in Harlem, distributed by The MIT Press, Cambridge, Massachusetts, 1999, 105-107.
7. See Richard Powell, "To Conserve a Legacy: American Art from Historically Black Colleges and Universities," 1999, 105-107.
8. See Samella Lewis, The Art of Elizabeth Catlett, Los Angeles: Hancraft Studios, 1984, 97-98.
9. See David Levering Lewis, W. E. B. Du Bois--A Biography of a Race, 1868-1919, New York: Henry Holt and Company, 1993.