Charles C. Dawson
Although the Century of Progress World’s Fair of 1933 boasted the theme of progress through dynamic displays of technology and corporation, the arts and aesthetics permeated the very structure and organization of the fair. The legacy of arts within the fairground receives very little scholarly attention with the exception of ethnographic performances that lined the Midway. Equally overshadowed are the contributions of African American artist Charles C. Dawson. Dawson worked as a painter, printmaker and illustrator primarily in the advertising sector. Many of his ads catered to popular beauty products of the time. By the late 1920’s Dawson’s work was included in high profile exhibitions of contemporary artwork by African American artists.
A Century of Progress World’s Fair strategically limited racially assertive exhibits within the fair to avoid conflict. However, there were several ethnic and racial displays that proved to perpetuate pejorative narratives of marginalized groups. There were moments of redemption for the fair in which groups were able to rearticulate their presence on the national stage through pageantry, small memorials, and other sanctioned events. The many forms of visual materials that survive from the fair include the artistic work of Charles C. Dawson. The advertisement for the Pageant of Negro Music boasts his layered iconic imagery along and illusionary path that recedes into a background full of icons of the African continent.[1] Additionally, Dawson created the commemorative brochure for visitors of the Du Sable cabin which pictured Jean Baptiste Point De Saible donning buckskins and carrying a rifle.[2] Most notably, Dawson designed a mural entitled Negro Migration: The Exodus for the Social Science Hall at the fair. Dawson’s images were some of the rare images of African Americans created by an African American.
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