To Be Real: Figuring Blackness in Modern and Contemporary African Diaspora Visual Cultures.
This essay explores figuration in artistic- and museum-exhibiting practices of the late twentieth and early twenty-first century that undermine the authority of authentic blackness as a primary tenet of African diasporic identification. It takes its cue from the cultural theorist Stuart Hall's keen...
| Publicado en: | Radical History Review no. 103; pp. 188 - 204 |
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| Formato: | Essay |
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Duke University Press
Winter2009
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=36334347&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 36334347 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01636545 2AT jtl: Radical History Review issn: 01636545 maglogo: N pubinfo: dt: Winter2009 iid: 103 pid: 154 pub: Duke University Press artinfo: ui: 36334347 10.1215/01636545-2008-040 ppf: 188 ppct: 16 formats: fmt: @attributes: type: P size: 9.3MB tig: atl: To Be Real: Figuring Blackness in Modern and Contemporary African Diaspora Visual Cultures. aug: au: Francis, Jacqueline affil: California College of the Arts su: Essays Museum exhibits African American art exhibitions African diaspora Araeen, Rasheed Kempadoo, Roshini Ali, Laylah, 1968- Griffin, Kojo sug: subj: Essays Museum exhibits African American art exhibitions African diaspora Araeen, Rasheed Kempadoo, Roshini Ali, Laylah, 1968- Griffin, Kojo ab: This essay explores figuration in artistic- and museum-exhibiting practices of the late twentieth and early twenty-first century that undermine the authority of authentic blackness as a primary tenet of African diasporic identification. It takes its cue from the cultural theorist Stuart Hall's keen assessment: "The fact is that 'black' has never been just there. It has always been an unstable identity, psychically, culturally, and politically." The essay's first section is an analysis of art by Rasheed Araeen and Roshini Kempadoo created in the 1970s and 1990s, an era during which they and other progressives of African, Asian, and Caribbean descent in the United Kingdom claimed the political and cultural position "black." The essay's second section considers the representation of blackness in three exhibitions from 1997 to 2007 at the Charles H. Wright Museum of African American History. The essay's final section examines the cartoonlike paintings of the African American artists Laylah Ali and Kojo Griffin. Figuring is the conceptual thread uniting these African diasporic moments, which, though not causally related, similarly transgress against limiting definitions of blackness in order to privilege its productive, transforming visibilities. pubtype: Academic Journal doctype: Essay src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Radical History Review is the property of Duke University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Radical History Review holder: Duke University Press dt: @attributes: year: 2009 holdings: @attributes: islocal: N |
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