CINXE.COM

<!DOCTYPE html><html><head><title>Visualising Slavery: Art Across the African Diaspora - Google Books</title><link rel="stylesheet" href="/books/css/_a33f2a89320471e58c940b9287b9d4eb/kl_viewport_kennedy_full_bundle.css" type="text/css" /><link rel="stylesheet"href="https://fonts.googleapis.com/css2?family=Product+Sans:wght@400"><script src="/books/javascript/v2_a33f2a89320471e58c940b9287b9d4eb__en.js"></script><script>_OC_Hooks = ["_OC_Page", "_OC_SearchReload", "_OC_TocReload", "_OC_EmptyFunc", "_OC_SearchPage", "_OC_QuotePage" ];for (var _OC_i = 0; _OC_i < _OC_Hooks.length; _OC_i++) {eval("var " + _OC_Hooks[_OC_i] + ";");}function _OC_InitHooks () {for (var i = 0; i < _OC_Hooks.length; i++) {var func = arguments[i];eval( _OC_Hooks[i] + " = func;");}}</script><link rel="canonical" href="https://books.google.com/books/about/Visualising_Slavery.html?id=mIjADAAAQBAJ"/><meta property="og:url" content="https://books.google.com/books/about/Visualising_Slavery.html?id=mIjADAAAQBAJ"/><meta name="title" content="Visualising Slavery"/><meta name="description" content="The purpose of this book is to excavate and recover a wealth of under-examined artworks and research materials directly to interrogate, debate and analyse the tangled skeins undergirding visual representations of transatlantic slavery across the Black diaspora. Living and working on both sides of the Atlantic, as these scholars, curators and practitioners demonstrate, African diasporic artists adopt radical and revisionist practices by which to confront the difficult aesthetic and political realities surrounding the social and cultural legacies let alone national and mythical memories of Transatlantic Slavery and the international Slave Trade. Adopting a comparative perspective, this book investigates the diverse body of works produced by black artists as these contributors come to grips with the ways in which their neglected and repeatedly unexamined similarities and differences bear witness to the existence of an African diasporic visual arts tradition. As in-depth investigations into the diverse resistance strategies at work within these artists' vast bodies of work testify, theirs is an ongoing fight for the right to art for art's sake as they challenge mainstream tendencies towards examining their works solely for their sociological and political dimensions. This book adopts a cross- cultural perspective to draw together artists, curators, academics, and public researchers in order to provide an interdisciplinary examination into the eclectic and experimental oeuvre produced by black artists working within the United States, the United Kingdom and across the African diaspora. The overall aim of this book is to re-examine complex yet under-researched theoretical paradigms vis-à-vis the patterns of influence and cross-cultural exchange across both America and a black diasporic visual arts tradition, a vastly neglected field of study."/><meta property="og:title" content="Visualising Slavery"/><meta property="og:type" content="book"/><meta property="og:site_name" content="Google Books"/><meta property="og:image" content="https://books.google.com.sg/books/publisher/content?id=mIjADAAAQBAJ&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE73thjiz-Rhk5k6BAdqT9atJvbV9DKVaBPRGOJvJKpglOUK0V-TNaBp080UosrhZZMJJfAy7sKFVTnygTZjrPJv3QNEkmPLwFlVp9lSBMp0gQikig-n3igYxh9gjAJLhMTOmmkX1"/><link rel="image_src" href="https://books.google.com.sg/books/publisher/content?id=mIjADAAAQBAJ&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE73thjiz-Rhk5k6BAdqT9atJvbV9DKVaBPRGOJvJKpglOUK0V-TNaBp080UosrhZZMJJfAy7sKFVTnygTZjrPJv3QNEkmPLwFlVp9lSBMp0gQikig-n3igYxh9gjAJLhMTOmmkX1"/><script></script><style>#gbar,#guser{font-size:13px;padding-top:1px !important;}#gbar{height:22px}#guser{padding-bottom:7px !important;text-align:right}.gbh,.gbd{border-top:1px solid #c9d7f1;font-size:1px}.gbh{height:0;position:absolute;top:24px;width:100%}@media all{.gb1{height:22px;margin-right:.5em;vertical-align:top}#gbar{float:left}}a.gb1,a.gb4{text-decoration:underline !important}a.gb1,a.gb4{color:#00c !important}.gbi .gb4{color:#dd8e27 !important}.gbf .gb4{color:#900 !important} #gbar { padding:.3em .6em !important;}</style></head><body class=""><div id=gbar><nobr><a target=_blank class=gb1 href="https://www.google.com.sg/search?tab=pw">Search</a> <a target=_blank class=gb1 href="https://www.google.com.sg/imghp?hl=en&tab=pi">Images</a> <a target=_blank class=gb1 href="https://maps.google.com.sg/maps?hl=en&tab=pl">Maps</a> <a target=_blank class=gb1 href="https://play.google.com/?hl=en&tab=p8">Play</a> <a target=_blank class=gb1 href="https://www.youtube.com/?tab=p1">YouTube</a> <a target=_blank class=gb1 href="https://news.google.com/?tab=pn">News</a> <a target=_blank class=gb1 href="https://mail.google.com/mail/?tab=pm">Gmail</a> <a target=_blank class=gb1 href="https://drive.google.com/?tab=po">Drive</a> <a target=_blank class=gb1 style="text-decoration:none" href="https://www.google.com.sg/intl/en/about/products?tab=ph"><u>More</u> »</a></nobr></div><div id=guser width=100%><nobr><span id=gbn class=gbi></span><span id=gbf class=gbf></span><span id=gbe></span><a target=_top id=gb_70 href="https://www.google.com/accounts/Login?service=print&continue=https://books.google.com.sg/books%3Fid%3DmIjADAAAQBAJ%26q%3Dafrican%2Bamerican%26source%3Dgbs_word_cloud_r%26hl%3Den&hl=en&ec=GAZACg" class=gb4>Sign in</a></nobr></div><div class=gbh style=left:0></div><div class=gbh style=right:0></div><div role="alert" style="position: absolute; left: 0; right: 0;"><a href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&q=african+american&source=gbs_word_cloud_r&hl=en&output=html_text" title="Screen reader users: click this link for accessible mode. Accessible mode has the same essential features but works better with your reader."><img border="0" src="//www.google.com/images/cleardot.gif"alt="Screen reader users: click this link for accessible mode. Accessible mode has the same essential features but works better with your reader."></a></div><div class="kd-appbar"><h2 class="kd-appname"><a href="/books">Books</a></h2><div class="kd-buttonbar left" id="left-toolbar-buttons"><a id="appbar-view-print-sample-link" href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&printsec=frontcover&vq=african+american&source=gbs_vpt_read"></a><a id="appbar-view-ebook-sample-link" href=""></a><a id="appbar-patents-prior-art-finder-link" href=""></a><a id="appbar-patents-discuss-this-link" href="" data-is-grant=""></a><a id="appbar-read-patent-link" href=""></a><a id="appbar-download-pdf-link" href=""></a></div><div class="kd-buttonbar right" id="right-toolbar-buttons"></div></div><div style="display: none"><ol id="ofe-gear-menu-contents" class="gbmcc"><li class="gbe gbmtc"><a class="gbmt goog-menuitem-content" id="" href="https://www.google.com/accounts/Login?service=print&continue=https://books.google.com.sg/books%3Fop%3Dlibrary&hl=en">My library</a></li><li class="gbe gbmtc"><a class="gbmt goog-menuitem-content" id="" href="http://books.google.com.sg/support/topic/4359341?hl=en-SG">Help</a></li><li class="gbe gbmtc"><a class="gbmt goog-menuitem-content" id="" href="https://books.google.com.sg/advanced_book_search">Advanced Book Search</a></li></ol></div><div id="volume-main"><div id="volume-left"><div id=menu_container ><div id="menu_scroll_wrapper"><div id="menu_scroll" role="navigation"><div id="gb-get-book-container"><a id="gb-get-book-content" href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&sitesec=buy&source=gbs_vpt_read">Get print book</a></div><p id="gb-get-book-not-available">No eBook available<p><h3 class=about_title><a name="buy_anchor"></a></h3><div id=buy class=about_content><div id=buy_v><ul style="list-style-type: none; padding-left: 0; margin: 0;"><li><a style="white-space:normal" href="https://global.oup.com/academic/product/9781781382677" dir=ltr onMouseOver="this.href='https://global.oup.com/academic/product/9781781382677';return false" onMouseDown="this.href='/url?client\x3dca-google-print\x26format\x3dgoogleprint\x26num\x3d0\x26id\x3dmIjADAAAQBAJ\x26q\x3dhttps://global.oup.com/academic/product/9781781382677\x26usg\x3dAOvVaw3bXlHKgdJ9wZxYDISzdn3z\x26source\x3dgbs_buy_r';return true"><span dir=ltr>Oxford University Press</span></a></li><li><a style="white-space:normal" href="http://www.amazon.com/gp/search?index=books&linkCode=qs&keywords=9781781382677" dir=ltr onMouseOver="this.href='http://www.amazon.com/gp/search?index\x3dbooks\x26linkCode\x3dqs\x26keywords\x3d9781781382677';return false" onMouseDown="this.href='/url?client\x3dca-google-print\x26format\x3dgoogleprint\x26num\x3d0\x26id\x3dmIjADAAAQBAJ\x26q\x3dhttp://www.amazon.com/gp/search%3Findex%3Dbooks%26linkCode%3Dqs%26keywords%3D9781781382677\x26usg\x3dAOvVaw3eli3iSBtrtD8l1rOaPjnp\x26source\x3dgbs_buy_r';return true"><span dir=ltr>Amazon.com</span></a></li><li><a style="white-space:normal" href="http://www.mphonline.com/books/nsearch.aspx?do=detail&pcode=9781781382677" dir=ltr onMouseOver="this.href='http://www.mphonline.com/books/nsearch.aspx?do\x3ddetail\x26pcode\x3d9781781382677';return false" onMouseDown="this.href='/url?client\x3dca-google-print\x26format\x3dgoogleprint\x26num\x3d0\x26id\x3dmIjADAAAQBAJ\x26q\x3dhttp://www.mphonline.com/books/nsearch.aspx%3Fdo%3Ddetail%26pcode%3D9781781382677\x26usg\x3dAOvVaw2k7kG1oMb3VzHFZ8eBpl01\x26source\x3dgbs_buy_r';return true"><span dir=ltr>MPH</span></a></li><li><a style="white-space:normal" href="https://www.popular.com.sg/catalogsearch/result/?q=9781781382677" dir=ltr onMouseOver="this.href='https://www.popular.com.sg/catalogsearch/result/?q\x3d9781781382677';return false" onMouseDown="this.href='/url?client\x3dca-google-print\x26format\x3dgoogleprint\x26num\x3d0\x26id\x3dmIjADAAAQBAJ\x26q\x3dhttps://www.popular.com.sg/catalogsearch/result/%3Fq%3D9781781382677\x26usg\x3dAOvVaw1SoefyHB_Epfn5pbCHjbHr\x26source\x3dgbs_buy_r';return true"><span dir=ltr>Popular</span></a></li><li><hr style="margin-right: 20%; color: #666;"></li><li><a style="white-space:normal" href="https://books.google.com.sg/url?id=mIjADAAAQBAJ&pg=PA93&q=http://www.worldcat.org/oclc/1004900840&clientid=librarylink&usg=AOvVaw3r4-YQ6GK96OqfMywr9Zt8&source=gbs_buy_r"><span dir=ltr>Find in a library</span></a></li><li><a class="secondary" style="white-space:normal" href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&sitesec=buy&source=gbs_buy_r" id="get-all-sellers-link"><span dir=ltr>All sellers</span> »</a></li></ul></div></div><div class=menu id=menu><div class="menu_content" style="margin-bottom:6px"><div style="margin-bottom:4px"><div class="sidebarnav"><table border="0" cellpadding="0" cellspacing="0"><tr><td><div class="sidebarcover"><a href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&printsec=frontcover&vq=african+american" onclick="_OC_Page('PR1',this.href); return false;"><img src="https://books.google.com.sg/books/publisher/content?id=mIjADAAAQBAJ&printsec=frontcover&img=1&zoom=5&edge=curl&imgtk=AFLRE73sp86Gnjs5Mo_I7kaU9-TL8DjkMv39v9qxc-agvZ0CbrooSfLl_XTIQIqS4kjqGt108rnC7HHNOR-_aAqR2aWsloVhmVDoNMdHeS8yBXGFm4delv43IROYgRTPLyKGH7ECF7hU" alt="Front Cover" title="Front Cover" height=80 border=1 id=summary-frontcover ></a></div></td><td></td></tr></table></div><div style="clear:both"></div></div><div id="volume-info-sidebar"><h1 class="gb-volume-title" dir=ltr>Visualising Slavery: Art Across the African Diaspora</h1><span class="addmd">edited by Celeste-Marie Bernier, Hannah Durkin</span></div><div style="margin-bottom:3px"><form action=/books id=search_form style="margin:0px;padding:0px;" method=get> <input type=hidden name="id" value="mIjADAAAQBAJ"><table cellpadding=0 cellspacing=0 class="swv-table"><tr><td class="swv-td-search"><span><input id=search_form_input type=text maxlength=1024 class="text_flat swv-input-search" aria-label="Search in this book" name=q value="" title="Go" accesskey=i></span></td><td class="swv-td-space"><div> </div></td><td><input type=submit value="Go"></td></tr></table><script type="text/javascript">if (window['_OC_autoDir']) {_OC_autoDir('search_form_input');}</script></form></div><div><p><a id="sidebar-atb-link" href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&vq=african+american&source=gbs_navlinks_s"><span dir=ltr>About this book</span></a></p></div></div></div><div><div id="navbarContainer" class="gb-navbar"></div><script>_OC_InitNavbar({"child_node":[{"title":"My library","url":"https://books.google.com.sg/books?uid=114584440181414684107\u0026source=gbs_lp_bookshelf_list","id":"my_library","collapsed":true},{"title":"My History","url":"","id":"my_history","collapsed":true}],"highlighted_node_id":""});</script><h3 class=about_title><a name="pub_info_anchor"></a></h3><div id=pub_info class=about_content><div id=pub_info_v><table cellspacing=0><tr><td><a href="https://books.google.com.sg/url?id=mIjADAAAQBAJ&pg=PA93&q=http://www.oup.com&linkid=1&usg=AOvVaw1u6L9x9muhB2Z_E13TZlaF&source=gbs_pub_info_r" style="text-decoration:none"><img width=79 height=35 border=0 src="https://pagead2.googlesyndication.com/pagead/imgad?id=CICAgMDO7dK3VRByGDIyCPh5EfiARrGy" alt="Oxford University Press"></a><tr><td style="font-size:84.6%;color:#666666">Pages displayed by permission of <a class=link_aux href="https://books.google.com.sg/url?id=mIjADAAAQBAJ&pg=PA93&q=http://www.oup.com&linkid=1&usg=AOvVaw1u6L9x9muhB2Z_E13TZlaF&source=gbs_pub_info_r">Oxford University Press</a>. <a style="color:#7777cc;white-space:normal" href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&printsec=copyright&vq=african+american&source=gbs_pub_info_r">Copyright</a>. </table></div></div></div></div></div></div></div><div id="volume-center"><div id="scroll_atb" role="main"><div id="toolbar_container"><div style="float:left;white-space:nowrap"><table cellpadding=0 cellspacing=0><tr><td id="l_toolbar"></td><td class=toolbar-pc-cell><table cellpadding=0 cellspacing=0><tr><td class=no-jump-cell align=right><span id=page_label style="margin-right:.5em">Page 93</span></td><td class=arrow style="padding-right:2px"><a href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&pg=PA92&lpg=PA93&focus=viewport&vq=african+american" onclick="_OC_EmptyFunc(this.href); return false;"><div class=pagination><div id=prev_btn alt="Previous Page" title="Previous Page" class="SPRITE_pagination_v2_left"></div></div></a></td><td class=arrow><a href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&pg=PA94&lpg=PA93&focus=viewport&vq=african+american" onclick="_OC_EmptyFunc(this.href); return false;"><div class=pagination><div id=next_btn alt="Next Page" title="Next Page" class="SPRITE_pagination_v2_right"></div></div></a></td></tr></table></td><td>  </td><td id=view_toolbar></td><td id=view_new></td></tr></table></div><div style="float:right"><table cellpadding=0 cellspacing=0><tr><td></td><td id="r_toolbar" style="white-space:nowrap"></td></tr></table></div><div style="clear:both"></div></div><div id="search_bar"></div><div class="gback"><div id="viewport" class="viewport" tabindex="0"><a name="page" accesskey="c"></a><table class="viewport-table" id="container" align="center" cellpadding="0" cellspacing="0"><tr><td valign="top" align="center"><noscript><style type=text/css>.imgg { width:575px;height:863px;background:#eee;padding-bottom:25px}</style><div class=imgg><div align=center><table border=0 cellpadding=0 cellspacing=0 width=500 align=center style="margin-top:2em"><tr><td rowspan=2 valign=top style="width:9px;background:#fff url('/googlebooks/bbl_l.gif') top left repeat-y"><img src="/googlebooks/bbl_tl.gif" width=9 height=7 alt=""></td><td style="background:url('/googlebooks/bbl_t.gif') top left repeat-x"><img width=1 height=7 alt=""></td><td rowspan=2 valign=top style="width:10px;background:#fff url('/googlebooks/bbl_r.gif') top right repeat-y"><img src="/googlebooks/bbl_tr.gif" width=10 height=7 alt=""></td></tr><tr><td align=center style="background:#ff9;text-align:center;line-height:1.2em"><div style="margin:1em"><img width=60 height=60 align=absmiddle src="/googlebooks/restricted_logo.gif" alt=""> <span style="font-weight:bold;font-size:1.2em"><br>Restricted Page</span></div><div style="margin:1em" align=left>You have reached your viewing limit for this book (<a href=https://books.google.com.sg/support/answer/43729?topic=9259&hl=en>why?</a>).</div></td></tr><tr><td><img src="/googlebooks/bbl_bl.gif" width=9 height=9 alt=""></td><td style="background:url('/googlebooks/bbl_b.gif') bottom left repeat-x"><img width=1 height=9 alt=""></td><td><img src="/googlebooks/bbl_br.gif" width=10 height=9 alt=""></td></tr></table></div></div></noscript></td></tr></table></div></div><script>_OC_addFlags({Host:"https://books.google.com.sg/", IsBooksUnifiedLeftNavEnabled:1, IsZipitFolderCollectionEnabled:1, IsBrowsingHistoryEnabled:1, IsBooksRentalEnabled:1});_OC_Run({"page":[{"pid":"PR1","flags":32,"order":0,"title":"i"},{"pid":"PR3","order":2,"title":"iii"},{"pid":"PR4","order":3,"title":"iv"},{"pid":"PR7","order":6,"title":"vii"},{"pid":"PR8","order":7,"title":"viii"},{"pid":"PR9","order":8,"title":"ix"},{"pid":"PR10","order":9,"title":"x"},{"pid":"PR11","order":10,"title":"xi"},{"pid":"PR12","order":11,"title":"xii"},{"pid":"PR13","order":12,"title":"xiii"},{"pid":"PR14","order":13,"title":"xiv"},{"pid":"PR15","order":14,"title":"xv"},{"pid":"PR16","order":15,"title":"xvi"},{"pid":"PA1","order":16,"title":"1"},{"pid":"PA2","order":17,"title":"2"},{"pid":"PA3","order":18,"title":"3"},{"pid":"PA4","order":19,"title":"4"},{"pid":"PA5","order":20,"title":"5"},{"pid":"PA6","order":21,"title":"6"},{"pid":"PA7","order":22,"title":"7"},{"pid":"PA8","order":23,"title":"8"},{"pid":"PA9","order":24,"title":"9"},{"pid":"PA10","order":25,"title":"10"},{"pid":"PA11","order":26,"title":"11"},{"pid":"PA12","order":27,"title":"12"},{"pid":"PA13","order":28,"title":"13"},{"pid":"PA14","order":29,"title":"14"},{"pid":"PA15","order":30,"title":"15"},{"pid":"PA16","order":31,"title":"16"},{"pid":"PA17","order":32,"title":"17"},{"pid":"PA18","order":33,"title":"18"},{"pid":"PA19","order":34,"title":"19"},{"pid":"PA20","order":35,"title":"20"},{"pid":"PA21","order":36,"title":"21"},{"pid":"PA22","order":37,"title":"22"},{"pid":"PA23","order":38,"title":"23"},{"pid":"PA24","order":39,"title":"24"},{"pid":"PA25","order":40,"title":"25"},{"pid":"PA26","order":41,"title":"26"},{"pid":"PA27","order":42,"title":"27"},{"pid":"PA28","order":43,"title":"28"},{"pid":"PA29","order":44,"title":"29"},{"pid":"PA30","order":45,"title":"30"},{"pid":"PA31","order":46,"title":"31"},{"pid":"PA32","order":47,"title":"32"},{"pid":"PA33","order":48,"title":"33"},{"pid":"PA34","order":49,"title":"34"},{"pid":"PA35","order":50,"title":"35"},{"pid":"PA36","order":51,"title":"36"},{"pid":"PA37","order":52,"title":"37"},{"pid":"PA38","order":53,"title":"38"},{"pid":"PA39","order":54,"title":"39"},{"pid":"PA40","order":55,"title":"40"},{"pid":"PA41","order":56,"title":"41"},{"pid":"PA42","order":57,"title":"42"},{"pid":"PA43","order":58,"title":"43"},{"pid":"PA44","order":59,"title":"44"},{"pid":"PA45","order":60,"title":"45"},{"pid":"PA46","order":61,"title":"46"},{"pid":"PA47","order":62,"title":"47"},{"pid":"PA48","order":63,"title":"48"},{"pid":"PA49","order":64,"title":"49"},{"pid":"PA50","order":65,"title":"50"},{"pid":"PA51","order":66,"title":"51"},{"pid":"PA52","order":67,"title":"52"},{"pid":"PA53","order":68,"title":"53"},{"pid":"PA54","order":69,"title":"54"},{"pid":"PA55","order":70,"title":"55"},{"pid":"PA56","order":71,"title":"56"},{"pid":"PA57","order":72,"title":"57"},{"pid":"PA58","order":73,"title":"58"},{"pid":"PA59","order":74,"title":"59"},{"pid":"PA60","order":75,"title":"60"},{"pid":"PA61","order":76,"title":"61"},{"pid":"PA62","order":77,"title":"62"},{"pid":"PA63","order":78,"title":"63"},{"pid":"PA64","order":79,"title":"64"},{"pid":"PA65","order":80,"title":"65"},{"pid":"PA66","order":81,"title":"66"},{"pid":"PA67","order":82,"title":"67"},{"pid":"PA68","order":83,"title":"68"},{"pid":"PA69","order":84,"title":"69"},{"pid":"PA70","order":85,"title":"70"},{"pid":"PA71","order":86,"title":"71"},{"pid":"PA72","order":87,"title":"72"},{"pid":"PA73","order":88,"title":"73"},{"pid":"PA74","order":89,"title":"74"},{"pid":"PA75","order":90,"title":"75"},{"pid":"PA76","order":91,"title":"76"},{"pid":"PA77","order":92,"title":"77"},{"pid":"PA78","order":93,"title":"78"},{"pid":"PA79","order":94,"title":"79"},{"pid":"PA80","order":95,"title":"80"},{"pid":"PA81","order":96,"title":"81"},{"pid":"PA82","order":97,"title":"82"},{"pid":"PA83","order":98,"title":"83"},{"pid":"PA84","order":99,"title":"84"},{"pid":"PA85","order":100,"title":"85"},{"pid":"PA86","order":101,"title":"86"},{"pid":"PA87","order":102,"title":"87"},{"pid":"PA88","order":103,"title":"88"},{"pid":"PA89","order":104,"title":"89"},{"pid":"PA90","order":105,"title":"90"},{"pid":"PA91","order":106,"title":"91"},{"pid":"PA92","flags":8,"order":107,"title":"92"},{"pid":"PA93","flags":8,"order":108,"title":"93"},{"pid":"PA94","flags":8,"order":109,"title":"94"},{"pid":"PA95","flags":8,"order":110,"title":"95"},{"pid":"PA96","flags":8,"order":111,"title":"96"},{"pid":"PA97","order":112,"title":"97"},{"pid":"PA98","order":113,"title":"98"},{"pid":"PA99","order":114,"title":"99"},{"pid":"PA100","order":115,"title":"100"},{"pid":"PA101","order":116,"title":"101"},{"pid":"PA102","order":117,"title":"102"},{"pid":"PA103","order":118,"title":"103"},{"pid":"PA104","order":119,"title":"104"},{"pid":"PA105","order":120,"title":"105"},{"pid":"PA106","order":121,"title":"106"},{"pid":"PA107","order":122,"title":"107"},{"pid":"PA108","order":123,"title":"108"},{"pid":"PA109","order":124,"title":"109"},{"pid":"PA110","order":125,"title":"110"},{"pid":"PA111","order":126,"title":"111"},{"pid":"PA112","order":127,"title":"112"},{"pid":"PA113","order":128,"title":"113"},{"pid":"PA114","order":129,"title":"114"},{"pid":"PA115","order":130,"title":"115"},{"pid":"PA116","order":131,"title":"116"},{"pid":"PA117","order":132,"title":"117"},{"pid":"PA118","order":133,"title":"118"},{"pid":"PA119","order":134,"title":"119"},{"pid":"PA120","order":135,"title":"120"},{"pid":"PA121","order":136,"title":"121"},{"pid":"PA122","order":137,"title":"122"},{"pid":"PA123","order":138,"title":"123"},{"pid":"PA124","order":139,"title":"124"},{"pid":"PA125","order":140,"title":"125"},{"pid":"PA126","order":141,"title":"126"},{"pid":"PA127","order":142,"title":"127"},{"pid":"PA128","order":143,"title":"128"},{"pid":"PA129","order":144,"title":"129"},{"pid":"PA130","order":145,"title":"130"},{"pid":"PA131","order":146,"title":"131"},{"pid":"PA132","order":147,"title":"132"},{"pid":"PA133","order":148,"title":"133"},{"pid":"PA134","order":149,"title":"134"},{"pid":"PA135","order":150,"title":"135"},{"pid":"PA136","order":151,"title":"136"},{"pid":"PA137","order":152,"title":"137"},{"pid":"PA138","order":153,"title":"138"},{"pid":"PA139","order":154,"title":"139"},{"pid":"PA140","order":155,"title":"140"},{"pid":"PA141","order":156,"title":"141"},{"pid":"PA142","order":157,"title":"142"},{"pid":"PA143","order":158,"title":"143"},{"pid":"PA144","order":159,"title":"144"},{"pid":"PA145","order":160,"title":"145"},{"pid":"PA146","order":161,"title":"146"},{"pid":"PA147","order":162,"title":"147"},{"pid":"PA148","order":163,"title":"148"},{"pid":"PA149","order":164,"title":"149"},{"pid":"PA150","order":165,"title":"150"},{"pid":"PA151","order":166,"title":"151"},{"pid":"PA152","order":167,"title":"152"},{"pid":"PA153","order":168,"title":"153"},{"pid":"PA157","order":172,"title":"157"},{"pid":"PA158","order":173,"title":"158"},{"pid":"PA159","order":174,"title":"159"},{"pid":"PA160","order":175,"title":"160"},{"pid":"PA161","order":176,"title":"161"},{"pid":"PA162","order":177,"title":"162"},{"pid":"PA167","order":182,"title":"167"},{"pid":"PA168","order":183,"title":"168"},{"pid":"PA169","order":184,"title":"169"},{"pid":"PA170","order":185,"title":"170"},{"pid":"PA171","order":186,"title":"171"},{"pid":"PA173","order":188,"title":"173"},{"pid":"PA175","order":190,"title":"175"},{"pid":"PA176","order":191,"title":"176"},{"pid":"PA177","order":192,"title":"177"},{"pid":"PA179","order":194,"title":"179"},{"pid":"PA181","order":196,"title":"181"},{"pid":"PA182","order":197,"title":"182"},{"pid":"PA184","order":199,"title":"184"},{"pid":"PA185","order":200,"title":"185"},{"pid":"PA186","order":201,"title":"186"},{"pid":"PA188","order":203,"title":"188"},{"pid":"PA189","order":204,"title":"189"},{"pid":"PA191","order":206,"title":"191"},{"pid":"PA192","order":207,"title":"192"},{"pid":"PA195","order":210,"title":"195"},{"pid":"PA196","order":211,"title":"196"},{"pid":"PA197","order":212,"title":"197"},{"pid":"PA200","order":215,"title":"200"},{"pid":"PA202","order":217,"title":"202"},{"pid":"PA203","order":218,"title":"203"},{"pid":"PA205","order":220,"title":"205"},{"pid":"PA206","order":221,"title":"206"},{"pid":"PA207","order":222,"title":"207"},{"pid":"PA208","order":223,"title":"208"},{"pid":"PA209","order":224,"title":"209"},{"pid":"PA212","order":227,"title":"212"},{"pid":"PA213","order":228,"title":"213"},{"pid":"PA214","order":229,"title":"214"},{"pid":"PA215","order":230,"title":"215"},{"pid":"PA216","order":231,"title":"216"},{"pid":"PA217","order":232,"title":"217"},{"pid":"PA218","order":233,"title":"218"},{"pid":"PA219","order":234,"title":"219"},{"pid":"PA220","order":235,"title":"220"},{"pid":"PA222","order":237,"title":"222"},{"pid":"PA224","order":239,"title":"224"},{"pid":"PA226","order":241,"title":"226"},{"pid":"PA227","order":242,"title":"227"},{"pid":"PA228","order":243,"title":"228"},{"pid":"PA230","order":245,"title":"230"},{"pid":"PA231","order":246,"title":"231"},{"pid":"PA232","order":247,"title":"232"},{"pid":"PA233","order":248,"title":"233"},{"pid":"PA234","order":249,"title":"234"},{"pid":"PA235","order":250,"title":"235"},{"pid":"PA237","order":252,"title":"237"},{"pid":"PA238","order":253,"title":"238"},{"pid":"PA239","order":254,"title":"239"},{"pid":"PA240","order":255,"title":"240"},{"pid":"PA242","order":257,"title":"242"},{"pid":"PA243","order":258,"title":"243"},{"pid":"PA244","order":259,"title":"244"},{"pid":"PA245","order":260,"title":"245"},{"pid":"PA246","order":261,"title":"246"},{"pid":"PA247","order":262,"title":"247"},{"pid":"PA252","order":267,"title":"252"},{"pid":"PA253","order":268,"title":"253"},{"pid":"PA254","order":269,"title":"254"},{"pid":"PA257","order":272,"title":"257"},{"pid":"PA258","order":273,"title":"258"},{"pid":"PA259","order":274,"title":"259"},{"pid":"PA262","order":277,"title":"262"},{"pid":"PA264","order":279,"title":"264"},{"pid":"PA265","order":280,"title":"265"},{"pid":"PA267","order":282,"title":"267"},{"pid":"PA268","order":283,"title":"268"},{"pid":"PA270","order":285,"title":"270"},{"pid":"PA273","order":288,"title":"273"},{"pid":"PA274","order":289,"title":"274"},{"pid":"PA275","order":290,"title":"275"},{"pid":"PA277","order":292,"title":"277"},{"pid":"PA278","order":293,"title":"278"},{"pid":"PA279","order":294,"title":"279"},{"pid":"PA280","order":295,"title":"280"},{"pid":"PA282","order":297,"title":"282"},{"pid":"PA284","order":299,"title":"284"},{"pid":"PA285","order":300,"title":"285"},{"pid":"PA286","order":301,"title":"286"},{"pid":"PA287","order":302,"title":"287"},{"pid":"PA288","order":303,"title":"288"},{"pid":"PA289","order":304,"title":"289"},{"pid":"PA290","order":305,"title":"290"},{"pid":"PA291","order":306,"title":"291"},{"pid":"PA293","order":308,"title":"293"},{"pid":"PA294","order":309,"title":"294"},{"pid":"PA295","order":310,"title":"295"},{"pid":"PA296","order":311,"title":"296"},{"pid":"PA297","order":312,"title":"297"},{"pid":"PA300","order":315,"title":"300"},{"pid":"PA301","order":316,"title":"301"},{"pid":"PA302","order":317,"title":"302"},{"pid":"PA304","order":319,"title":"304"},{"pid":"PA305","order":320,"title":"305"},{"pid":"PA306","order":321,"title":"306"},{"pid":"PA307","order":322,"title":"307"}],"prefix":"https://books.google.com.sg/books?id=mIjADAAAQBAJ\u0026lpg=PA93\u0026vq=african+american"},{"fullview":false,"page_width":575,"page_height":863,"font_height":14,"first_content_page":16,"disable_twopage":false,"initial_zoom_width_override":685,"show_print_pages_button":false,"title":"Visualising Slavery","subtitle":"Art Across the African Diaspora","attribution":"edited by Celeste-Marie Bernier, Hannah Durkin","additional_info":{"[JsonBookInfo]":{"BuyLinks":[{"Seller":"Oxford University Press","Url":"https://global.oup.com/academic/product/9781781382677","TrackingUrl":"/url?client=ca-google-print\u0026format=googleprint\u0026num=0\u0026id=mIjADAAAQBAJ\u0026q=https://global.oup.com/academic/product/9781781382677\u0026usg=AOvVaw3bXlHKgdJ9wZxYDISzdn3z","IsPublisher":true},{"Seller":"Amazon.com","Url":"http://www.amazon.com/gp/search?index=books\u0026linkCode=qs\u0026keywords=9781781382677","TrackingUrl":"/url?client=ca-google-print\u0026format=googleprint\u0026num=0\u0026id=mIjADAAAQBAJ\u0026q=http://www.amazon.com/gp/search%3Findex%3Dbooks%26linkCode%3Dqs%26keywords%3D9781781382677\u0026usg=AOvVaw3eli3iSBtrtD8l1rOaPjnp"},{"Seller":"MPH","Url":"http://www.mphonline.com/books/nsearch.aspx?do=detail\u0026pcode=9781781382677","TrackingUrl":"/url?client=ca-google-print\u0026format=googleprint\u0026num=0\u0026id=mIjADAAAQBAJ\u0026q=http://www.mphonline.com/books/nsearch.aspx%3Fdo%3Ddetail%26pcode%3D9781781382677\u0026usg=AOvVaw2k7kG1oMb3VzHFZ8eBpl01"},{"Seller":"Popular","Url":"https://www.popular.com.sg/catalogsearch/result/?q=9781781382677","TrackingUrl":"/url?client=ca-google-print\u0026format=googleprint\u0026num=0\u0026id=mIjADAAAQBAJ\u0026q=https://www.popular.com.sg/catalogsearch/result/%3Fq%3D9781781382677\u0026usg=AOvVaw1SoefyHB_Epfn5pbCHjbHr"}],"AboutUrl":"https://books.google.com.sg/books?id=mIjADAAAQBAJ","PreviewUrl":"https://books.google.com.sg/books?id=mIjADAAAQBAJ","allowed_syndication_flags":{"allow_disabling_chrome":true},"TocLine":[{"Title":"Inside the Invisible ","Pid":"PA1","PgNum":"1","Order":16},{"Title":"Part I Slavery and Memory in Contemporary African Diasporic Art ","Pid":"PA15","PgNum":"15","Order":30},{"Title":"Lost and Found at the Swap Meet ","Pid":"PA17","PgNum":"17","Order":32},{"Title":"Preserves ","Pid":"PA29","PgNum":"29","Order":44},{"Title":"What Goes without Saying ","Pid":"PA34","PgNum":"34","Order":49},{"Title":"Spectres in the Postcolonies ","Pid":"PA48","PgNum":"48","Order":63},{"Title":"Strategic Remembering and Tactical Forgetfulness in Depicting the Plantation","Pid":"PA62","PgNum":"62","Order":77},{"Title":"Part II Historical Iconography and Visualising Transatlantic Slavery","Pid":"PA79","PgNum":"79","Order":94},{"Title":"The Chattel Record Visualising the Archive in Diasporan Art ","Pid":"PA81","PgNum":"81","Order":96},{"Title":"Henry Box Brown African Atlantic Artists and Radical Interventions ","Pid":"PA104","PgNum":"104","Order":119},{"Title":"Uncle Tom and the Problem of Soft Resistance to Slavery ","Pid":"PA119","PgNum":"119","Order":134},{"Title":"The AfterImage Frederick Douglass in Visual Culture ","Pid":"PA129","PgNum":"129","Order":144},{"Title":"Part III African Diasporic Monuments and Memorialisation ","Pid":"PA153","PgNum":"153","Order":168},{"Title":"Siting the CircumAtlantic Nelson in a Bottle in Trafalgar Square ","Pid":"PA155","PgNum":"155","Order":170},{"Title":"Art and Caribbean Slavery ","Pid":"PA168","PgNum":"168","Order":183},{"Title":"The Greatest Negro Monuments on Earth ","Pid":"PA184","PgNum":"184","Order":199},{"Title":"Part IV Contemporary Legacies in African Diasporic Art ","Pid":"PA201","PgNum":"201","Order":216},{"Title":"We Might Not Be Surprised ","Pid":"PA203","PgNum":"203","Order":218}]}},"table_of_contents_page_id":"PR7","max_resolution_image_width":1280,"max_resolution_image_height":1921,"num_toc_pages":2,"quality_info":"We have no quality information about this book.","volume_id":"mIjADAAAQBAJ","permission_info":"Pages displayed by permission of \u003ca class=link_aux href=\"https://books.google.com.sg/url?id=mIjADAAAQBAJ\u0026pg=PA93\u0026q=http://www.oup.com\u0026linkid=1\u0026usg=AOvVaw1u6L9x9muhB2Z_E13TZlaF\u0026source=gbs_pub_info_r\"\u003eOxford University Press\u003c/a\u003e","is_ebook":false,"volumeresult":{"has_flowing_text":false,"has_scanned_text":true,"can_download_pdf":false,"can_download_epub":false,"is_pdf_drm_enabled":false,"is_epub_drm_enabled":false},"publisher":"Oxford University Press","publication_date":"2016","subject":"Art","num_pages":291,"sample_url":"https://play.google.com/books/reader?id=mIjADAAAQBAJ\u0026source=gbs_vpt_hover","synposis":"The purpose of this book is to excavate and recover a wealth of under-examined artworks and research materials directly to interrogate, debate and analyse the tangled skeins undergirding visual representations of transatlantic slavery across the Black diaspora. Living and working on both sides of the Atlantic, as these scholars, curators and practitioners demonstrate, African diasporic artists adopt radical and revisionist practices by which to confront the difficult aesthetic and political realities surrounding the social and cultural legacies let alone national and mythical memories of Transatlantic Slavery and the international Slave Trade. Adopting a comparative perspective, this book investigates the diverse body of works produced by black artists as these contributors come to grips with the ways in which their neglected and repeatedly unexamined similarities and differences bear witness to the existence of an African diasporic visual arts tradition. As in-depth investigations into the diverse resistance strategies at work within these artists' vast bodies of work testify, theirs is an ongoing fight for the right to art for art's sake as they challenge mainstream tendencies towards examining their works solely for their sociological and political dimensions. This book adopts a cross- cultural perspective to draw together artists, curators, academics, and public researchers in order to provide an interdisciplinary examination into the eclectic and experimental oeuvre produced by black artists working within the United States, the United Kingdom and across the African diaspora. The overall aim of this book is to re-examine complex yet under-researched theoretical paradigms vis-à-vis the patterns of influence and cross-cultural exchange across both America and a black diasporic visual arts tradition, a vastly neglected field of study.","my_library_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fop%3Dlibrary\u0026hl=en","is_magazine":false,"is_public_domain":false,"last_page":{"pid":"PA307","order":322,"title":"307"}},{"enableUserFeedbackUI":true,"pseudocontinuous":true,"is_cobrand":false,"sign_in_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fid%3DmIjADAAAQBAJ%26q%3Dafrican%2Bamerican%26source%3Dgbs_word_cloud_r%26hl%3Den\u0026hl=en","isEntityPageViewport":false,"showViewportOnboarding":false,"showViewportPlainTextOnboarding":false},{"page":[{"pid":"PA93","flags":8,"order":108,"vq":"african american"}]},null,{"number_of_results":92,"search_results":[{"page_id":"PR9","page_number":"ix","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. List. of. Illustrations. List of illustrations \u003cb\u003eBlack\u003c/b\u003e-and ... \u003cb\u003eamerican\u003c/b\u003e art 91 Figure 11: William Blake (after J. G. Stedman), Flagellation of # ix # List of Illustrations."},{"page_id":"PR13","page_number":"xiii","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. plate 14: debra priestly, Strange Fruit 25 ... \u003cb\u003eAmerican\u003c/b\u003e Express (2007), dimensions variable, inventory #HWt07.017 © the artist and Jack Shainman Gallery, new york\u0026nbsp;..."},{"page_id":"PR15","page_number":"xv","snippet_text":"... \u003cb\u003eAfrican\u003c/b\u003e Diaspora is the result of an international symposium generously funded by the terra Foundation for \u003cb\u003eamerican\u003c/b\u003e art and held at the university of oxford in 2013. in addition to extending our profound debt of gratitude to the terra\u0026nbsp;..."},{"page_id":"PR16","page_number":"xvi","snippet_text":"Art Across the African Diaspora Celeste-Marie Bernier, Hannah Durkin. and politicised commitment to researching, writing and art-making in the related fields of art history, visual culture, slavery studies, \u003cb\u003eafrican american\u003c/b\u003e studies, Black\u0026nbsp;..."},{"page_id":"PA3","page_number":"3","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e studies, Black British studies and african diaspora studies in recognition of the intellectual and political necessity of adopting an interdisciplinary framework even to begin to \u0026#39;visualise the invisible\u0026#39; or to \u0026#39;tell\u0026nbsp;..."},{"page_id":"PA4","page_number":"4","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e art history and visual culture – including works by Lisa Farrington, Kellie Jones, Sharon F. patton, richard powell, Samella Lewis, Michele Wallace and deborah Willis, to name but a few – far less criticism exists\u0026nbsp;..."},{"page_id":"PA5","page_number":"5","snippet_text":"... American Art (Columbia, SC: university of South Carolina, 2008); Huey Copeland, Bound to Appear: Art, Slavery, and ... \u003cb\u003eAfrican American\u003c/b\u003e Visual Arts From Slavery to the Present (Chapel Hill, nC: university of north Carolina press\u0026nbsp;..."},{"page_id":"PA6","page_number":"6","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e, african Caribbean and Black British artists bears witness to blurred formal and thematic boundaries by revealing the dynamic processes of cross-cultural exchange and patterns of influence embedded within centuries-long\u0026nbsp;..."},{"page_id":"PA7","page_number":"7","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e artist who has used washboards, window frames, circuit boards and handkerchiefs during a career spanning 45 years – influenced her recent work with dinner plates, newspapers and jelly moulds across her series Swallow\u0026nbsp;..."},{"page_id":"PA8","page_number":"8","snippet_text":"... Black British artist and leading BLK art Group member Keith piper shows how television miniseries Roots (1977) served as a seminal event for British Caribbean migrant communities as much as \u003cb\u003eafrican american\u003c/b\u003e audiences and helped to\u0026nbsp;..."},{"page_id":"PA9","page_number":"9","snippet_text":"... american, Black or white, of the nineteenth century, by identifying three eras in his visual life: the fugitive ... \u003cb\u003eafrican americans\u003c/b\u003e into the visual narrative of the uS. yet, in an investigation that comprehensively traces\u0026nbsp;..."},{"page_id":"PA10","page_number":"10","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e sculptor richmond Barthé\u0026#39;s monumental tributes to Haitian revolution leaders toussaint Louverture and Jean-Jacques dessalines as ambivalent engagements with Haitian Black nationalism and pan-africanism. The sculptures\u0026nbsp;..."},{"page_id":"PA17","page_number":"17","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. CHAPTER. ONE. Lost. and. Found. at. the. Swap. Meet ... \u003cb\u003eamerican\u003c/b\u003e art but appears to be constantly battling to remain within the mainstream, often by stealth perhaps, but\u0026nbsp;..."},{"page_id":"PA18","page_number":"18","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e people walking home through the streets with heavy shopping bags were wryly amused by my enthusiasm for their creativity. Betye Saar has said that the towers themselves, which she. 15 Kellie Jones, \u0026#39;to/From Los angeles\u0026nbsp;..."},{"page_id":"PA19","page_number":"19","snippet_text":"Art Across the African Diaspora Celeste-Marie Bernier, Hannah Durkin. Betye Saar has said that the towers ... \u003cb\u003eafrican american\u003c/b\u003e story to tell She has experience of the dealer system in america She has taught at many levels Her\u0026nbsp;..."},{"page_id":"PA20","page_number":"20","snippet_text":"Art Across the African Diaspora Celeste-Marie Bernier, Hannah Durkin. She has tenacity and persistence She ... \u003cb\u003eAfrican American\u003c/b\u003e Visual Arts: From Slavery to the Present (Chapel Hill, nC: university of north Carolina press, 2009)\u0026nbsp;..."},{"page_id":"PA23","page_number":"23","snippet_text":"... \u003cb\u003eblack americans\u003c/b\u003e in this series continues to help us deconstruct these representations and to change perceptions. Her critique emphasizes the existence of parallel worlds. at issue is how blacks view themselves, as opposed to how they\u0026nbsp;..."},{"page_id":"PA24","page_number":"24","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. Shopping: The connection with shopping and ... \u003cb\u003eamerican\u003c/b\u003e life. She sees the house as a museum to family. The handbag: sorting, emptying, refilling. The cupboards\u0026nbsp;..."},{"page_id":"PA30","page_number":"30","snippet_text":"Art Across the African Diaspora Celeste-Marie Bernier, Hannah Durkin. a locus through which much was passed and ... american classic poem recorded in song by Billie Holiday in 1938. Lamenting the lynching of \u003cb\u003eafrican americans\u003c/b\u003e, the\u0026nbsp;..."},{"page_id":"PA34","page_number":"34","snippet_text":"... \u003cb\u003eafrican americans\u003c/b\u003e presented as \u0026#39;normal\u0026#39; people in everyday life in ways that she\u0026#39;d known them, in contrast to the ... american artist. references have led me to more references, which are scanty. i have written fifty letters to\u0026nbsp;..."},{"page_id":"PA36","page_number":"36","snippet_text":"... american apparel] from the mid-2000s, which i thought was pretty fascinating in its representation of africa.2 i\u0026#39;ve ... \u003cb\u003eafrican descent\u003c/b\u003e dominating popular sports for the latter half of the twentieth century and european-descended\u0026nbsp;..."},{"page_id":"PA37","page_number":"37","snippet_text":"... \u003cb\u003eafrican americans\u003c/b\u003e because so many of us were brought over to the americas to help fuel and create american commodities and help make the country so wealthy. one of the books i\u0026#39;ve been reading is by Walter LaFeber. it\u0026#39;s called Michael\u0026nbsp;..."},{"page_id":"PA39","page_number":"39","snippet_text":"... \u003cb\u003eafrican americans\u003c/b\u003e have proven to be a great testing ground and billboard for making things commodifiable. young \u003cb\u003eafrican american\u003c/b\u003e men especially have been known to pay to become the best advertisers anyone could ask for. This is another\u0026nbsp;..."},{"page_id":"PA40","page_number":"40","snippet_text":"... (\u003cb\u003eAfrica\u003c/b\u003e-\u003cb\u003eAmerica\u003c/b\u003e) [plate 29] because, as an \u003cb\u003eafrican american\u003c/b\u003e, so many times i have been confronted with situations where people ask me where i\u0026#39;m from and i\u0026#39;ll say \u0026#39;new york\u0026#39;, and they\u0026#39;ll say, \u0026#39;but where were you from before that\u0026nbsp;..."},{"page_id":"PA46","page_number":"46","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e families as an opportunity towards freedom. So making a quilt out of these basketball jerseys was a gesture towards this, but i also made a series of photographs using different patterns. This is a pattern called\u0026nbsp;..."},{"page_id":"PA47","page_number":"47","snippet_text":"... Black Righteous Space (2012), which is an ode to the oratory legacy of \u003cb\u003eafrican american\u003c/b\u003e and afro-Caribbean orators and musicians and their spin on how there are spaces designated for the descendants of slaves to speak earnestly on\u0026nbsp;..."},{"page_id":"PA50","page_number":"50","snippet_text":"... \u003cb\u003eafrican\u003c/b\u003e woman (and likely to have been a slave) thought to have been taken from a ship in the Caribbean.2 This ... \u003cb\u003eAmerican\u003c/b\u003e History, 101.1 (2014), 357–60; anthony L. Brown and Christopher davis, \u0026#39;race and Historical Memory on the\u0026nbsp;..."},{"page_id":"PA55","page_number":"55","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e artist Kara Walker, created and installed in new york in 2014. The spectacle of the \u0026#39;sugar baby\u0026#39;, a sphinx-like \u003cb\u003eafrican american\u003c/b\u003e \u0026#39;mammy\u0026#39; made of sugar, is highly sexualised and racially charged, conflating the Black\u0026nbsp;..."},{"page_id":"PA57","page_number":"57","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. The more vocal the latter, the more ... \u003cb\u003eamerican\u003c/b\u003e metropolitan centres. Mass-produced plantation crops continued to be grown in Guyana and trinidad. However\u0026nbsp;..."},{"page_id":"PA62","page_number":"62","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. CHAPTER FIVE Strategic Remembering and ... \u003cb\u003eamerican\u003c/b\u003e aBC network, was screened in the uK by the BBC. in the above account, British actor and playwright Kwame\u0026nbsp;..."},{"page_id":"PA63","page_number":"63","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e \u0026#39;Civil rights\u0026#39; struggle as it continued to evolve through the 1960s and into the mid-1970s, and in which the concept of \u003cb\u003eBlack american\u003c/b\u003e genealogy as deeply embedded within the national narrative of the united States\u0026nbsp;..."},{"page_id":"PA68","page_number":"68","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. Caribbean intellectuals, many of whom had ... \u003cb\u003eAmerican\u003c/b\u003e Slavery As It Is: Testimony of a Thousand Witnesses. as paul Laurence dunbar wrote in his 1898 response to\u0026nbsp;..."},{"page_id":"PA69","page_number":"69","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. such, Beecher Stowe populated her novel with a ... \u003cb\u003eAmerican\u003c/b\u003e Popular Culture (Madison, Wi: university of Wisconsin press, 1984), p. 155. 19 \u0026#39;Model for Mrs. Stowe\u0026nbsp;..."},{"page_id":"PA72","page_number":"72","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. own against it in his brutalisation of ... \u003cb\u003eamerican\u003c/b\u003e prairie.24 The ironic tension between these two diametrically opposed icons of westward travel had been a\u0026nbsp;..."},{"page_id":"PA81","page_number":"81","snippet_text":"... \u003cb\u003eafrican\u003c/b\u003e art has two aspects ... it has an aesthetic meaning and a cultural significance. What it is as a thing of ... \u003cb\u003eAmerican\u003c/b\u003e Culture, 1892–1938 (princeton, nJ: princeton university press, 2007), p. 546. 3 Frederick douglass, The\u0026nbsp;..."},{"page_id":"PA82","page_number":"82","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e narrative voice could self-authorise, the story of Madison Washington, the heroic slave of the title, also exemplifies that \u0026#39;special case in literature\u0026#39; that is historical fiction: a \u0026#39;mode of writing\u0026#39;, José de piérola\u0026nbsp;..."},{"page_id":"PA83","page_number":"83","snippet_text":"... \u003cb\u003eAfrican American\u003c/b\u003e Culture (oxford: oxford university press, 1994), p. 284. 8 deborah Willis and Barbara Krauthamer, Envisaging Emancipation: \u003cb\u003eAfrican Americans\u003c/b\u003e and the End of Slavery (philadelphia, pa: temple university press, 2013), p\u0026nbsp;..."},{"page_id":"PA85","page_number":"85","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e visual artist, the shadow archive has proven a significant aesthetic resource. as Celeste-Marie Bernier has shown, the artistry, activism and symbolic significance of individuals who, in defiance of \u0026#39;the limitations\u0026nbsp;..."},{"page_id":"PA86","page_number":"86","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e artistry early became a more transparently deliberate process. it involved a clear sense not only ... \u003cb\u003eafrican american\u003c/b\u003e literary and visual arts, are matched by his role as a collector and curator of Black diasporan\u0026nbsp;..."},{"page_id":"PA87","page_number":"87","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e visual and literary artists to reflect on their aesthetic relationship with africa as well as on the expressive potential of co-opting the formal vocabulary of african art into their own work.14 notably, Braddock\u0026nbsp;..."},{"page_id":"PA89","page_number":"89","snippet_text":"... Black artist in the opening to his novella, linking the artefactual confinement of the \u003cb\u003eafrican american\u003c/b\u003e in/as chattel record to the challenge faced by the artist as archivist. Locke\u0026#39;s comments suggest one of the complex ways in which\u0026nbsp;..."},{"page_id":"PA90","page_number":"90","snippet_text":"... \u003cb\u003eafrican\u003c/b\u003e artwork the evidence of an aesthetic tradition that can be recovered from the archive in ways that allow the ... \u003cb\u003eAmerican\u003c/b\u003e Literature and Art: Performing Identity (London: routledge, 2012), p. 4. 19 \u0026#39;negro artists Win top uS\u0026nbsp;..."},{"page_id":"PA91","page_number":"91","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. undertakes simultaneously to recatalogue, to ... \u003cb\u003eamerican\u003c/b\u003e art Figure 11: William Blake (after J. G. Stedman), Flagellation of. # 91 # Visualising the Archive in\u0026nbsp;..."},{"page_id":"PA92","page_number":"92","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e aesthetic responses to those codes that may unintentionally produce reactive forms of symbolic indenture. an early instance of his emphatic turn in the early 1940s to a focus on the Black female form, the painting and\u0026nbsp;..."},{"page_id":"PA93","page_number":"93","snippet_text":"... american history that society has moved beyond. The framework of presentation in 1946 therefore aligns itself with the united States\u0026#39; contemporary self-image ... \u003cb\u003eafrican american\u003c/b\u003e painting # 93 # Visualising the Archive in Diasporan Art."},{"page_id":"PA94","page_number":"94","snippet_text":"... Black female nude at best a hazardous proposition for \u003cb\u003eafrican american\u003c/b\u003e artists, Southern Gate operates within complicated visual lexica that layer the relationship between the Black female form and the Southern landscape as a site and\u0026nbsp;..."},{"page_id":"PA96","page_number":"96","snippet_text":"... Black self-sovereignty in the most intimate domains of subjectivity, namely the immanent materiality of the body and the imperative of consciousness to protect it from physical harm. Hortense Spillers describes the \u003cb\u003eafrican american\u003c/b\u003e body\u0026nbsp;..."},{"page_id":"PA98","page_number":"98","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e artists in the twentieth Century\u0026#39;, Oxford African # 98 # Visualising Slavery."},{"page_id":"PA99","page_number":"99","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e subject are prefigured in or by the chattel record, compositionally the piece tilts towards an explicit contemplation of the relationship between subject matter and aesthetic form. \u0026#39;as a negro artist i have been\u0026nbsp;..."},{"page_id":"PA100","page_number":"100","snippet_text":"... \u003cb\u003eafrican\u003c/b\u003e sculptural forms. as part of his studies at the art institute of Chicago in the late 1930s and early 1940s ... \u003cb\u003eamerican\u003c/b\u003e is not in the World\u0026#39;s Columbian exposition\u0026#39; (1893). 38 The ethnographic aesthetic found expression in\u0026nbsp;..."},{"page_id":"PA101","page_number":"101","snippet_text":"... american Civil War\u0026#39;s famous \u0026#39;port royal experiment\u0026#39;, which allowed free \u003cb\u003eafrican americans\u003c/b\u003e to work on land abandoned by the white plantocracy, and produced a brief but significant utopian period of self-sufficiency until president andrew\u0026nbsp;..."},{"page_id":"PA102","page_number":"102","snippet_text":"... african sculpture – the art object that precedes enslavement – and the \u003cb\u003eafrican american\u003c/b\u003e body – the artefact of slavery – both carry archival and aesthetic functions that prevent any thematic reduction that would cast the work as an\u0026nbsp;..."},{"page_id":"PA105","page_number":"105","snippet_text":"... Africa to the American Diaspora (Cambridge, Ma: Harvard university press, 2007), p. 98. 4 Hortense Spillers, \u0026#39;Mama\u0026#39;s Baby, papa\u0026#39;s Maybe: an american Grammar\u0026#39;, in angelyn Mitchell (ed.), Within the Circle: An Anthology of \u003cb\u003eAfrican American\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA108","page_number":"108","snippet_text":"... \u003cb\u003eafrican americans\u003c/b\u003e have always existed in a counter-citizen relationship to the law; how else to contend with knowing oneself as a whole human being when the Constitution defines you as \u0026#39;three-fifths\u0026#39;? The american way with regard to the\u0026nbsp;..."},{"page_id":"PA109","page_number":"109","snippet_text":"... Black man in contemporary america, which is confirmed by \u0026#39;passages Williams has inscribed on the floor around the box describing contemporary discrimination, something that \u003cb\u003eafrican americans\u003c/b\u003e have been subjected to for “2 long”\u0026#39;.13\u0026nbsp;..."},{"page_id":"PA110","page_number":"110","snippet_text":"... \u003cb\u003eafrican americans\u003c/b\u003e confined and still counting down the hours, which have gone on \u0026#39;2 long\u0026#39;, to a full emancipation ... American Art (new york: Whitney Museum of american art, 1994), p. 71. 18 ruggles, Unboxing of Henry Brown, p. 172\u0026nbsp;..."},{"page_id":"PA111","page_number":"111","snippet_text":"... \u003cb\u003eamerican\u003c/b\u003e racial realities. He states that: i read Henry Brown\u0026#39;s narrative and i began to organize an exhibition ... \u003cb\u003eAfrican\u003c/b\u003e Atlantic Artists and Radical Interventions."},{"page_id":"PA113","page_number":"113","snippet_text":"... black man\u0026#39;s historical role as property and his all too common contemporary portrayal as a criminal suspect.25 The Narratives, on the other hand, show how even the emancipated and self-defining \u003cb\u003eafrican american\u003c/b\u003e is still beholden to\u0026nbsp;..."},{"page_id":"PA114","page_number":"114","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e flying myths, which were foundational aspects of slave fugitivity: ra\u0026#39;s interest in flight is a kind of politics. Being light is a refusal of the limitations of what is considered human ... the human has always been a\u0026nbsp;..."},{"page_id":"PA115","page_number":"115","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e abolitionism. They advertised the presence of radical Black transatlantic figures, transmitting information about the institution of chattel slavery beyond the sphere of the chattering classes, making inroads into\u0026nbsp;..."},{"page_id":"PA123","page_number":"123","snippet_text":"... american voice that Stowe was \u0026#39;a leetle unscrupulous in the appropriatin\u0026#39; way\u0026#39;.9 The fact also remains that the ... \u003cb\u003eafrican americans\u003c/b\u003e to Uncle Tom\u0026#39;s Cabin and the violent events of the 1850s in Kansas, to respect the defiant and\u0026nbsp;..."},{"page_id":"PA126","page_number":"126","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. not reach publication because of the ... \u003cb\u003eamerican\u003c/b\u003e illustrations to Dred, though he is far from the most significant actor in the drama? This, i would suggest\u0026nbsp;..."},{"page_id":"PA127","page_number":"127","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. his care, whom he tends with selfless devotion ... \u003cb\u003eamerican\u003c/b\u003e slavery in the light of her family\u0026#39;s treatment of its tenants was remarked upon by radicals in Britain\u0026nbsp;..."},{"page_id":"PA129","page_number":"129","snippet_text":"... american of the nineteenth century, rather than abraham Lincoln, Walt Whitman or General Custer (all previously claimed by scholars as the century\u0026#39;s most photographed americans). This means that, even as \u003cb\u003eafrican american\u003c/b\u003e men were\u0026nbsp;..."},{"page_id":"PA130","page_number":"130","snippet_text":"... \u003cb\u003eafrican americans\u003c/b\u003e. Shortly after douglass\u0026#39;s death, W. e. B. du Bois fought this battle all over again with his Exhibit of American Negroes (1900) and his \u0026#39;new negro\u0026#39; photographic covers for Crisis magazine from 1910 onward. The exhibit\u0026nbsp;..."},{"page_id":"PA131","page_number":"131","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e magazines and newspapers opted to use douglass\u0026#39;s photographs in the same way. elder statesman douglass appears to illustrate the concept of a prophet (Baltimore Afro-American, 12 February 1916), a \u0026#39;Great american\u0026nbsp;..."},{"page_id":"PA132","page_number":"132","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e. Sidney W. edwards\u0026#39;s rochester monument stands 17 feet high. an eight-foot douglass stands atop a pedestal. Quotations from various of his speeches reproduced on the pedestal focus on america as a country \u0026#39;favorable\u0026#39; to\u0026nbsp;..."},{"page_id":"PA136","page_number":"136","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e figures and breaks the ropes of Jim Crow that confine them in Charles White\u0026#39;s ink and pencil drawing Frederick Douglass Lives Again (The Ghost of Frederick Douglass) (1949). in 1954, pablo o\u0026#39;Higgins based a lithograph\u0026nbsp;..."},{"page_id":"PA137","page_number":"137","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. lithograph of 1951. The 1883 Kent cabinet ... \u003cb\u003eamerican\u003c/b\u003e figures in street art. He appears both youthful and aged in 110 murals, all in the united States except for\u0026nbsp;..."},{"page_id":"PA138","page_number":"138","snippet_text":"... Black child\u0026#39;s neck, the. 4 For more on the mural tradition, see James prigoff and robin J. dunitz, Walls of Heritage, Walls of Pride: \u003cb\u003eAfrican American\u003c/b\u003e Murals (San Francisco, Ca: pomegranate, 2000); Janet Braun-reinitz and Jane Weissman\u0026nbsp;..."},{"page_id":"PA139","page_number":"139","snippet_text":"Art Across the African Diaspora Celeste-Marie Bernier, Hannah Durkin. hang as commemorative coins around a Black ... \u003cb\u003eafrican american\u003c/b\u003e Civil War monument in decatur, illinois. 6 Further demonstrating the availability of pre-1880s\u0026nbsp;..."},{"page_id":"PA140","page_number":"140","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e neighbourhood of Lower roxbury (1976) was based on a cabinet card photograph by James e. reed and p. C. Headley taken in october 1894. destroyed in 1987, it was replaced at the same site in 2003 with a new douglass\u0026nbsp;..."},{"page_id":"PA141","page_number":"141","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. the twentieth century, two of the most available ... \u003cb\u003eamerican\u003c/b\u003e life by 1860, so there are nearly 20 years of douglass Cdvs before his bearded persona. of the 83\u0026nbsp;..."},{"page_id":"PA142","page_number":"142","snippet_text":"... Black Last Supper paintings, including one by Barbadian artist Kolongi Brathwaite titled Ancestors In Conference (2005) and one by \u003cb\u003eafrican american\u003c/b\u003e artist Cornell Barnes titled Last Supper (1988), depictions of douglass based on the\u0026nbsp;..."},{"page_id":"PA143","page_number":"143","snippet_text":"... Black soldier, then stretches out to leap as Carl Lewis winning the gold medal in the long jump at the 1984 La olympics. douglass is again the origin point, present at the moment of \u003cb\u003eafrican american\u003c/b\u003e creation (when \u0026#39;all men [were]\u0026nbsp;..."},{"page_id":"PA149","page_number":"149","snippet_text":"... \u003cb\u003eBlack\u003c/b\u003e radicals disappear. one of the most complex douglass murals is I am / yo soy by the ecuadorian \u003cb\u003eamerican\u003c/b\u003e and newark-based artist Lunar new year, completed in rochester in July 2013 [Figure 16]. Stretching across the side of a\u0026nbsp;..."},{"page_id":"PA162","page_number":"162","snippet_text":"... \u003cb\u003eBlack\u003c/b\u003e British and \u003cb\u003eamerican\u003c/b\u003e art and visual culture.13 The fact that his fourth plinth project took the form of a ship at all – irrespective of whether the ship is the Victory, or whether it is inside or outside a bottle – is of course\u0026nbsp;..."},{"page_id":"PA186","page_number":"186","snippet_text":"... \u003cb\u003eAfrican Americans\u003c/b\u003e: A Heritage of Tragedy and Hope (Gainesville, FL: university of Florida press, 2001), p. 163. 4 Laurence Brown, \u0026#39;Monuments to Freedom, Monuments to nation: The politics of emancipation and remembrance in the eastern\u0026nbsp;..."},{"page_id":"PA214","page_number":"214","snippet_text":"... \u003cb\u003eamerican\u003c/b\u003e version of Wheel of Fortune (1975–present) is said to be the longest-running syndicated game show in uS ... \u003cb\u003eafrican\u003c/b\u003e continent, the ramifications and effects of which are still # 214 # Visualising Slavery."},{"page_id":"PA218","page_number":"218","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e and african diasporic art histories. 1 donald rodney, Sketchbook No. 17 (1987), n.pag. rodney\u0026#39;s 48 sketchbooks are held in the Special Collections of the tate Library, tate Britain. 2 donald rodney, \u0026#39;artist Statement\u0026nbsp;..."},{"page_id":"PA224","page_number":"224","snippet_text":"... Black enslavement, implicitly referencing the traumatising realities of \u003cb\u003eafrican american\u003c/b\u003e plantation labour in the South. rodney refuses to leave radical interpretations of 100% Cotton to. 20 Hylton, Doublethink, p. 10. 21 piper\u0026nbsp;..."},{"page_id":"PA226","page_number":"226","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. \u0026#39;are used to comprehensively reference the whole wretched enterprise of \u003cb\u003eamerican\u003c/b\u003e ... \u003cb\u003eBlack\u003c/b\u003e bodies in a systemised and deliberate cultural whitewashing of the profits of\u0026nbsp;..."},{"page_id":"PA252","page_number":"252","snippet_text":"... african societies, must have impacted upon \u003cb\u003eafrican american\u003c/b\u003e and afro-Brazilian cultures in ways which deserve more than a passing interest? i photographed this young Samba musician [Figure 27] in what is just about the most lawless and\u0026nbsp;..."},{"page_id":"PA267","page_number":"267","snippet_text":"... african beads and body ornaments of the Bahiana represent something historically lacking in \u003cb\u003eafrican american\u003c/b\u003e culture, and symbolically express the social empowerment of certain afro-Brazilian females. if one looks at the relevant\u0026nbsp;..."},{"page_id":"PA270","page_number":"270","snippet_text":"... \u003cb\u003eafrican\u003c/b\u003e metalworkers of Benin and Ghana, who cast the large beads in brass and in gold using the lost wax technique ... \u003cb\u003eAmerican\u003c/b\u003e Identity (Los angeles, Ca: uCLa Fowler Museum of Cultural History, 1998). 32 edward S. ayensu, Ashanti\u0026nbsp;..."},{"page_id":"PA274","page_number":"274","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e conceptual artist who works most deftly and effectively at the margins of race and masculinity, offered many compelling examples of his work, but perhaps none more so than his last. This installation consists first of a\u0026nbsp;..."},{"page_id":"PA275","page_number":"275","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. last. This installation consists first of a full-screen image of the flag of the Confederate States of \u003cb\u003eamerica\u003c/b\u003e, the symbol of Southern secessionists during the \u003cb\u003eamerican\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA279","page_number":"279","snippet_text":"... \u003cb\u003eBlack\u003c/b\u003e unnaming and in seeking to define our current but as-yet turbulent \u003cb\u003eamerican\u003c/b\u003e place. Many more join this list, as you know them. But each provides that rare and most singular human gift – in the name of the politics of the possible\u0026nbsp;..."},{"page_id":"PA280","page_number":"280","snippet_text":"... \u003cb\u003eafrican american\u003c/b\u003e Studies (university of nottingham) and Co-editor of the Journal of American Studies (Cambridge university press). in addition to writing articles and co-authored and co-edited volumes, her single-authored books include:\u0026nbsp;..."},{"page_id":"PA284","page_number":"284","snippet_text":"... africa. Zoe trodd is professor of american Literature in the department of american and Canadian Studies at the university of nottingham. She focuses on \u003cb\u003eafrican american\u003c/b\u003e protest literature and visual culture, particularly of anti\u0026nbsp;..."},{"page_id":"PA290","page_number":"290","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. Scarry, elaine 277 Schork, Heidi 140 Schreiber ... \u003cb\u003eAmerican\u003c/b\u003e Express 39–40 Basketball and Chain 39 \u003cb\u003eBlack\u003c/b\u003e Righteous Space 47–8 Branded Head 39 commodification of\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=mIjADAAAQBAJ\u0026pg=PA290\u0026vq=african+american"},{"page_id":"PA304","page_number":"304","snippet_text":"Art Across the \u003cb\u003eAfrican\u003c/b\u003e Diaspora Celeste-Marie Bernier, Hannah Durkin. plate 26: Hank Willis Thomas, Strange Fruit (2011), digital c-print, inventory #HWt11.001 © the artist and Jack Shainman ... \u003cb\u003eAmerican\u003c/b\u003e Express (2007), dimensions."}],"search_query_escaped":"african american"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>