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<!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=AFLRE73K2QiaKh1uzZXh62hVPUiYnHG1TkEd7u2eS3S5hvlripu6zDF7QUudbOvvMebTy4F-gFmqSmiOgObJV30aliA6WmrFF3G00byJ2UDv5rvro8Flyu9aKlF5eQKA36aerXPr3qca"/><link rel="image_src" href="https://books.google.com.sg/books/publisher/content?id=mIjADAAAQBAJ&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE73K2QiaKh1uzZXh62hVPUiYnHG1TkEd7u2eS3S5hvlripu6zDF7QUudbOvvMebTy4F-gFmqSmiOgObJV30aliA6WmrFF3G00byJ2UDv5rvro8Flyu9aKlF5eQKA36aerXPr3qca"/><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%3Dportrait%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=portrait&source=gbs_word_cloud_r&hl=en&output=html_text" title="Screen reader users: click this link for accessible mode. 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permission of \u003ca class=link_aux href=\"https://books.google.com.sg/url?id=mIjADAAAQBAJ\u0026pg=PA149\u0026q=http://www.oup.com\u0026linkid=1\u0026usg=AOvVaw0SpC5D3WZScXdcTLu2uAK3\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%3Dportrait%26source%3Dgbs_word_cloud_r%26hl%3Den\u0026hl=en","isEntityPageViewport":false,"showViewportOnboarding":false,"showViewportPlainTextOnboarding":false},{"page":[{"pid":"PA149","flags":8,"order":164,"vq":"portrait"}]},null,{"number_of_results":37,"search_results":[{"page_id":"PA2","page_number":"2","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e of the unreadable physiognomies of unidentified Black female and male subjects as they appear in individually dressed \u0026#39;african patterned\u0026#39; clothing, directly confronting the viewer. notably, and as Himid herself confides, \u0026#39;no\u0026nbsp;..."},{"page_id":"PA9","page_number":"9","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e of Black masculinity and to write african americans into the visual narrative of the uS. yet, in an investigation that comprehensively traces douglass\u0026#39;s posthumous re-emergence in paintings, drawings, statues, sculptures\u0026nbsp;..."},{"page_id":"PA32","page_number":"32","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e of grandmothers from six generations. The ribs are the horizontal rows. in these jars, migration maps, handwritten records, historical documents and photographs chronicle the lives of my ancestors. The eye moves from top to\u0026nbsp;..."},{"page_id":"PA50","page_number":"50","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e of two women, one of whom is dido elizabeth Belle, the illegitimate daughter of Sir John Lindsay and Maria Belle, an african woman (and likely to have been a slave) thought to have been taken from a ship in the Caribbean.2 This\u0026nbsp;..."},{"page_id":"PA53","page_number":"53","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e and written documents were most often generated by those in positions of authority and with a financial and ideological interest in documenting the colony. Such actors included colonial administrators, landowning families and\u0026nbsp;..."},{"page_id":"PA83","page_number":"83","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e included in the work of enslaved or formerly enslaved african american writers, for example, perform the subjectivity of the sitter for a would-be readership. illustrating the ways in which creative sovereignty is exercised in\u0026nbsp;..."},{"page_id":"PA85","page_number":"85","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e framing nineteenth-century autobiographical narratives testify, archival insurgence frequently marks the beginning of representation. it is also the moment at which the shadow archive passes out of spheres of institutional\u0026nbsp;..."},{"page_id":"PA98","page_number":"98","snippet_text":"... pp. 1–5. 32 another precursor image from the chattel records may be provided by MarieGuillemine Benoist\u0026#39;s \u003cb\u003ePortrait\u003c/b\u003e d\u0026#39;une negresse (1800). 33 \u0026#39;african american artists in the twentieth Century\u0026#39;, Oxford African # 98 # Visualising Slavery."},{"page_id":"PA112","page_number":"112","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e that emerges from these ten lithographs implies. 23 Saidiya Hartman, \u0026#39;Will answer to the name Given\u0026#39;, in Scott rothkopf (ed.), Glenn Ligon: America (new Haven, Ct: yale university press, 2011), p. 112. 24 ibid. 25 rothkopf\u0026nbsp;..."},{"page_id":"PA113","page_number":"113","snippet_text":"Art Across the African Diaspora Celeste-Marie Bernier, Hannah Durkin. The collective \u003cb\u003eportrait\u003c/b\u003e that emerges from these ten lithographs implies that identity is indeed a construct. Ligon\u0026#39;s comic lightness of touch masks both his work\u0026#39;s\u0026nbsp;..."},{"page_id":"PA129","page_number":"129","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e engravings in the press, published them as lithographs in books, and collected and displayed them in their carte-de-visite (Cdv) albums and homes.1 douglass used these photographs to visualise the self and the country in\u0026nbsp;..."},{"page_id":"PA130","page_number":"130","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e are stripped down, absent any decoration or objects that might have distracted from his solemn, dignified performance of Black masculinity and citizenship. More broadly, from the first photograph in 1841 to the last in 1894\u0026nbsp;..."},{"page_id":"PA131","page_number":"131","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e have a vast visual legacy that includes hundreds of paintings, drawings, sculptures and public murals based on specific photographs. The majority of these twentieth- and twenty-first-century reimaginings of douglass are\u0026nbsp;..."},{"page_id":"PA132","page_number":"132","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e that accompanied newspaper obituaries in the days and weeks after his death, the pitcher was a glimpse of ... \u003cb\u003eportrait\u003c/b\u003e a photograph taken by Mathew Brady in 1889. douglass the leonine elder statesman stares out from the\u0026nbsp;..."},{"page_id":"PA137","page_number":"137","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e on a Cdv by Fassett from the era of douglass and Lincoln\u0026#39;s interactions (1864). Then in June 1972, Ebony published an illustration based on the My Bondage frontispiece. The new focus on younger douglass even extended to the\u0026nbsp;..."},{"page_id":"PA138","page_number":"138","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e of Lincoln and douglass hang as commemorative coins around a 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: African American Murals (San\u0026nbsp;..."},{"page_id":"PA139","page_number":"139","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e based on the 1883 Kent photograph. William edouard Scott\u0026#39;s mural for the recorder of deeds building in Washington d.C. (1943), Frederick Douglass Appealing to President Lincoln, takes a hybrid approach: douglass has the full\u0026nbsp;..."},{"page_id":"PA140","page_number":"140","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e. But in 2009 he released a new drawing of douglass based on the 1863 Hurn Cdv. equally, in Boston, arnold Hurley and Gary rickson\u0026#39;s douglass mural for the african american neighbourhood of Lower roxbury (1976) was based on a\u0026nbsp;..."},{"page_id":"PA141","page_number":"141","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e in which douglass stares challengingly back at the viewer with furrowed brow and clenched fists. Both ... \u003cb\u003eportraits\u003c/b\u003e, on 16 February 1946, the New Journal and Guide, a black newspaper in virginia, reprinted an engraving by\u0026nbsp;..."},{"page_id":"PA146","page_number":"146","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e is based on the 1894 notman photograph. The Magic Fingers mural A Man and His Struggles in Chicago (c.1990) uses a profile photograph by Lydia Cadwell from the late 1870s and frames douglass against the backdrop of King\u0026#39;s torso\u0026nbsp;..."},{"page_id":"PA147","page_number":"147","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e on the same Warren photograph and positions him with King inside the peace sign beneath a banner inscription from John 14:27 (\u0026#39;peace i leave with you ... Let not your heart be troubled\u0026#39;). The Warren Cdv also forms the basis for\u0026nbsp;..."},{"page_id":"PA148","page_number":"148","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e based on douglass\u0026#39;s younger persona, around the same age as Malcolm during the height of his influence a century later, they issue a call from the Malcolm side of douglass – the radical abolitionist who advocated armed\u0026nbsp;..."},{"page_id":"PA149","page_number":"149","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e of trayvon Martin based on a photograph from 2011 when he is 16 years old; a bust \u003cb\u003eportrait\u003c/b\u003e of younger douglass based on the 1852 Miller daguerreotype; and a full-length \u003cb\u003eportrait\u003c/b\u003e of leonine, statesman douglass seated with a\u0026nbsp;..."},{"page_id":"PA151","page_number":"151","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e on the mural\u0026#39;s left-hand side based on a daguerreotype from 1844, and a third \u003cb\u003eportrait\u003c/b\u003e on the mural\u0026#39;s right-hand side based on the 1855 My Bondage frontispiece. Statesman douglass is larger than life at the mural\u0026#39;s centre, but\u0026nbsp;..."},{"page_id":"PA192","page_number":"192","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e taken from life of toussaint, an engraving by Frenchman pierre-Charles Baquoy believed to have been made in France shortly after toussaint\u0026#39;s capture.20 Baquoy\u0026#39;s work depicts a small, aged and defeated man who adopts the erect\u0026nbsp;..."},{"page_id":"PA195","page_number":"195","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e of the leader in english-language literature.30 By contrast, dessalines, who brought Haiti\u0026#39;s revolution to a successful conclusion in the wake of toussaint\u0026#39;s capture by the French, and who non-Haitian biographers have\u0026nbsp;..."},{"page_id":"PA197","page_number":"197","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e of the hero is central to the apparatus of power in Haiti\u0026#39;.40 despite their aesthetic promotion of Blackness, the sculptures are in this sense analogous to the contemporaneous public statues of the murderously anti-Black\u0026nbsp;..."},{"page_id":"PA200","page_number":"200","snippet_text":"... Diasporic Art CHAPTER THIRTEEN. 48 roberson alphonse, \u0026#39;Le Marron inconnu vandalisé et la flamme éternelle éteinte\u0026#39;, Le Nouvelliste, 15 May 2012. 1 Mary evans, \u0026#39;\u003cb\u003eportrait\u003c/b\u003e of an artist\u0026#39;, Africa.com (n.d.). available # 200 # Visualising\u0026nbsp;..."},{"page_id":"PA206","page_number":"206","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e of an artist\u0026#39;, Africa.com (n.d.). available at: http://www. africa.com/blog/portrait_of_an_artist_/. 2 tiwani Contemporary, London, 14 September–20 october 2012. 3 Maria varnava, \u0026#39;Foreword\u0026#39;, in Stephanie Baptist (ed.), Mary\u0026nbsp;..."},{"page_id":"PA213","page_number":"213","snippet_text":"... Youths in a Journey with Henry M. Stanley \u0026#39;Through the Dark Continent\u0026#39; (new york: Harper \u0026amp; Brothers, 1888), p. 420. 12 evans, \u0026#39;\u003cb\u003eportrait\u003c/b\u003e of an artist\u0026#39;. 13 Mary evans, handwritten # 213 # Visualising Slavery and the Slave Ship."},{"page_id":"PA215","page_number":"215","snippet_text":"... outlines of figures,. 12 evans, \u0026#39;\u003cb\u003eportrait\u003c/b\u003e of an artist\u0026#39;. 13 Mary evans, handwritten note to eddie Chambers, undated. 14 in his speech, \u0026#39;Message to the Grass roots\u0026#39;, delivered # 215 # Visualising Slavery and the Slave Ship."},{"page_id":"PA232","page_number":"232","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e in which his \u0026#39;lexicon of liberation\u0026#39; remained an ongoing site of contestation. \u0026#39;i\u0026#39;m using the metaphor of illness as a catalyst for other issues\u0026#39;, he admitted. He laid claim to the central role played by his own medical\u0026nbsp;..."},{"page_id":"PA233","page_number":"233","snippet_text":"... \u003cb\u003eportraits\u003c/b\u003e of iconic and anonymous african diasporic subjects. Signalling his commitment to an empowered political and aesthetic vision, he begins his radicalised alphabet with the prophetic conviction, \u0026#39;a iS For aFriKa WHiCH WiLL. 36\u0026nbsp;..."},{"page_id":"PA234","page_number":"234","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e as a young child, which he leaves textually unidentified but which assumes enduring significance by ... \u003cb\u003eportraits\u003c/b\u003e of unknown men and women of african descent whose scarification patterns and decorative markings are\u0026nbsp;..."},{"page_id":"PA240","page_number":"240","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e and family tree / Xrays of the dead the dying the walking wounded of yesterday today and tomorrow the fucked the poor the black underclass the ordinary the people like us, all who made the foundations all who built the walls\u0026nbsp;..."},{"page_id":"PA242","page_number":"242","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e unlike the usual attempt at a “likeness”\u0026#39; on the grounds that they constitute \u0026#39;a physical blueprint almost like a genetic finger print, a bloodline into a historical perspective away from racial spacific antrophological [sic]\u0026nbsp;..."},{"page_id":"PA244","page_number":"244","snippet_text":"... \u003cb\u003eportrait\u003c/b\u003e / My inFuSion / My CHaraCteriStiCS FaCe / My CHaraCteriStiCS eye / My CHeSt SyndroMe / My inFarCtionS Hip / My inFarCationS SHouLder / My SiCKLe CeLL My LoveS / My SHip SaiLS in My inJeCti[o]nS / My SuGer My BLood / My raCe My\u0026nbsp;..."}],"search_query_escaped":"portrait"},{});</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>