Search Results for female

... in which the black female body in particular has been represented. Christopher Cozier describes the genre of Caribbean portraiture produced against the background of a long history of colonized representation as “a visual territory not exclusively of our own making.” This article presents a number...

... about the actual historical figure of Nanny, though the continued presence of the Maroon communities keeps her memories and legend alive to the Jamaican population. I argue that Cox uses her own body to give Nanny a visual presence, presenting her as a military strategist, warrior, and sexual female...

... title, Phoebe Boswell: For Every Real Word Spoken , is taken from Audre Lorde’s essay, “The Transformation of Silence into Language and Action” (1977). The exhibition is composed of a series of eight drawings of eight female figures, an animation, and ephemeral drawings and texts on the gallery walls...

... resist unwanted readings of erotic pleasure in their works. Incorporating her analysis of these works into her conceptualization of images of black female nudity in art, the author proposes that a robust attention be given the visual image in the rising conversation on pleasure in African studies...

... collaborative art making and argues that through these forays that Himid is concerned with “making space” for what official record and history often elides. Kholeif argues that Himid’s artistic realm is constructed through a form of “female worlding” that presages an intertextual palette for art and its history...

... to invite a number of African American male artists to create a collaborative installation exhibition. According to the exhibition organizers, African American artists Charles Abramson and Senga Nengudi, “1 + 1 = 3” is an erotic equation. Male and female work together to create a third thing that has...

... but related ways to collaborative works made by Boyce over a period of several years. In her deliberate resistance to making sense, Boyce places her works in a tradition of modernist artistic practice that draws on Dadaist poetry, the work of John Cage, and black British female performers who disrupt our...

... implicit metanarrative of black female agency and civil rights–era cultural defiance. The social contract between the photographer and “the sitter” is also explored in this article, arguing that when the sitter is an imposing African American artist/performer/observer, the photographer—and by extension...

... bodies. Together they share a fundamental interest in defacing and deforming the gaze—both a gendering and a racializing gaze—as it has rested upon both the black male and female body and the black face. Comparisons with visual works by an old European master, Édouard Manet, and twentieth-century...

..., one that is will• Perhaps it is the confidence, not the black female photogra• ing to practice the theory of the most democratic ideals. pher's allusion to Manet's Olympia, that disturbs so many critics' In their introduction to The Black Female Body: A unwillingness...

... is the housekeeper of the African female form. Anthropological portraits such as these, sprawling mansion, and the possibility that she is in fact the while apparently documenting a fading way of life, in fact trap houseowner. Shot in various significant locations in the vicinity...

...• Good ma n Galle ry in 200 1, Deborah Bell pre• og n izably male or female, upright and moving. I sented seven large-scale figures, five in clay, But at th e same time, each figure is a "vision," two in bronze, in a single setting in th e main whose visua l appearance suggests it belongs in space...

... of femininity, the Furthermore, Bekolo’s vision does not so much call female body, and masculinist power structures. for a specific (re)formulation of thought as it urges For Haraway and Bekolo alike, the cyborg myth is youth to be critical of the social, political, and even “resolutely committed...

... for criminal expropriation of bodies from their Female Interrogators, and her performance piece, proper owners. This situation is not only a viola• A Room of One's Own: Women and Power in the tion of habeas corpus but also a deprivation of New America, stress the intersection...

... pathbreaking work on the iconography of the Hottentot Venus and early nine- Wteenth-century racial scientific inquiry into black female sexuality, he was accused...

... unfashionable, if not old-fashioned. The sense of her belatedness as a female child from Africa encountering French culture for the first time, is recalled by Amer in an interview with Xavier Franceschi: I did everything to look like the others; my aim was to look like the others; my aim was to look...

..., therefore, asserted their about female sexuality, the social economy of imperative. Further, the acknowledgment of the curb their freedom—the Egyptian New Woman’s New Woman identity by rejecting the veil, it was a pornography, and her subjection of masculinist- Egyptian woman...

...• sidewalk. The female bodybuilder teenth-century portrait by claims to be but whose film she ogy were female warriors with stood behind the large window of Ingres, but resisted the "origi...

... and contemporary contexts. Contributors include Sander L. Gilman and his provocative essay “The Hottentot and the Prosti- tute: Toward an Iconography of Female Sexuality,” published in 1985 in Difference and Pathology: Ste- reotypes of Sexuality, Race, and Madness. Gilman’s essay offers both a historical...

... literature to cinema in his desire to reach more immediately the TFaat Kine. This title character, with an affectionately African audiences whose stories he wanted to tell. (Xala (1974) familiar Wolof female name, is the newest in Sernbene's line of also had its origins in literature, as Sernbene's...