...Anne Anlin Cheng Can we think of racialized skin as dress, as a form of fashion-consciousness? Instead of seeing this question as trivializing the history of denigrating corporeality attached to the raced subject, through a reading of Josephine Baker this paper argues for the importance...

...Carl E. Hazlewood Copyright © 1995 Nka: Journal of Contemporary African Art 1995 JOY OF THE LIVING RACE October Gallery, London November 17—Decmeber 17, 1994 Olu...

... exchange Citing Shakespeare: The Reinterpretation of Race from the perspective of a wider diasporic cultural circulation. This article is based on my introduction to the symposium...

... of Race in Contemporary Lit - inc-luding “representation of whatever drips that is the string of his exhibition titles using the term across the surface of an actual globe. 57 This act of erature and Art (2007), Rewriting Shakespeare, black … oil, tar, ink, etc. Literally, I thought...

.... Eckstein until, at the end of the ments of gender and race undergo shifting patterns. fourth film, Soho recovers his wife and they appear The principal early focus is the titanic white male reunited in their own little pool of blue water. conflict between Soho Eckstein and Felix Teitle...

..., 2010): E07. A far more positive view is expressed by David W. nies Jules’s aria with an abstract image of his open Blight in Race and Reunion: The Civil War in American Memory mouth reminiscent of the colors and shapes of the (Cambridge: Harvard University Press, 2001), 338–45...

... that linger, clues that map a wider message and inspire new thinking. Brett M. Van Hoesen is an associate professor of art history and a faculty associate in the Gender, Race, and Identity Program at the University of Nevada, Reno. Notes 1 John Akomfrah and Maurice Stierl, YouTube, Border/Talks...

... to a prominent Yoruba family, indeed members of the Ifa priesthood, those who keep and extend Yoruba cosmol- ogy. His family intended him to lead a respectable and elite life in the United Kingdom and the United States. Instead, he became an artist who would use race and sexuality to make work that would push...

... the murderous scene as figuring For those receptive to such messages, Die could il- the artist’s “deep emotion about the terrible incom- lustrate the necessary, albeit frightening, means re- munications” between the races—a description that quired to achieve desired revolutionary ends. The mobilizes...

... in Europe, opportunity to “think” fashion and race globally and when members of the white elite sat for portraits, temporally. While it is not an encyclopedic compila- they understood fashion choice to be an important tion of thinking about race, art, politics, or fashion, means by which...

.... The dandy represents a complicated dance between race, gender, power, and style. Primarily, dandyism as a fashion trend was born in Europe during the Victorian and Edwardian periods. More specifically, the dandy is mostly a British construct who came into being in the eighteenth and nineteenth centuries...

... in black ing the race films of the 1930s participate in the exhibition. On these artists were not theorizing and white. Doy does, however, and 1940s. the contrary, Doy says that "this their experiences, evolving in offer...

... that Wilson juxta­ share a common vocabulary of color that visually posed in The Global Africa Project at the Museum of signals and signifies that race is a central issue in Arts and Design in New York. The first is Othello’s their exchange. The crucial interpretive questions Light, dated 2005...

... footage of me receiving lessons where I have hired an acting coach W. Ian Bourland is a scholar and critic who writes to teach me the ‘accents’ of my cultural backgrounds. I am not about globalization and race in contemporary art. interested in the authenticity of these accents...

... as the frame of ‘moral suasion’ do you imagine you could prevail for a nexus of sex and race and violence. From this on us to give up a thousand millions of dollars in trance of rape, exploitation, violence, greed, and the value of our slaves, and a thousand millions of spiritual bankruptcy, Walker...

... unassimilated Others (non-whites) in its midst. they are led to believe that the people they are tortur• From where I stand, the images from Abu Ghraib are ing belong to an inferior race or religion," she cannot all too familiar and all too American. quite grasp...

... of a global art system in system art global a of part as dent, by an America led by a black presi black a by led America an by of Races” would have been heartened heartened been have...

...- Portrait of Himself, 1776 (2007), not tory drawings to finished painting, these bridge: Cambridge University Press, 2013), included in the exhibition.11 The date visual references are eliminated in favor of a 89 – 116; and my comment in “Picturing Race: places this first African American...

... as in the cata- won’t stand up.”12 Yet, in the final Shakespeare: The Reinterpretation of logue. The second photograph is not de- scene of the play, Loomis’s recovery Race in Contemporary Literature and picted, but another piece on page 105 gives...