The Miscegenated Gaze
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Copy number Shelfmark Shelf mark R073280 Ned. Fotomuseum Ned. fotomuseum
TitleThe Miscegenated Gaze
Author
Edition[nummer] 3-4
[jaargang] XVIII
[tijdschrift; titel] SAN FRANCISCO CAMERAWORK
[tijdschrift; maand] Summer-Fall
[tijdschrift; pagina] 13-16
Photographer
Iconographic keywords
Year of publication1991
Materialartikel
Document TypeArticle
SubjectAfro-Amerikaanse fotograaf, Kolonialisme en fotografie, Politiek en fotografie, Racisme en fotografie, Representatie van gekleurde mensen, Seksualiteit en fotografie
Abstract
"Concurrently, the most typical photographs of African-Americans
that adorn museum and gallery walls are pictorialist icons of
African-American women and naked, sexualized images of
African-American men. Yet, the validity of representation,
contained in neo-colonialist art, is being challenged. If white
artists, committed to the creation of a non-racist, non-sexist,
and non-hierarchical society, are ever to fully understand and
embrace their own self-identity and their own miscegenated gaze,
they will have to embrace and celebrate the concept of non-white
subjectivity. It is the artists committed to the radical
restructuring of subjectivity who are pioneering the visual
imaging of future culture". The author discusses work by white
photographers Robert Mapplethorpe, Brian Lanker and the
Afro-Americans Jeffrey Scales and Lyle Ashton Harris.
Citaten:
Jussim, E.: Slave to Beauty (1981)
Lewis, D. L.: When Harlem Was In Vogue (nd?)
Lippard, L.: Mixed Blessings (1990)
Lanker, B.: I Dream A World (1989)
Mapplethorpe, R.: Black Book (1986)
Sontag, S.: Fascinating Fascism (in: Under the Sign of Saturn, nd.?)
Willis, D.: Convergence (1990?)
Harris, L. A.: Revenge of a Snow Queen (Out/Look 1991, nr. 13)
that adorn museum and gallery walls are pictorialist icons of
African-American women and naked, sexualized images of
African-American men. Yet, the validity of representation,
contained in neo-colonialist art, is being challenged. If white
artists, committed to the creation of a non-racist, non-sexist,
and non-hierarchical society, are ever to fully understand and
embrace their own self-identity and their own miscegenated gaze,
they will have to embrace and celebrate the concept of non-white
subjectivity. It is the artists committed to the radical
restructuring of subjectivity who are pioneering the visual
imaging of future culture". The author discusses work by white
photographers Robert Mapplethorpe, Brian Lanker and the
Afro-Americans Jeffrey Scales and Lyle Ashton Harris.
Citaten:
Jussim, E.: Slave to Beauty (1981)
Lewis, D. L.: When Harlem Was In Vogue (nd?)
Lippard, L.: Mixed Blessings (1990)
Lanker, B.: I Dream A World (1989)
Mapplethorpe, R.: Black Book (1986)
Sontag, S.: Fascinating Fascism (in: Under the Sign of Saturn, nd.?)
Willis, D.: Convergence (1990?)
Harris, L. A.: Revenge of a Snow Queen (Out/Look 1991, nr. 13)
| Copy number | R073280 |
| Institution name | |
| Shelf mark | Ned. fotomuseum |