Suchergebnisse

Frontmatter -- CONTENTS -- Acknowledgments -- Introduction -- PART I. THE AUTOBIOGRAPHICAL: 1989 THROUGH 2001 -- 1 Whose Town? Questioning Community and Identity -- 2 Places I've Lived -- 3 Engaging and Escaping in 1994 -- 4 To Hell and Back: On the Road with Black Feminism in the '60s and '70s -- 5 Censorship and Self-Censorship -- 6 An Interview -- PART II. MASS CULTURE AND POPULAR JOURNALISM -- 7 Watching Arsenio -- 8 Black Stereotypes in Hollywood Films: ''I Don't Know Nothin' 'Bout Birthin' No Babies!'' -- 9 When Black Feminism Faces the Music, and the Music Is Rap -- 10 Storytellers: The Thomas–Hill Affair -- 11 Talking about the Gulf -- 12 Beyond Assimilation -- 13 ''Why Women Won't Relate to 'Justice' '': Losing Her Voice -- 14 For Whom the Bell Tolls: Why Americans Can't Deal with Black Feminist Intellectuals -- 15 Miracle in East New York -- PART III. NEW YORK POSTMODERNISM AND BLACK CULTURAL STUDIES -- 16 The Politics of Location: Cinema/Theory/Literature/ Ethnicity/Sexuality/Me -- 17 Black Feminist Criticism: A Politics of Location and Beloved -- 18 Why Are There No Great Black Artists? The Problem of Visuality in African American Culture -- 19 High Mass -- 20 Symposium on Political Correctness -- 21 The Culture War within the Culture Wars -- 22 Boyz N the Hood and Jungle Fever -- PART IV. MULTICULTURALISM IN THE ARTS -- 23 Race, Gender, and Psychoanalysis in Forties Films -- 24 Multicultural Blues: An Interview with Michele Wallace -- 25 Multiculturalism and Oppositionality -- 26 Black Women in Popular Culture: From Stereotype to Heroine -- 27 The Search for the Good Enough Mammy: Multiculturalism, Popular Culture, and Psychoanalysis -- PART V. HENRY LOUIS GATES AND AFRICAN AMERICAN POSTSTRUCTURALISM -- 28 Henry Louis Gates: A Race Man and a Scholar -- 29 If You Can't Join 'Em, Beat 'Em: Stanley Crouch and Shaharazad Ali -- 30 Let's Get Serious: Marching with the Million -- 31 Out of Step with the Million Man March -- 32 Neither Fish nor Fowl: The Crisis of African American Gender Relations -- 33 The Problem with Black Masculinity and Celebrity -- 34 The Fame Game -- 35 Skip Gates's Africa -- PART VI. QUEER THEORY AND VISUAL CULTURE -- 36 Defacing History -- 37 When Dream Girls Grow Old -- 38 The French Collection -- 39 Modernism, Postmodernism, and the Problem of the Visual in Afro-American Culture -- 40 A Fierce Flame: Marlon Riggs -- 41 ''Harlem on My Mind'' -- 42 Questions on Feminism -- 43 Feminism, Race, and the Division of Labor -- 44 Doin' the Right Thing: Ten Years after She's Gotta Have It -- 45 The Gap Alternative -- 46 Art on My Mind -- 47 Pictures Can Lie -- 48 The Hottentot Venus -- 49 Angels in America, Paris Is Burning, and Queer Theory -- 50 Toshi Reagon's Birthday -- 51 Cheryl Dunye: Sexin' the Watermelon -- 52 The Prison House of Culture: Why African Art? Why the Guggenheim? Why Now? -- 53 Black Female Spectatorship -- 54 Bamboozled: The Archive -- Index

In an article written by her daughter Michele Wallace, Faith Ringgold's Black Light series is presented as part of an experiment in the 1960s quest for the creation of a "black aesthetics" best understood in relation to Ringgold's life and the evolution of her oeuvre. Black collectives and groups such as Spiral, Weusi, Where We At, and AfriCOBRA have similarly pursued a uniquely black expression in the context of what came to be known as the Black Arts movement. Ringgold's journey was singular in that it led her to activism in the larger art world and in the women's movement, transforming Ringgold herself into a black feminist. At the same time, the Black Light series displays her formalist and aesthetic concerns regarding the larger American art scene, with which she was thoroughly familiar as a well-trained artist conversant with the European and American modernist canons. The series, only recently seen in its entirety in an exhibition curated by the Neuberger Museum in Purchase, New York, of Ringgold's 1960s paintings, should be considered a brilliant contribution to the trajectory and consequently the narrative of American art at all levels.