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Race Before Race
A richly illustrated celebration of the paintings of President Barack Obama and First Lady Michelle Obama
From the moment of their unveiling at the National Portrait Gallery in early 2018, the portraits of Barack and Michelle Obama have become two of the most beloved artworks of our time. Kehinde Wiley's portrait of President Obama and Amy Sherald's portrait of the former first lady have inspired unprecedented responses from the public, and attendance at the museum has more than doubled as visitors travel from near and far to view these larger-than-life paintings. After witnessing a woman drop to her knees in prayer before the portrait of Barack Obama, one guard said, "No other painting gets the same kind of reactions. Ever." The Obama Portraits is the first book about the making, meaning, and significance of these remarkable artworks. Richly illustrated with images of the portraits, exclusive pictures of the Obamas with the artists during their sittings, and photos of the historic unveiling ceremony by former White House photographer Pete Souza, this book offers insight into what these paintings can tell us about the history of portraiture and American culture. The volume also features a transcript of the unveiling ceremony, which includes moving remarks by the Obamas and the artists. A reversible dust jacket allows readers to choose which portrait to display on the front cover. An inspiring history of the creation and impact of the Obama portraits, this fascinating book speaks to the power of art--especially portraiture--to bring people together and promote cultural change. Published in association with the Smithsonian's National Portrait Gallery, Washington, DC
Camilla Townsend's stunning new book, Pocahontas and the Powhatan Dilemma, differs from all previous biographies of Pocahontas in capturing how similar seventeenth century Native Americans were--in the way they saw, understood, and struggled to control their world---not only to the invading British but to ourselves.
Neither naïve nor innocent, Indians like Pocahontas and her father, the powerful king Powhatan, confronted the vast might of the English with sophistication, diplomacy, and violence. Indeed, Pocahontas's life is a testament to the subtle intelligence that Native Americans, always aware of their material disadvantages, brought against the military power of the colonizing English. Resistance, espionage, collaboration, deception: Pocahontas's life is here shown as a road map to Native American strategies of defiance exercised in the face of overwhelming odds and in the hope for a semblance of independence worth the name. Townsend's Pocahontas emerges--as a young child on the banks of the Chesapeake, an influential noblewoman visiting a struggling Jamestown, an English gentlewoman in London--for the first time in three-dimensions; allowing us to see and sympathize with her people as never before.
In Reckoning with Slavery Jennifer L. Morgan draws on the lived experiences of enslaved African women in the sixteenth and seventeenth centuries to reveal the contours of early modern notions of trade, race, and commodification in the Black Atlantic. From capture to transport to sale to childbirth, these women were demographically counted as commodities during the Middle Passage, vulnerable to rape, separated from their kin at slave markets, and subject to laws that enslaved their children upon birth. In this way, they were central to the binding of reproductive labor with kinship, racial hierarchy, and the economics of slavery. Throughout this groundbreaking study, Morgan demonstrates that the development of Western notions of value and race occurred simultaneously. In so doing, she illustrates how racial capitalism denied the enslaved their kinship and affective ties while simultaneously relying on kinship to reproduce and enforce slavery through enslaved female bodies.
Adam Fortunate Eagle has been called many things: social activist, serious joke medicine, contrary warrior, national treasure, enemy of the state, living history. Characterizing his style as "Fortunate Eagle meets Mark Twain, Indian style," the author relates the traditions, joys, and frustrations of his own Native American experience in tones ranging from "gut-busting laughter to pissed-off anger."
Leading the reader through time and space, Fortunate Eagle uses his own history--as a child in an Ojibwe community and later as a civil rights leader who, among other achievements, helped organize the takeovers of Alcatraz in 1964 and 1969--to recount the experience of modern Native peoples. The tradition of oral storytelling shines through his language and in his thoughtful and humorous juxtapositions. In the story for which the book is named, Fortunate Eagle journeys to Italy to "discover" the land and claim it in protest of Columbus Day. Wearing a traditional beaded buckskin outfit, complete with scalps hanging from his belt, he meets with the pope. Afterward, suffering from what he calls "the Pope's Revenge," he is forced to spend two days in or near a bathroom.
Beginning with a foreword "written" by Sitting Bull, and traveling from moose encounters in Minnesota to the Spanish Steps in Rome, this book reminds readers of the wisdom of elders, the cross-cultural confusion of Native-white encounters, and some of the most difficult issues faced by contemporary Native peoples.
Falling somewhere between fact and fiction, the tales in Scalping Columbus and Other Stories combine outrageous comedy with clever social commentary, managing both to entertain and to enlighten.
Scripts of Blackness shows how the early modern mass media of theatre and performance culture at-large helped turn blackness into a racial category, that is, into a type of difference justifying emerging social hierarchies and power relations in a new world order driven by colonialism and capitalism.
In this book, Noémie Ndiaye explores the techniques of impersonation used by white performers to represent Afro-diasporic people in England, France, and Spain in the sixteenth and seventeenth centuries, using a comparative and transnational framework. She reconstructs three specific performance techniques--black-up (cosmetic blackness), blackspeak (acoustic blackness), and black dances (kinetic blackness)--in order to map out the poetics of those techniques, and track a number of metaphorical strains that early modern playtexts regularly associated with them. Those metaphorical strains, the titular scripts of blackness of this book, operated across national borders and constituted resources, as they provided spectators and participants with new ways of thinking about the Afro-diasporic people who lived or could/would ultimately live in their midst. Those scripts were often gendered and hinged on notions of demonization, exclusion, exploitation, animalization, commodification, sexualization, consensual enslavement, misogynoir, infantilization, and evocative association with other racialized minorities. Scripts of Blackness attempts to grasp the stories that Western Europeans told themselves through performative blackness, and the effects of those fictions on early modern Afro-diasporic subjects.
Explores the deployment of racial thinking and racial formations in the visual culture of the pre-modern world. The capacious visual archive studied in this volume includes a trove of materials such as annotated or illuminated manuscripts, Renaissance costume books and travel books, maps and cartographic volumes produced by Europeans as well as Indigenous peoples, mass-printed pamphlets, jewelry, decorative arts, religious iconography, paintings from around the world, ceremonial objects, festival books, and play texts intended for live performance. Contributors explore the deployment of what coeditor Noémie Ndiaye calls "the racial matrix" and its interconnected paradigms across the medieval and early modern chronological divide and across vast transnational and multilingual geographies. This volume uses items from the Fall 2023 exhibition "Seeing Race Before Race"--a collaboration between RaceB4Race and the Newberry Library--as a starting point for an ambitious theoretical conversation between premodern race studies, art history, performance studies, book history, and critical race theory.
A stunning YA fantasy debut, perfect for fans of Holly Black and Justina Ireland, about a Black girl (and sword expert) fighting a Fae uprising in Shakespearean London Sixteen-year-old Joan Sands is a gifted craftswoman who creates and upkeeps the stage blades for William Shakespeare's acting company, The King's Men. Joan's skill with her blades comes from a magical ability to control metal--an ability gifted by her Head Orisha, Ogun. Because her whole family is Orisha-blessed, the Sands family have always kept tabs on the Fae presence in London. Usually that doesn't involve much except noting the faint glow around a Fae's body as they try to blend in with London society, but lately, there has been an uptick in brutal Fae attacks. After Joan wounds a powerful Fae and saves the son of a cruel Lord, she is drawn into political intrigue in the human and Fae worlds. Swashbuckling, romantic, and full of the sights and sounds of Shakespeare's London, this series starter delivers an unforgettable story--and a heroine unlike any other.
The "Ethiope, " the "tawny Tartar, " the "woman blackamoore, " and "knotty Africanisms" - allusions to blackness abound in Renaissance texts. Kim F. Hall's book is the first to view these evocations of blackness in the contexts of sexual politics, imperialism, and slavery in early modern England. Her work reveals the vital link between England's expansion into realms of difference and otherness - through exploration and colonialism - and the highly charged ideas of race and gender which emerged. Concentrati on the sixteenth and seventeenth centuries, Hall shows how race, sexuality, economics, and nationalism contributed to the formation of a modern (white, male) identity in English culture. The volume includes a useful appendix of not readily accessible Renaissance poems on blackness.
Since the 1990s, the British-Nigerian artist Yinka Shonibare CBE has developed opulently executed sculptures and installations, colorful collages, and theatrically staged photographs and films. The signature material in Yinka Shonibare's multimedia artworks, so-called African fabric, is a cipher. Originally produced in Manchester and intended for sale in Indonesia, the brightly colored fabric gained its name after British imperialists shifted their focus to colonial Africa. Featuring this product of both colonization and self-identification, Shonibare's sculptures and installations revisit the conflicted legacy of many historical artifacts in order to explore the complex hybridity of postcolonial life with unique irony. Illustrated by two hundred full-color reproductions of his work, Yinka Shonibare CBE: End of Empire offers an up-close encounter with the tensions and history that motivate this singular artist, tracing colonialism and its consequences for leaders, worldviews, and body images in his oeuvre.
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