Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

PL EN


2021 | 24 | 223-267

Article title

Sztuka i Polityka w Perspektywie Czarnych Feminizmów Lat Siedemdziesiątych i Osiemdziesiątych Dwudziestego Wieku

Authors

Content

Title variants

EN
Art and Politics Through the Lens of Black Feminisms in the 1970s and 1980s
FR
Art at Politique au Prisme des Féminismes Noirs dans les Années 1970 et 1980

Languages of publication

Abstracts

EN
In 1982, Michelle Cliff (1946-2016) published "Object into Subject: Some Thoughts on the Work of Black Women Artists" in the fifteenth issue of Heresies: A Feminist Publication on Art and Politics dedicated to racism. Her article examines the construction of racist and sexist imaginations in the United States, as well as writings and artworks by Black women that deconstruct these mythologies through self-definition. In what ways does Cliff's article bring to light the relationship between art and politics from a feminist perspective within the context of its publication? Drawing primarily on Cliff's text, Black feminist thought and activism, research on Black women's history, exhibitions, and analyses of artworks, I explore the links between art, visual and material culture, historiography, and feminisms. My reading of this text leads me to question the relationship between representations and mythologies, as well as the role of fiction in recovering history. Finally, I put into perspective the work of Betye Saar, and particularly the assemblage The Liberation of Aunt Jemima (1972) reproduced in Cliff’s article.

Year

Issue

24

Pages

223-267

Physical description

Dates

published
2021

Contributors

author
  • Université Lumière Lyon 2

References

  • Context
  • Davis, Angela. Women, Race and Class. New York: Random House, 1981.
  • Farrington, Lisa. Creating Their Own Image: The History of African-American Women Artists. Oxford, New York: Oxford University Press, 2005.
  • Gomis, Christelle. “Sortir de l’intersection. Écrire l’histoire des femmes noires aux États-Unis depuis 1989.” 20&21. Revue d’histoire 2, no. 146 (2020): 139-151.
  • Harris, Michael D. Colored Pictures: Race and Visual Representation. Chapel Hill: University of North Carolina Press, 2003.
  • Henderson, Robbin, Pamela Fabry and Adam David Miller, eds. Ethnic Notions: Black Images in the White Mind. Berkeley: Berkeley Art Center, 1982. Exhib. cat.
  • Hockley, Rujeko and Catherine Morris, eds. We Wanted a Revolution: Black Radical Women, 1965-85: A Sourcebook. New York: Brooklyn Museum, 2017. Exhib. cat.
  • Holmes Norton, Eleanor, Maxine Williams, Frances Beal and Linda La Rue. Black Woman’s Manifesto. New York: Third World Women’s Alliance, 1970.
  • hooks, bell. Talking Back: Thinking Feminist, Thinking Black. Boston: South End Press, 1989.
  • Jones, Kellie. South of Pico: African American Artists in Los Angeles in the 1960s and 1970s. Durham: Duke University Press, 2017.
  • Wallace-Sanders, Kimberly. Mammy: A Century of Race, Gender, and Southern Memory. Michigan: University of Michigan Press, 2010.
  • Zabunyan, Elvan. Black is a color, une histoire de l’art africain-américain contemporain. Paris: Dis voir, 2004.
  • Heresies: A Feminist Publication on Art and Politics
  • Meagher, Michelle. “»Difficult, Messy, Nasty, and Sensational.« Feminist Collaboration on Heresies (1977-1993).” Feminist Media Studies 14, no. 4 (2014): 578-592.
  • Rickey, Carrie. “Writing (and Righting) Wrongs: Feminist Art Publications.” In The Power of Feminist Art: The American Movement of the 1970s, History and Impact. Edited by Norma Broude and Mary D. Garrard, 120-129 . New York: Harry N. Abrams, Inc., 1994.
  • Tobin, Amy. “Heresies’ Heresies: Collaboration and Dispute in a Feminist Publication on Art and Politics.” Women: A Cultural Review 30, no. 3 (2019): 280-296.
  • Michelle Cliff
  • Cliff, Michelle. “History as Fiction, Fiction as History.” Ploughshares 20, no. 2/3 (Autumn 1994): 196-202.
  • Cliff, Michelle. Free Enterprise. New York: Dutton, 1993.
  • Raiskin, Judith. “The Art of History: An Interview with Michelle Cliff.” The Kenyon Review 15, no. 1 (Winter 1993): 57-71.
  • Walters, Wendy W. “»Object into Subject:« Michelle Cliff, John Ruskin, and the Terrors of Visual Art.” American Literature vol. 80, no. 3 (September 2008): 501-526.
  • Betye Saar
  • Cándida Smith, Richard, Kellie Jones, Lowery Stokes Sims, James Christen Steward and Deborah Willis. Betye Saar: Extending the Frozen Moment. Ann Arbor: University of Michigan Museum of Art, Berkeley: University of California Press, 2005.
  • Cochran, Sara and Betye Saar. Betye Saar: Still Tickin’. Scottsdale: Scottsdale Museum of Contemporary Art, 2017. Exhib. cat.
  • Lewis, Samella. Betye Saar, Selected Works 1964-1973. Los Angeles: California State University, 1973. Exhib. cat.
  • Saar, Betye and Arlene Raven. Betye Saar, Workers + Warriors: The Return of Aunt Jemima. New York: Michael Rosenfeld Gallery, 1998. Exhib. cat.

Document Type

Publication order reference

Identifiers

Biblioteka Nauki
2171432

YADDA identifier

bwmeta1.element.ojs-doi-10_32020_ARTandDOC_24_2021_25
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.