| Contents |
Tracing race and representation -- The "rememory" of slavery -- The lactation of John Brown -- Censorship and reception -- Final cut. |
| Abstract |
"Examining Walker's striking silhouettes, evocative gouache drawings, and dynamic prints, Gwendolyn DuBois Shaw analyzes the inspiration for and reception of four of Walker's pieces: 'The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven,' 'John Brown,' 'A Means to an End,' and 'Cut.' She offers an overview of Walker's life and career, and contextualizes her art within the history of African American visual culture and in relation to the work of contemporary artists ... Shaw describes how Walker deliberately challenges viewers' sensibilities with radically de-sentimentalized images of slavery and racial stereotypes ... By exploiting the racist icons of the past, Walker forces viewers to see the unspeakable aspects of America's racist past and conflicted present"--Back cover. |
| Local note | Little-374298--3051310646792 |
| Bibliography note | Includes bibliographical references (p. [157]-186) and index. |
| Issued in other form | Online version: Shaw, Gwendolyn DuBois, 1968- Seeing the unspeakable. Durham : Duke University Press, 2004 |
| Issued in other form | Online version: Shaw, Gwendolyn DuBois, 1968- Seeing the unspeakable. Durham : Duke University Press, 2004 |
| LCCN | 2004009137 |
| ISBN | 0822333619 (cloth : alk. paper) |
| ISBN | 9780822333616 (cloth : alk. paper) |
| ISBN | 0822333961 (pbk. : alk. paper) |
| ISBN | 9780822333968 (pbk. : alk. paper) |
