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Notes
- Includes bibliography (pages 213-224) and index.
Summary
- What impact do sexual politics and queer identities have on the understanding of blackness as a set of visual, cultural and intellectual concerns? In Queering Post-Black Art, Derek Conrad Murray argues that the rise of female, gay and lesbian artists as legitimate African-American creative voices is essential to the development of black art. He considers iconic works by artists including Glenn Ligon, Kehinde Wiley, Mickalene Thomas and Kalup Linzy, which question whether it is possible for blackness to evade its ideologically over-determined cultural legibility. In their own unique, often satirical way, a new generation of contemporary African American artists represent the ever-evolving sexual and gender politics that have come to define the highly controversial notion of post-black art. First coined in 2001, the term post-black resonated because it articulated the frustrations of young African-American artists around notions of identity and belonging that they perceived to be stifling, reductive and exclusionary. Since then, these artists have begun to conceive an idea of blackness that is beyond marginalization and sexual discrimination."
- Review: 'In Queering Post-Black Art, Murray takes on the project of art history itself, its creation of arbitrary value that lauds certain efforts and excludes others. Murray parses out and takes on discourses that are key to understandings of art history, African-American art, and Contemporary art. He is unafraid of speaking truth to power.' - Cherise Smith, Associate Professor of Art History: African-American and African Diaspora Art
Biography
- Derek Conrad Murray is Assistant Professor of History of Art and Visual Culture at the University of California, Santa Cruz and is one of the foremost experts on the subject of post-black art. He completed a Ph.D. in the Department of History of Art, Cornell University in 2005.
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