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Paragraph 1
Topic Sentence (TS)
In 1954 in the case of Brown versus The Board of Education, the Supreme Court ruled
that segregated schools were inherently unequal, discriminatory and illegal.
Supporting Sentence
Made by NAACP , the case include finding by two black PhD's Kenneth & Mamie
Clarke who used a doll and colouring test to find out how racism and segregation
damaged self esteem of black children.
Key Word: - segregation.
Paragraph 2
TS
There has been much debate in the fields of psychology and sociology and about the
meaning o Clarke's research, most of t focused upon the scientific validity of testing
methods.
Supporting Sentence
It is not unusual for media to refer back to this research as evidence and racism is an
unambiguously deprivational experience while ignoring w hat the visual implications of
such findings might be.
Key Word: - Scientific Validity
Paragraph 3
TS
The documentary interpreted this information as corroboration of the fact that blacks are
still comparatively poor and disenfranchised in comparison to whites
No Keyword
Paragraph 4
TS
Poverty and powerlessness feeds a child's perception of what it means to have black skin,
but his process is much more complex than a direct correlation could encompass.
Supporting Sentence
The societies already operative evaluation of images further inscribe by skin color that
affects the child's opinion of race.
No Keyword
Paragraph 5
TS
The absence of back images in the reflection of social mirror, which such programmatic
texts invariably construct, could and did produce the void and the dread of racial
questions that Clarke fond in the fifties particularly in the northern black children who
already were attending integrated schools.
Supporting Sentence
On the other hand, southern children who attended segregated schools displayed less
ambivalence.
Keyword: - Image.
Paragraph 6
TS
We all know in our hearts as any mere child in our midst today must know that
in "nigger," "black," and "Schwartze," are often used interchangeably in our language to
mean an abject "other," and yet we persist in denying it just as the NAACP, Kenneth &
Mamie Clarke and the Supreme Court denied it in 1954.
Supporting Sentence
Donald Newman's charcoal drawings and Jackie Mason's reference of a mayoral
candidate as a schwartze and a sizeable downtown New York controversies showed that
this charade which has become one of the principal tenets of bourgeois humanism that
color is an innately trivial matter.
Keyword:-Color
Paragraph 7
TS
How one is seen as black and therefore what one sees in a white world is always already
crucial to ones existence as afro American.
Supporting Sentence
The very markers that reveal you to the rest of the world are visual. Not being seen
by those who don't want to see you because they are racist, what Ralf Ellison called
Invisibility.
Keyword:- Invisibility
Paragraph 8
TS
Among other things afro Americans have not produced because they have been prevented
from doing so by intra racial pain and outside intervention, a tradition in the visual arts as
vital and compelling to other Americans as the afro American tradition in music.
Supporting Sentence
The necessity which seems to persist of its own volition for drawing parallels or
alignments between afro American music and everything else cultural among afro
Americans stifles and represses most of the potential for understanding in afro American
Culture.
Keyword Positive/Negative Seen of Instruction.
Paragraph 9
It appears that the only reason black artists aren't as widely accepted as black writers is
because shifts in art historical judgment results in extraordinary economic contingencies.
Supporting Sentence
The closed economic nepotism of the art world creates a situation in which artists of a
colour, face and industry wide restraint of trade limiting the ability to show and sell their
work.
Keyword:- Economic
Paragraph 10
TS
If black writers had to rely on the kinds of people that determine the value of art and had
to be accepted into rich white people homes none of us would have heard of the great
black writer.
No Supporting Sentence
No Key Word
Paragraph 11 – 14 context "history of the author's fascination with the visual"
Summary
Growing up in the author constantly found herself in a world where though speaking
of race was an embarrassing topic, there was no a single visual reference of black .
Television rarely had a black face, comics and magazines had no mention of the word
race. On a visit to art galleries of France and Italy, there were only endless streams of
white faces
Key word :-Race and Visual
Paragraphs 15 – 17 context of Black Aesthetic
The author finds that the whole concept of self-consciousness developed by Kenneth and
Mamie Clark was something that would later be called "Black Aesthetic" but for a very
long time was confined to the problem of not liking dolls the same colour as yourself ,
unless carefully educated to do so. Also citing her mother example, Faith Ringgold
obsessed herself trying to take seriously her relationship to the tradition of Western
painting, before she became interested in the questions of a Black Aesthetic.
Key Word: - Black Aesthetic
Paragraph 18
TS
According to Raymond Williams, hegemony is a process that relies upon the mechanisms
of tradition and canons of old Masters in order to waylay the utopian desires that are
potentially embodied in cultural production
Supporting Sentence
The underlying structure of tradition lies in wait behind contemporary variations which
are selective in favour of maintaining the dominance of a brutal status quo as much as
one may try to subvert it.
Key Word: - Tradition
Paragraph 19
TS
I cannot recall a time during which I didn't perceive Western Art and Western Culture
as a problem in ways that seem to me now akin to the manner in which Modernism, Post
Modernism and Feminism raises such Problems
No Supporting Sentence
No Key Word
Paragraph 20
TS
It was widely interpreted among a black Middle class intelligentsia in the '50s
and '60s , "they," or white Euro – American high Modernism, had borrowed from "us,"
the African peoples of the world, even if "they" were incapable of admitting it.
Supporting Sentence
The debate was precisely situated in the paradox that Picasso, Cubism and subsequent
Modernists had borrowed heavily from African Art,
Key Word: - Borrowed
Paragraph 21
TS
My Interest in Modernism only accelerated once I had become knowledgeable enough
about the visual and literary production of both Afro-Americans and white Europeans and
Americans in this century to know that Modernism took place in the Afro-American as
well as in the white American –European milieu
Supporting Sentence
"Critical Signification," is an attempt to describe the mechanical relationship between
Afro-American culture and Euro-American Culture
Supporting Sentence 2
This Relationship can also usefully be described as dialogical, or as one of intertexuality
Key Word:- Relationship
Paragraph 22
TS
But the problem remains the unilateral unwillingness of Euro-American culture to admit
and acknowledge its debt, or even relationship, to African and Afro-American culture.
Supporting Sentence
In fact this problem, has such a long and convoluted history that its enunciation has
become one of the telling features of Afro-American Modernism
Supporting Sentence 2
One of the early practioners of Afro-American literary Modernism , Ralph Ellison, even
gave it a name: invisibility
Key Word:- Problem
Paragraph 23
TS
According to the myth of the blackness in Ellison's Invisible man, it is the opposite of
whiteness, or it is so much "the same" that it is invisible
Supporting Sentence
Both dynamics are, infact , aspects of this "invisibility's" inevitable and structural binary
opposition.
Supporting Sentence 2
Invisibility, a visual metaphor, is then employed as a way of presenting a variety of
responses to racism and cultural apartheid.
Key Word:- Invisibility
Paragraph 24
There is a problem of being the patriarch of a black family whose role must be defined in
opposition to that of the patriarch of the white family.
Supporting Sentence
Myth constructs' the black family on a model contrasting with the Freudian/Oedipal/
Modernist drama of individuation
Supporting Sentence 2
The most psychologically damaging residual is that the subjectivity of the black woman
becomes unimaginable
Key Word :- Subjectivity
Paragraph 25
TS
In Euro-American Modernism, and in Afro-American Modernisms, as well , for that
matter, the position of the "other" is as unitary and as incapable of being occupied
by categories more diverse than "women and blacks" as was the formerly unified ,
omniscient subject from which it split
No Supporting Sentence
Keyword :- "Other"
Paragraph 26
TS
The difference in motivation is only a function of the extent to which the performance
and consumption of these texts are interrogated by a critical discourse emanating from
white, black ( brown) feminist and Afro-Americanism discourses.
Supporting Sentence
The relative scarcity of such interrogation in the media and in academia is as telling as
the relative scarcity of a multicultural "object" presence in the various field of visual
production, from museum administration to film
Key Word :- Motivation
Paragraph 27
TS
But we move from the Afro-American Modernist novel par excellence to the Afro-
American Post modernist novel par excellence , Ishmael Reed's Mumbo Jumbo, there is
an interesting black female character who comes in view,
Supporting Sentence
It is the dancer who shares African art, and with Picasso and the Cubists , a mutual
location is Paris of the '20s.
Keyword :- Juxtaposition
Paragraph 28
TS
When one arrives at the Post Modern scene, marked as it is by reproduction and
simulation, the rampant exploitation of international capitalism, not to mention much
speculation regarding the death of the subject, the death of history and the total blurring
of lines between pop culture and high culture, spin-offs of the Josephine Baker model
proliferate.
Supporting Sentence
There was also a popularity in Europe of an ethnographic photography issuing from the
process of the colonial/anthropological exploitation of a third world Asia and Africa that
proceeded and overlapped with a burgeoning interest in Europe in African and Oceanic
art which is really about an interest in other ways of seeing and looking that had not
before occurred to the west
Keyword: - Exploitation
Paragraph 29
TS
In this way, representation of black women with large and fatty buttocks came to signify
not only black women but all other categories of women , such as prostitutes, who were
thought to be as sexually wonton as black women
No Supporting Sentence
Keyword :- Sexually Wonton
Paragraph 30
TS
Les Demoiselles might be seen as illustrating the occasional advantage of art over
institutionalized history or science in that it seems to represent the desire to both reveal
and repress the scene of appropriation as a conjunction of black/female bodies and white
culture- a scene of negative instruction between black and white art or black and white
culture
Supporting Sentence
Gillman describes Hottentot Venus (by Picasso) as prolegomena to intersection issues of
race and sexuality in Les Demoiselles D'Avignon of five years later.
Keyword:- Prolegomena
Paragraph 31
TS
Unlike the positive scene of instruction of Afro-American and Euro-American music
in which mutual influence and intertexuality is acknowledged , in the negative scene of
instruction of Afro-American art and Euro-American art the exchange is disavowed and
disallowed .
Supporting Sentence
And, in more or less simultaneous with this subtle but effective metamorphosis, the black
Aesthetic emerges as the unambivalent, uncompromised link-up between Africa and
the "New World" in which Euro-American Influences are superfluous and negligible
No Keyword
Paragraph 32:
TS
Herein lies my opportunity to usher forth new knowledge as Pollock names it in
conceptualizations of the visual in Afro-American culture that would consider the inter
dependency in issues of ethnicity and sex.
Supporting Sentence
This new knowledge would be constituted in the excavation of the black artistic
versus the white artistic experience under the historic heading of modernism and post-
modernism.
Keyword: New knowledge.
Paragraph 33:
TS
What gives modern primitivism any critical import in this cultural revisioning of the
visual that it appears to be an ongoing category in the modernist, post-modernist and
feminist discourses, a fundamental way of discounting the blackness of the occasional
black artist whose accepted within the ranks while rejecting the category of black artist in
general.
No Supporting Sentence.
Keyword: Modernist primitivism.
Paragraph 34:
TS
This disembodiment with its attendant disexualization of black literature and high culture
occurs in response to the over sexualization of black images in white mass culture.
Supporting Sentence:
If this process of desexualization and deprimitivization had not been in the black high
culture within Afro-American studies, there would be many more black female artists,
writers and singers.
Keyword: disexualization.
Paragraph 35:
TS
On the other hand, the absence of black voices in the debate over Primitivism show The
Museum Modern Art in 1984 was no accident.
Supporting Sentence:
Therefore, it should come as no surprise that in a few isolated instances so called
primitive art would be as good as western art for the people who made these objects as
people too.
Keyword: Primitive Art.
Paragraph 36:
TS
Yet I am not convinced that minority artists of the colour in the west who in some
sense along with African and third world artists, the rightful heirs to the debate around
Primitivism will ever surface up in discussion.
No Supporting Sentence.
No Keyword.
Paragraph 37:
TS
Black criticism was blocked from the discussions of modernism which are defined as
exclusively white by intricate and insidious cooperation of art galleries, museums and
also, blocked from any discussion of primitivism which has been colonized beyond
recognition in the space of the international and global museum.
No Supporting Sentence.
No Keyword.
Paragraph 38:
TS
Primitivism becomes the magical commodity whereby white European art will
appropriate the ritual function of tribal art and resist the process, which the museum
space makes inevitable of being reduced to a lifeless commodity.
No Supporting Sentence.
Keyword: Magical commodity.
Paragraph 39:
TS
And yet finally, there is only an implied entry way here for the artist or the critic of
colour who is not a member of the post colonial intellectual elite suffer the problems of
modern and cultural identity. Perhaps more than anyone and the unified subject of this
and another analysis of the post modern never mind the modern continues to render us as
invisible and silent.
Keyword: Minorities.
Paragraph 40:
TS
The so called discovery of tribal objects by Modernism is analogous to an equally
dubious discovery of the new world by European colonization.
Supporting sentence 1:
What was there was not, infact, "discovered but rather appropriated or stolen".
Supporting sentence 2:
In other words, both European and non-European cultures were transformed by "new"
and closer relationship to one another in the new world.
Keyword: Proximity.
Paragraph 41:
TS
While the most concrete sign of that something new is generally referred to as Post
Modernism, unfortunately this move usually carries along with it the inscription of
modernism's apartheid.
Supporting sentence:
There is another sign just as indicated of novelty which is best represented by the cultural
contributions of Afro-Americans to popular culture.
Keyword: Modernism's apartheid.
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