@prefix ns1: .
a ns1:CreativeWork ;
ns1:about [ a ns1:DefinedTerm ;
ns1:alternateName "Slavery--Atlantic Ocean Region--History--19th century" ],
[ a ns1:DefinedTerm ;
ns1:alternateName "Cotton in art" ],
[ a ns1:DefinedTerm ;
ns1:alternateName "Cotton trade--Atlantic Ocean Region--History--19th century" ],
[ a ns1:DefinedTerm ;
ns1:alternateName "African diaspora in art" ],
[ a ns1:DefinedTerm ;
ns1:alternateName "Slavery in art" ],
[ a ns1:DefinedTerm ;
ns1:alternateName "Cotton growing--Atlantic Ocean Region--History--19th century" ],
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ns1:abstract "\"In Black Bodies, White Gold Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton—as both commodity and material—became inexorably tied to the monetary value of Black bodies. From the production and representation of 'negro cloth'—the textile worn by enslaved plantation workers—to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor\"--Provided by publisher."@en,
"\"Using cotton-a commodity central to the slave trade and colonialism-as a paradigm, Black Bodies, White Gold presents new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth century Atlantic world. It models an art historical framework that centralizes the histories of the Black diaspora to nineteenth-century cultural production\"--Provided by publisher."@en ;
ns1:author ;
ns1:creator ;
ns1:identifier [ a ns1:PropertyValue ;
ns1:propertyID "NL-AmRIJ" ;
ns1:value "316324" ] ;
ns1:inLanguage "eng" ;
ns1:name "Black bodies, white gold" ;
ns1:subjectOf [ a ns1:Statement ;
ns1:additionalType ;
ns1:text "Circuits of Cotton -- Market Aesthetics: Color, Cloth, and Commerce -- Of Vision and Value: Landscape and Labor after Slavery -- Material Histories and Speculative Conditions -- A Material with Memory." ] ;
ns1:temporalCoverage "1800-1899" ;
ns1:workExample .