Description:
Frontmatter -- Bibliographic information published by the Deutsche Nationalbibliothek -- Contents -- Acknowledgement -- I. Introduction -- II. Destabilizing Meaning -- 1. The Textures of History -- 2. What is the script of your time? -- 3. Economies of the Double-bind -- III. Historical Entanglements of Black Revolutionary Women -- 1. De-Interpellating Interpellation-Visual Disobediences -- 2. How do I look? (Very good, I must say I am amazed!) -- 3. O my Body, will always remain in question!- Reviewing the Fanonian Moment -- IV. Heterotemporality as a Way of Understanding the Contemporary -- 1. Reclaiming our time -- 2. Riffs on Real Time and the present that is fleeting though captured -- 3. Rewind Selecta -- 4. Hetero-temporality -- V. Paradox Synchronicities -- 1. Contextualization -- 2. IWHISHIWAS or WISHIWASHI ? -- 3. From Leitkultur to Leightkultur -- VI. Abstract Facts -- 1. Enter and Exit the New Negro -- 2. Enter and Exit the New Negro-From Invisible Visibilities -- 3. Enter the New Negro -- 4. Ambiguity as Chance-Abstraction as Means of Identity -- VII. Post-Post-black -- VIII. Bibliography
In 2001, Freestyle, a survey exhibition curated by Thelma Golden at the Studio Museum in Harlem, introduced both a young generation of artists of African descent and the ambitious yet knowingly opaque term post-black to a pre 9-11 and pre-Obama world. In Taking Stakes in the Unknown, Nana Adusei-Poku contextualizes the term post-black in its socio-historical and cultural context. Whilst exploring its present legacy and past potential, she examines works by artists who were defined as part of the post-black generation: Mark Bradford, Leslie Hewitt, Mickalene Thomas and Hank Willis Thomas - and, by expanding the scope of the definition, the Black German artist Philip Metz