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Smalls, James, , . African-American Self-Portraiture
2001, Third Text, pp. 47-62.
Added by: Hans Maes, Contributed by:

Summary: As ‘always already’ racialized object of the white patriarchal look African-Americans have enduringly suffered from having to negotiate notions of the self from a crisis position. The act of self-portraiture for the African-American artist has the value of bestowing upon the self-portraitist a sense of empowerment.

Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.

Artworks to use with this text:

Lyle Ashton Harris, Construct #10 (collection of the artist, 1988)

Harris's self-portraits are redemptive and liberatory in their focus on the self. They challenge standard discourse on identity and subjectivity to present a new sign of black power and liberation. Because his photographs expose gender as constructed and performed, they also, in the process, subvert phallocentrism and compulsory heterosexuality.

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