Abstract
ABSTRACT Kara Walker is best known for her depictions of sexualized violence and gendered racism during slavery in the form of black paper silhouettes. Scholars such as Salamishah Tillet argue that Walker's art, along with art by some of her post-civil rights contemporaries, offers ‘aesthetic interventions’ to problematic racial histories as part of a larger project of memory reclamation and justice. Walker's A Subtlety, Or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant is another such interventionist project. Debuting in the Williamsburg neighbourhood of Brooklyn, New York in May of 2014, A Subtlety explores how a figure like mammy ‘survives as a cultural force that influences and reflects a national conscience’ (Wallace Sanders [2008]. Mammy: a century of race, gender, and southern memory. Ann Arbor, MI: University of Michigan Press, 12). And yet, to say that the historical rootedness of the title, sugar sphinx sculpture, and molasses-covered walls and cherub-faced small figures throughout the installation were ambiguous to some spectators, is an understatement. Hundreds of photographs and videos were uploaded to social media sites with people making gestures towards the figure that some critics deemed highly inappropriate. This paper explores how A Subtlety both understands and undermines representations of Black women's bodies and how Black artists in the African diaspora contend with complex cultural signs of the past in the present. Utilizing studies of Black feminist theory and visual culture, I argue that Walker’s A Subtlety – and her art more broadly – offers theoretical and geographic space to ponder where Black pleasure and collective memory can exist in systems of misogynoir, as well as in the Black nostalgic imagination.
Published Version
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