List of Figures
Chapter 1
1 |
Sama Alshaibi, Mashrabiya, 25x20”, photogravure print with blind embossing and transparent ink relief rolled, 2019 © Sama Alshaibi. |
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2 |
Sama Alshaibi, Gamer, 21x14”, albumen print, 2018 © Sama Alshaibi. |
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3 |
Sama Alshaibi, Water Bearer, 21x14”, albumen print, 2019 © Sama Alshaibi. |
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4 |
Sama Alshaibi, The Harvest, 21x14”, albumen print, 2019 © Sama Alshaibi. |
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5 |
Sama Alshaibi, Eternal Love Song, 25x20”, photogravure print with blind embossing and transparent ink relief rolled, 2019 © Sama Alshaibi. |
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6 |
Sama Alshaibi, Marjanah, 25x20”, photogravure print with blind embossing and transparent ink relief rolled, 2019 © Sama Alshaibi. |
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7 |
Sama Alshaibi, Justice, 25x20”, photogravure print with blind embossing and transparent ink relief rolled, 2019 © Sama Alshaibi. |
Chapter 2
1 |
Firelei Báez, Sans-Souci (This threshold between a dematerialized and a historicized body), 2015, acrylic and ink on linen, 108x74”, courtesy of the artist and James Cohan, New York. Photo: Orriol Tarridas. Courtesy of the artist and James Cohan, New York. |
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2 |
Firelei Báez, for Marie-Louise Coidavid, exiled, keeper of order, Anacaona, 2018, oil on canvas, 320x430”. Installation view: 10th Berlin Biennale, Akademie der Künste (Hanseatenweg), Berlin, June 9–September 9, 2018. Photo: Timo Ohler. Courtesy of the artist and James Cohan, New York. |
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3 |
Firelei Báez, roots when they are young and most tender, 2018, site-specific installation, two paintings, four to six hand-painted papier-mâché sculptures, 40x30” hand-painted blue tarp, chicken wire and foliage, dimensions variable. Courtesy of the artist and James Cohan, New York. |
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4 |
Firelei Báez, For Améthyste and Athénaïre (Exiled Muses Beyond Jean Luc Nancy’s Canon), Anacaonas, 2018, oil paint on canvas and wood panel, hand-painted frames, 120x252”. Installation view: The Modern Window: Firelei Báez, The Museum of Modern Art, New York, 2018–2019. Photograph by Kurt Heumiller. Courtesy of the artist and James Cohan, New York. |
Chapter 3
1 |
Tsedaye Makonnen, Aberash | አበራሽ | You Give Light, 2018, performance & sculpture. Photographer: Joey Kennedy. Courtesy of the artist. |
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2 |
Tsedaye Makonnen, Senait & Nahom | ሰናይት :: እና :: ናሆም | The Peacemaker & The Comforter, 2019, sculpture. Photographer: Dawn Whitmore. Courtesy of the artist. |
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3 |
Tsedaye Makonnen, Astral Sea I, 2019, sculpture, textile, performance. Photographer: Victoria Reis. Courtesy of the artist. |
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4 |
Tsedaye Makonnen, Astral Sea III: Buckingham Palace, 2020, sculpture, textile, performance. Photographer: Adeyemi Michael. Courtesy of the artist. |
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5 |
Tsedaye Makonnen, Astral Sea II, 2020, sculpture, textile, performance. Photographer: Tirop Kituur. Courtesy of the artist. |
Chapter 4
1 |
Promotional image for Maid in the USA, a performance art piece by Carolina Mayorga. Photo credit: Craig Garrett. Courtesy the artist. |
Chapter 5
1 |
Rapture series, 1999. Courtesy Noirmontartproduction, Paris, Gladstone Gallery, New York. |
Chapter 6
1 |
Location: Battery Park City, Belvedere Plaza, NYC. Photo courtesy of the artist © Muna Malik. |
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2 |
Location: Battery Park City, Belvedere Plaza, NYC. Photo courtesy of the artist © Muna Malik. |
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3 |
Location: Battery Park City, Belvedere Plaza, NYC. Photo courtesy of the artist. © Muna Malik. |
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4 |
Location: Battery Park City, Belvedere Plaza, NYC. Photo courtesy of the artist © Muna Malik. |
Chapter 7
1 |
The empty road and front doors of the adult entertainment club District in Santurce, Puerto Rico, closed due to COVID-19 shutdowns and curfew. Created 23 April 2020. Copyright: Gabriella N. Báez 2021 ®. |
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2 |
Gala (she/they), twenty-four, is a stripper from Bayamón. Created 24 April 2020. Copyright: Gabriella N. Báez 2021 ®. |
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3 |
Nairobi (she/her), twenty-five, is a sex worker from San Juan. Created 25 April 2020. Copyright: Gabriella N. Báez 2021 ®. |
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4 |
Teresita and Akila, sex work advocates, discuss establishing a mutual aid network. Created 3 June 2020. Copyright: Gabriella N. Báez 2021 ®. |
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5 |
Akila exchanges messages with one of her clients. The client’s image has been blurred to protect their identity. Created 27 March 2020. Copyright: Gabriella N. Báez 2021 ®. |
Chapter 8
1 |
Leslie King-Hammond, Barbadian Spirits—Altar for My Grandmother (Ottalie Adalese Dodds Maxwell, 1892–1991). |
Chapter 9
1 |
Rain Dance, 2019 © Brandy Dyess. |
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2 |
Magic Bus, 2018 © Brandy Dyess. |
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3 |
Take Your Seat, 2019 © Brandy Dyess. |
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4 |
The Portal, 2018 © Brandy Dyess. |
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5 |
To The Future, 2019 © Brandy Dyess. |
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6 |
(E)Merge, 2019 © Brandy Dyess. |
Chapter 10
1 |
Ana Teresa Fernández, Of Bodies and Borders 1 (Performance Documentation Mediterranean Sea), 2017, oil on canvas, 54x94”. Courtesy of the artist and Catharine Clark Gallery, San Francisco. |
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2 |
Ana Teresa Fernández, Of Bodies and Borders 2 (Performance Documentation Mediterranean Sea), 2017, oil on canvas, 60x72”. Courtesy of the artist and Catharine Clark Gallery, San Francisco. |
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3 |
Ana Teresa Fernández, Of Bodies and Borders 5 (Performance Documentation Mediterranean Sea), 2017, oil on canvas, 54x94”. Courtesy of the artist and Catharine Clark Gallery, San Francisco. |
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4 |
Ana Teresa Fernández, Of Bodies and Borders 6 (Performance Documentation Mediterranean Sea), 2017, oil on canvas, 60x72”. Courtesy of the artist and Catharine Clark Gallery, San Francisco. |
Chapter 11
1 |
Allison Janae Hamilton, Scratching the wrong side of firmament, 2015, archival pigment print, 40x60”. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Allison Janae Hamilton. |
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2 |
Allison Janae Hamilton, Fencing mask on the bank of a flatwoods lake, 2015, archival pigment print, 40x60”. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Allison Janae Hamilton. |
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3 |
Allison Janae Hamilton, The Hours, 2015, archival pigment print, 40x60”. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Allison Janae Hamilton. |
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4 |
Allison Janae Hamilton, Dollbaby standing in the orchard at midday, 2015, archival pigment print, 40x60”. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Allison Janae Hamilton. |
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5 |
Allison Janae Hamilton, Metal tambourines in churchyard covered in snakeskins., 2015, archival pigment print, 40x60”. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Allison Janae Hamilton. |
Chapter 12
1 |
Patricia Cronin, Shrine For Girls, Venice (2015), Chiesa de San Gallo, Venice. © Patricia Cronin, photograph Mark Blower. |
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2 |
Patricia Cronin, Shrine For Girls, Venice (2015), Chiesa de San Gallo, Venice. © Patricia Cronin, photograph Mark Blower. |
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3 |
Patricia Cronin, Shrine For Girls (Uttar Pradesh) (2015), Chiesa de San Gallo, Venice. © Patricia Cronin, photograph Mark Blower. |
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4 |
Patricia Cronin, Shrine For Girls (Uttar Pradesh) (2015), Chiesa de San Gallo, Venice. © Patricia Cronin, photograph Mark Blower. |
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5 |
Patricia Cronin, Shrine For Girls (Chibok) (2015), Chiesa de San Gallo, Venice. © Patricia Cronin, photograph Mark Blower. |
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6 |
Patricia Cronin, Shrine For Girls (Chibok) (2015), Chiesa de San Gallo, Venice. © Patricia Cronin, photograph Mark Blower. |
Chapter 13
1 |
Hồng-Ân Trương, Florida 1979 (love miss you a lot), 2001, toned gelatin silver print, 20x24”. Courtesy of the artist. |
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2 |
Hồng-Ân Trương, Florida 1979 (Revenge), 2001, toned gelatin silver print, 20x24”. Courtesy of the artist. |
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3 |
Hồng-Ân Trương, Florida 1978 (goes to heaven), 2001, toned gelatin silver print, 20x24”. Courtesy of the artist. |
Chapter 14
1 |
NormaNamesake, 2006, jacquard tapestry, mixed media. Courtesy of the artist © Nashormeh Norma Lindo. |
Chapter 16
1 |
Blue and White: Bold Beauty, 2014, porcelain, blue and white pattern transfer from Jingdezhen, China, digital photograph. © Jennifer Ling Datchuk. Courtesy of the artist. |
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2 |
Pretty Sister, Ugly Sister, 2014, porcelain, black Chinese hair bleached blonde and dyed blue. © Jennifer Ling Datchuk. Courtesy of the artist. |
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3 |
Making Women (series), 2014 (ongoing), porcelain, human hair. © Jennifer Ling Datchuk. Courtesy of the artist. |
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4 |
Blackwerk, 2016, porcelain, ceramic decals, blue and white pattern transfers from Jingdezhen, China, Asian human hair. © Jennifer Ling Datchuk. Courtesy of the artist. |
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5 |
Sample of an American Born Chinese, 2016, slip cast porcelain shower drains, collected hair. © Jennifer Ling Datchuk. Courtesy of the artist. |
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6 |
Money Honey, 2017, image of 3D printed, slip cast porcelain, blue and white transfers from Jingdezhen, China; blue and white nails by GLAZE Nail Lounge, San Antonio. © Jennifer Ling Datchuk. Courtesy of the artist. |
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7 |
Ching Chong, 2017, neon, acrylic, typeface designed by Jamie Stolarski. © Jennifer Ling Datchuk. Courtesy of the artist. |
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8 |
Whitewash, 2017, video stills. © Jennifer Ling Datchuk. Courtesy of the artist. |
Chapter 17
1 |
Keith Calhoun, Abstract (Portrait of Chandra McCormick), 1988 and 2010. |
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2 |
Chandra McCormick, Oaklawn Plantation, Franklin, Louisiana, 1987. |
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3 |
Chandra McCormick, Untitled (from The Sugar Cane series), 1987. |
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4 |
Chandra McCormick, Helping Mama Fold Clothes, Lower Ninth Ward, 1992. |
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5 |
Chandra McCormick, Family, Uptown New Orleans, 1984. |
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6 |
Chandra McCormick, Mother and Child in Houston Convention Center, 2005. |
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7 |
Keith Calhoun, Mother and Child, 1988 and 2010. |
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8 |
Chandra McCormick, Daydreaming in City Park, 1989 and 2015. |
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9 |
Chandra McCormick, Mother Combing Hair, 2020. |
Chapter 18
1 |
Carrie Mae Weems, When and Where I Enter — Mussolini’s Rome (2006), digital c-print, 73x61” (framed). © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York. |
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2 |
Carrie Mae Weems, Queen B (Mary J. Blige) (2020), Safety Curtain, museum in progress, Vienna State Opera (2020/2021), large scale picture. © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York. Photo Credit: Andreas Scheiblecker, Copyright: the artist and museum in progress |
Chapter 19
1 |
Candida Alvarez, Vision Painting: No. 6 (2020), Acrylic on linen, 20x20”. Courtesy of the artist and Monique Meloche Gallery. Photo Credit: Tom Van Eynde, Chicago. |
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2 |
Glendalys Medina, BlackGold (2012), Spray paint on paper, Edition of 50. |
Chapter 20
1 |
Joy Gregory, Bridge of Miracles, Venice, 1997–2001. Image copyright the author. All rights reserved. |
Chapter 21
1 |
15th C. Black Madonna of Częstochowa restored in 1434, https://library-artstor-org.proxy.library.nyu.edu/asset/ARTSTOR_103_41822000891521. |
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2 |
Chris Ofili, The Holy Virgin Mary (1996), © Chris Ofili, image courtesy the artist, Victoria Miro and David Zwirner. |
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3 |
Renée Cox, Yo Mama’s Pietà, 1994. |
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4 |
Jon Henry, Untitled #29, North Miami, FL, 2015. |
Chapter 26
1 |
President Nana Addo Danquah Akufo-Addo in his characteristic round spectacles wearing a shirt fashioned from the wax print “Ahene pa Nkasa”. Image permission: SDG Advocate. |
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2 |
Promotional ad featuring GTP brand ambassador, actress and entrepreneur Martha Ankomah wearing an ensemble in the coronavirus-themed “Fellow Ghanaians” pattern. Image compliments of GTP. |
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3 |
Lockdown, Lock and Key and No fly zone. Image compliments of GTP. |
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4 |
Fellow Ghanaians collection: Nana’s spectacles, television screen, and radio waves. Image compliments of GTP. |
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5 |
President Akufo-Addo wearing a shirt fashioned from the waxprint “Ahene pa Nkasa” and his iconic round spectacles featured in the wax print, “My Fellow Ghanaians, Nana’s Spectacles”. Image permission: SDG Advocate and compliments of GTP. |
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6 |
This Too Shall Pass: Tree from barren to growth; Nest of eggs; Hourglass. Images compliments of GTP. |
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7 |
Wax Print Textiles Entrepreneur in Kumasi Market, Ghana. Copyright Paulette Young, 2004. |
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“Sunday fashion inspiration” by @quinsera_1, Dress fashioned from “Lock Down” Collection. Image compliments of GTP. |
Chapter 28
1–6 |
A selection of images from the series Virtual Exiles (2000) by Roshini Kempadoo. |
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7 |
#racismisapandemic, Giclée photographic prints, 80x45cm, 2020. |
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8 |
#TakeAKnee, Giclée photographic prints, 80x45cm, 2020. |
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9 |
#OurNecks, Giclée photographic prints, 80x45cm, 2020. |
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10 |
#blackmoves, Giclée photographic prints, 80x45cm, 2020. |
Chapter 30
Chapter 31
1 |
Hande Gurses (2020), Goztepe, Istanbul. |
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2 |
Hande Gurses (2020), Goztepe, Istanbul. |
Chapter 32
1a-b |
Congo, 1960–61 (a snapshot from a home film). |
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2 |
© Markku Nyytäjä (1984), choreographer Malaika Kusumi (front left); me (front right). |
Chapter 33
1 |
Untitled, unknown photographer from Saint-Louis-du-Senegal (ca. 1915–30), courtesy of Revue Noire. |
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2 |
Untitled, unknown photographer from Saint-Louis-du-Senegal (ca. 1915–30), courtesy of Revue Noire. |
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3 |
Saint-Louisienne assise dans une chambre, unknown photographer from Saint-Louis-du-Senegal (ca. 1915–30), courtesy of Revue Noire. |
Chapter 36
1 |
Annemarie Schwarzenbach, Thea “Mopsa” Sternheim, June 1933, Estate of Annemarie Schwarzenbach, Swiss National Library, Bern. |
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2 |
Anonymous, Annemarie and Barbara Hamilton Wright, US 1936, Estate of Annemarie Schwarzenbach, Swiss National Library, Bern. |
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3 |
Marianne Breslauer, Annemarie Schwarzenbach, Ullsteinstudio, 1931, Archiv Alexis-Schwarzenbach, Zurich. Fotostiftung Schweiz. |
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4 |
Annemarie Schwarzenbach, Persepolis!, 1935, Swiss National Library, Bern. |
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5 |
Annemarie Schwarzenbach, Keinen Platz für Tyras (No Place for Tyras), February 1942, Swiss National Library, Bern. |
Chapter 37
1 |
Rose Mae Benson (Mom Rose), 1955. Image author’s own. |
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2 |
L-R: Rose Mae Benson, Melvin Dewayne (Mom Rose, baby brother aged 2 yrs), 1950. Image author’s own. |
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3 |
L-R: Rose Mae Benson, Melvina, Lillian Holman (Mom Rose, Melvina, Grandma Lil), 1986. Image author’s own. |
Chapter 39
1 |
Winifred Mason, Copper and Brass Cuff, ca. 1945. Collection of the Smithsonian National Museum of African American History and Culture. |
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2 |
Winifred Mason, Silver earrings with Vodou vèvè. Collection of the Smithsonian National Museum of African American History and Culture. |
Chapter 40
1 |
Von Diaz, Coconuts and Collards: Recipes and Stories from Puerto Rico to the Deep South. 2018. Photo by Cybelle Codish. Image author’s own. |
Chapter 41
1 |
Somos cuerpo Somos territorio Somos (e-in) migrantes. Malu Valerio, 2020. |
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2 |
Somos cuerpo Somos territorio Somos (e-in) migrantes. Malu Valerio, 2020. |
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3 |
Mami, Maracaibo (Venezuela), ca. 2000(?). |
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4 |
Mami, Cartagena (Colombia), 1961(?). |
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5 |
Somos cuerpo Somos territorio Somos (e-in) migrantes. Malu Valerio, 2020. |
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6 |
Mami with me, Cartagena, 1988. |