Prissy’s Quittin’ Time: The Black Camp Aesthetics of Kara Walker

Through a close reading of Walker’s first silhouette instalment-the audaciously titled Gone, An Historical Romance of a Civil War as it Occurred Between the Dusky Thighs of One Young Negress and Her Heart (1994)-this article examines how Walker utilises black camp to undermine both white supremacist...

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Main Author: Stephens Brian
Format: Article
Language:English
Published: De Gruyter 2017-12-01
Series:Open Cultural Studies
Subjects:
Online Access:https://doi.org/10.1515/culture-2017-0059
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author Stephens Brian
author_facet Stephens Brian
author_sort Stephens Brian
collection DOAJ
description Through a close reading of Walker’s first silhouette instalment-the audaciously titled Gone, An Historical Romance of a Civil War as it Occurred Between the Dusky Thighs of One Young Negress and Her Heart (1994)-this article examines how Walker utilises black camp to undermine both white supremacist and restrictive black uplift discourse. To be sure, the article is not an attempt to conflate these two, for the former is powerfully worse than the latter. However, it is necessary to explore how both discourses reinforce essentialist articulations of blackness and also to examine how black camp is a provocative analytic for their simultaneous disruption. Camp is usually understood as a queer-derived cultural practice that inflates identity to expose the constructed nature of gender. However, this article shows that black articulations of camp inflate identity to demonstrate the fiction of race as well.
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spelling doaj.art-0cba2d3026404b1f9da467193987ed662022-12-21T20:16:56ZengDe GruyterOpen Cultural Studies2451-34742017-12-011164665910.1515/culture-2017-0059culture-2017-0059Prissy’s Quittin’ Time: The Black Camp Aesthetics of Kara WalkerStephens Brian0Ethnic studies, University of California Riverside, 900 University Ave, Riverside, CA 92521, USAThrough a close reading of Walker’s first silhouette instalment-the audaciously titled Gone, An Historical Romance of a Civil War as it Occurred Between the Dusky Thighs of One Young Negress and Her Heart (1994)-this article examines how Walker utilises black camp to undermine both white supremacist and restrictive black uplift discourse. To be sure, the article is not an attempt to conflate these two, for the former is powerfully worse than the latter. However, it is necessary to explore how both discourses reinforce essentialist articulations of blackness and also to examine how black camp is a provocative analytic for their simultaneous disruption. Camp is usually understood as a queer-derived cultural practice that inflates identity to expose the constructed nature of gender. However, this article shows that black articulations of camp inflate identity to demonstrate the fiction of race as well.https://doi.org/10.1515/culture-2017-0059black studiesqueer theoryvisual studies
spellingShingle Stephens Brian
Prissy’s Quittin’ Time: The Black Camp Aesthetics of Kara Walker
Open Cultural Studies
black studies
queer theory
visual studies
title Prissy’s Quittin’ Time: The Black Camp Aesthetics of Kara Walker
title_full Prissy’s Quittin’ Time: The Black Camp Aesthetics of Kara Walker
title_fullStr Prissy’s Quittin’ Time: The Black Camp Aesthetics of Kara Walker
title_full_unstemmed Prissy’s Quittin’ Time: The Black Camp Aesthetics of Kara Walker
title_short Prissy’s Quittin’ Time: The Black Camp Aesthetics of Kara Walker
title_sort prissy s quittin time the black camp aesthetics of kara walker
topic black studies
queer theory
visual studies
url https://doi.org/10.1515/culture-2017-0059
work_keys_str_mv AT stephensbrian prissysquittintimetheblackcampaestheticsofkarawalker