Posing Dead to Make a Claim on Life in Paul Mendez and Kehinde Wiley

This paper intends to explore the convergence of queerness and blackness in Paul Mendez’s Rainbow Milk and black portraiture art, especially Kehinde Wiley’s portraits, with particular attention to his Christ-related works. With this purpose, I will review the narratives of postblackness and black ca...

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Detalles Bibliográficos
Autor: Yebra, José M.
Tipo de recurso: artículo
Estado:Versión publicada
Fecha de publicación:2024
País:España
Institución:Universidad de Zaragoza
Repositorio:Zaguán. Repositorio Digital de la Universidad de Zaragoza
OAI Identifier:oai:zaguan.unizar.es:150517
Acceso en línea:http://zaguan.unizar.es/record/150517
Access Level:acceso abierto
Descripción
Sumario:This paper intends to explore the convergence of queerness and blackness in Paul Mendez’s Rainbow Milk and black portraiture art, especially Kehinde Wiley’s portraits, with particular attention to his Christ-related works. With this purpose, I will review the narratives of postblackness and black camp (Pochmara and Wierzchowska 2017) characteristic of Bertram D. Ashe’s post-Soul aesthetics. Unlike the monolithic discourses of the Civil Rights generation, these artists cross over conceptions of race, sexuality and privilege in intersectional terms. They break with racial authenticity and play with appropriation, irony and camp to renegotiate and articulate othernesses and render them grievable.

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