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Black Venus 2010: They Called Her "Hottentot"

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Black Venus 2010: They Called Her "Hottentot" Cover

 

Synopses & Reviews

Synopsis:

As a young South African woman of about twenty, Saartjie Baartman, the so-called “Hottentot Venus,” was brought to London and placed on exhibit in 1810. Clad in the Victorian equivalent of a body stocking, and paraded through the streets and on stage in a cage she became a human spectacle in London and Paris. Baartman’s distinctive physique became the object of ridicule, curiosity, scientific inquiry, and desire until and after her premature death. The figure of Sarah Baartman was reduced to her sexual parts.

 

Black Venus 2010 traces Baartman’s memory in our collective histories, as well as her symbolic history in the construction and identity of black women as artists, performers, and icons. The wide-ranging essays, poems, and images in Black Venus 2010 represent some of the most compelling responses to Baartman. Each one grapples with the enduring legacy of this young African woman who forever remains a touchstone for black women.

Contributors include: Elizabeth Alexander, Holly Bass, Petrushka A Bazin, William Jelani Cobb, Lisa Gail Collins,  Renée Cox, J. Yolande Daniels, Carole Boyce Davies, Leon de Wailly, Manthia Diawara, Diana Ferrus, Cheryl Finley, Nikky Finney, Kianga K. Ford, Terri Francis, Sander Gilman, Renée Green, Joy Gregory, Lyle Ashton Harris, Michael D. Harris, Linda Susan Jackson, Kellie Jones, Roshini Kempadoo, Simone Leigh, Zine Magubane, E. Ethelbert Miller, Robin Mitchell, Charmaine Nelson, Tracey Rose, Radcliffe Roye, Bernadette Searle, Lorna Simpson, Debra S. Singer, Penny Siopis, Hank Willis Thomas, Kara Walker, Michele Wallace, Carla Williams, Carrie Mae Weems, J. T. Zealy, and the editor.

About the Author

Deborah Willis is a University Professor and chair of the Photography and Imaging Department in the Tisch School of the Arts, New York University. She has an affiliated appointment with the College of Arts and Sciences.  Willis is a Guggenheim, Fletcher, and MacArthur Fellow, as well as a recipient of the Anonymous Was a Woman Foundation award. Willis is a photographer and curator of African American culture.  Her publications include Obama: The Historic Campaign in Photographs, The Black Female Body A Photographic History with Carla Williams (Temple); and Posing Beauty: African American Images from the 1890s to the Present.

Table of Contents

Acknowledgments 

Prologue: The Venus Hottentot (1825) Elizabeth Alexander 

Introduction: The Notion of Venus Deborah Willis

PART I: Sarah Baartman in Context 

1. The Hottentot and the Prostitute: Toward an Iconography of Female Sexuality Sander Gilman 

2. Another Means of Understanding the Gaze: Sarah Bartmann in the Development of Nineteenth-Century French National Identity Robin Mitchell 

3. Which Bodies Matter? Feminism, Post-Structuralism, Race, and the Curious Theoretical Odyssey of the “Hottentot Venus” Zine Magubane 

4. Exhibit A: Private Life without a Narrative J. Yolande Daniels 

5. crucifix Holly Bass

PART II: Sarah Baartman’s Legacy in Art and Art History 

6. Historic Retrievals: Confronting Visual Evidence and the Imaging of Truth Lisa Gail Collins 

7. Reclaiming Venus: The Presence of Sarah Bartmann in Contemporary Art Debra S. Singer 

8. Playing with Venus: Black Women Artists and the Venus Trope in Contemporary Visual Art Kianga K. Ford 

9. Talk of the Town Manthia Diawara 

10. The “Hottentot Venus” in Canada: Modernism, Censorship, and the Racial Limits of Female Sexuality Charmaine Nelson 

11. A.K.A. Saartjie: The “Hottentot Venus” in Context (Some Recollections and a Dialogue), 1998/2004 Kellie Jones 

12. little sarah Linda Susan Jackson

PART III: Sarah Baartman and Black Women as Public Spectacle 

13. The Greatest Show on Earth: For Saartjie Baartman, Joice Heth, Anarcha of Alabama, Truuginini, and Us All Nikky Finney 

14. The Imperial Gaze: Venus Hottentot, Human Display, and World’s Fairs Michele Wallace 

15. Cinderella Tours Europe Cheryl Finley 

16. Mirror Sisters: Aunt Jemima as the Antonym/Extension of Saartjie Bartmann Michael D. Harris 

17. My Wife as Venus E. Ethelbert Miller

PART IV: Iconic Women in the Twentieth Century/b> 

18. agape Holly Bass 

19. Black/Female/Bodies Carnivalized in Spectacle and Space Carole Boyce Davies 

20. Sighting the “Real” Josephine Baker: Methods and Issues of Black Star Studies Terri Francis 

21. The Hoodrat Theory William Jelani Cobb

Epilogue: I’ve Come to Take You Home (Tribute to Sarah Bartmann Written in Holland, June 1998) 

Bibliography 

Contributors 

Index

Product Details

ISBN:
9781439902059
Author:
Willis, Deborah
Publisher:
Temple University Press
Contribution by:
Williams, Carla
Contribution:
Williams, Carla
Subject:
Arts, Modern
Subject:
Baartman, Sarah
Subject:
American - African American
Subject:
Women's Studies - General
Subject:
Art - General
Edition Description:
Trade Paper
Publication Date:
20100131
Binding:
TRADE PAPER
Language:
English
Illustrations:
Y
Pages:
256
Dimensions:
10 x 7 x 0.7 in

Related Subjects

Arts and Entertainment » Art » General
History and Social Science » Gender Studies » Womens Studies
Humanities » Literary Criticism » General

Black Venus 2010: They Called Her "Hottentot" New Trade Paper
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Product details 256 pages Temple University Press - English 9781439902059 Reviews:
"Synopsis" by ,

As a young South African woman of about twenty, Saartjie Baartman, the so-called “Hottentot Venus,” was brought to London and placed on exhibit in 1810. Clad in the Victorian equivalent of a body stocking, and paraded through the streets and on stage in a cage she became a human spectacle in London and Paris. Baartman’s distinctive physique became the object of ridicule, curiosity, scientific inquiry, and desire until and after her premature death. The figure of Sarah Baartman was reduced to her sexual parts.

 

Black Venus 2010 traces Baartman’s memory in our collective histories, as well as her symbolic history in the construction and identity of black women as artists, performers, and icons. The wide-ranging essays, poems, and images in Black Venus 2010 represent some of the most compelling responses to Baartman. Each one grapples with the enduring legacy of this young African woman who forever remains a touchstone for black women.

Contributors include: Elizabeth Alexander, Holly Bass, Petrushka A Bazin, William Jelani Cobb, Lisa Gail Collins,  Renée Cox, J. Yolande Daniels, Carole Boyce Davies, Leon de Wailly, Manthia Diawara, Diana Ferrus, Cheryl Finley, Nikky Finney, Kianga K. Ford, Terri Francis, Sander Gilman, Renée Green, Joy Gregory, Lyle Ashton Harris, Michael D. Harris, Linda Susan Jackson, Kellie Jones, Roshini Kempadoo, Simone Leigh, Zine Magubane, E. Ethelbert Miller, Robin Mitchell, Charmaine Nelson, Tracey Rose, Radcliffe Roye, Bernadette Searle, Lorna Simpson, Debra S. Singer, Penny Siopis, Hank Willis Thomas, Kara Walker, Michele Wallace, Carla Williams, Carrie Mae Weems, J. T. Zealy, and the editor.

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