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University of Florida Thesis Or Dissertation Formatting Template RACISM, HUMOR AND REBELLION IN THE WORK OF TWELVE ARTISTS By JODY BERMAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 Jody Berman To my son Malakai ACKNOWLEDGMENTS Many people have had an impact on this project and their tremendous support deserves special gratitude. I owe my greatest personal and intellectual debt to Dr. Robin Poynor who has mentored and supported me throughout my undergraduate and graduate career. He has always aided my progress, made himself available to me, provided detailed and skillful analysis of my work, and has guided me through the sometimes perilous terrain of this academic journey. More than a professor, I consider him a lifelong friend. I would like to thank Dr. Paul Ortiz whose knowledge and research into the under-bellied history of the United States are inseparable from his social engagement with issues related to national and international inequalities, past and present. Dr. Ortiz joined my committee as co- Chair during the time when I need his encouragement and guidance most. His thoughtful insight and critiques have helped shape this project into a broader consideration of themes that relate to all areas of African-American expressive culture. I have immeasurable gratitude for the guidance of Dr. Gwendolyn Zohara-Simmons. Without her strength and support this project would not have ever been completed and I would not have matriculated to ABD. Beyond her knowledge regarding African-American cultural and religious practice, Dr. Simmons is a role model for me. She exemplifies the power and responsibility of the individual to affect change in public and personal spaces. I would like to thank Dr. Maya Stanfield-Mazzi whose vast experience within the study of Latin American post-colonial cultures has expanded my awareness and knowledge of the ways in which hybridity and mimesis operate in transnational contexts. Dr. Stanfield-Mazzi’s encouragement, guidance and availability to assist, are the markings of an ideal mentor. I would like to thank Patrick Grigsby and Laura Robertson. I will miss our impromptu campus-conversations regarding the contours of life and the minutia of graduate academia. I am 4 grateful to the Department of Art and Art History and the Graduate School at the University of Florida. The support provided, made this project both possible and financially feasible. Finally, I would like to thank my family: my mother, who has always supported this endeavor and shown enthusiastic interest in my ideas and my father who has taught me the importance of keeping the wondrous in sight. I thank my sister and brother for being sounding boards when life needed processing and offering that certain perspective that only siblings can share. I thank my husband Tim and son Malakai whose infectious, boisterous laughter is my favorite of all sounds to hear. Your encouragement and belief in this project has helped me to see it through to the end. From the bottom of my heart thank you, to each of you. 5 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT .....................................................................................................................................8 CHAPTER 1 INTRODUCTION ..................................................................................................................10 Contextual Evidence: Gaps in African American Art Historical Scholarship .......................12 The Work of Kara Walker as Paradigm .................................................................................16 Art, Humor, Subversion?: Kara Walker Take Two ................................................................23 Analytical Approach and Guiding Scholarship ......................................................................27 Synopses of Chapters ..............................................................................................................37 2 LAUGHING TO KEEP FROM CRYING: UP FROM SLAVERY. .....................................43 The Origins of African American Humor: Laughter, Sedition and Survival .........................43 The Ballad of the ‘Happy Darky:’ A Double-Edged Ruse .....................................................47 Tricksters Gonna Trick: Tales of Sedition and Expressions of Liberation ............................51 Enter:The Minstrel Show ........................................................................................................59 The Clap-Back: Black Humorists and Cutting Ripostes ........................................................62 Irresponsible Satire and the Subjectivity of Humor. ..............................................................64 3 CRITIQUING AFRICAN AMERICAN ART: LOCKE, DU BOIS AND POST- BLACK HUMOR ...................................................................................................................68 Locke, Du Bois and Contemporary African American Art ....................................................70 21st Century Post-Black Art and the Art of Critique ..............................................................72 Reinscribing the Racial Stereotype: Matters of Humor and (Mis)Representation .................80 Locke, Du Bois and the Post-Black Debate Reprised ............................................................87 4 CHANGE THE JOKE, SLIP THE YOKE: MIMICRY, HUMOR AND RE- APPROPRIATION .................................................................................................................91 ‘Changing the Joke and Slipping the Yoke:’ The Art of Subversion .....................................94 Mining the History of African American Representation: A Visual Reinterpretation of Enslaved Persons Pictured ..................................................................................................99 Humor and Cognitive Dissonance: The Racist Joke and its Irreconcilable Implications .....107 Speaking Truth to Power: The Lynching Image, Pictures Do Not Lie. ...............................112 Black Artists and the Restrictive Frame ...............................................................................117 Recuperative and Redemptive Memory in African American Art .......................................120 5 CONTEMPORARY TRICKSTERS, CONJURING ARTISTS. .........................................124 6 The Trickster Journeys West: Lessons Imparted, Assessments Conveyed ..........................124 To Divert the Powers That Be: Defiance and Rejoice in Rebellion .....................................128 The Eshu-Elegba Standard: Everyday Forms of Resistance and Black Self-Articulation ...133 The Trickster as Master of Language Play ...........................................................................139 Subverting the Art/Historical Canon Through the Trope of the Trickster ...........................142 6 CONCLUSION: RACISM, HUMOR AND THE BURDEN OF REPRESENTATION. ...158 Democracy, Humor and the Critique of Power ....................................................................159 Tragicomedy: Laughing to Keep from Crying .....................................................................161 Race and Subversive Humor ................................................................................................165 Humor, Laughter and Perilous Terrain .................................................................................167 Aesthetic Embodiment ..........................................................................................................174 Transcendence ......................................................................................................................182 LIST OF REFERENCES .............................................................................................................185 BIOGRAPHICAL SKETCH .......................................................................................................198 7 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy RACISM, HUMOR AND REBELLION IN THE WORK OF TWELVE ARTISTS By Jody Berman August 2018 Co-chair: Robin Poynor Co-chair: Paul Ortiz Major: Art History In the following study I investigate the ways in which twelve artists employ humor as a disruptive agent in their work. The artists central to my argument are: Kara Walker, David Hammons, Jason Musson, Glenn Ligon, Hank Willis Thomas, Carrie Mae Weems, John Bankston, Willie Cole, Lorraine O’Grady, Keith Piper, Michael Ray Charles and Kerry James Marshall. These abovementioned artists create works that undermine notions of race in America’s past in order to expound upon its ramifications within society today. They each incorporate humor to subvert ideas of race, racism and/or identity as dominant aspects of contemporary culture. They utilize humor to interject new perspectives and feature alternative frameworks with which notions of identity and race can be understood. Throughout this project I explore how wide-ranging forms of Black humor have operated to disrupt forces of oppression historically and contemporaneously. I accomplish this task by investigating how everyday forms of resistance have been utilized within the Black community in the long-standing fight for racial justice and equal footing within society. I do so by exploring
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