Assignment 3 now due on Canvas and the class
Scalar Compendium!
Please remember to submit your Course Evaluation!

postcolonialism = a study of the effects of colonialism on cultures and societies, concerned with both how European nations conquered and controlled "Third World" cultures and how these groups have since responded to and resisted those encroachments. Post-colonialism, as both a body of theory and a study of political and cultural change, has gone and continues to go through three broad stages:

  • an initial awareness of the social, psychological, and cultural inferiority
  • enforced by being in a colonized state the struggle for ethnic, cultural, and political autonomy
  • a growing awareness of cultural overlap and hybridity
Kerry James Marshall, Gallery, 2016.











Grand Finale
Tuesday, December 15 1:30 to 4 PM

  • What single work will you carry with you?
    • Must be a work that you learned about in this class
  • What Black artist would you have liked to have learned more about?
    • Sign up on our Google Doc to discuss one of that artist's work
  • What required or recommended text for this class made ideas click for you?
  • What project on Scalar communicated learning in this class the strongest to you?
Reclaiming the Monument (Robert E. Lee Monument in Richmond, VA with BLM interventions and projections by Dustin Klein), 2020.











Slavery! Slavery!

Kara Walker, Slavery! Slavery! Presenting a GRAND and LIFELIKE Panoramic Journey into Picturesque
Southern Slavery of "Life at 'Ol' Virginny's Hole' (sketches from Plantation Life)"
See the Peculiar Institution as never before! All cut from black paper by the able hand of
Kara Elizabeth Walker, an Emancipated Negress and leader in her Cause,











Kara Walker at the Renaissance Society, 1997.
Kara Walker, African/American, 1998.


Kara Walker, Stories, Art 21











Kara Walker, Detail from Gone, An Historical Romance of a Civil War
As It Occurred Between the Dusky Thighs of One Young Negress and Her Heart
, 1994.











"All black people in America want to be slaves just a little bit." - Walker
Kara Walker's work is "sort of revolting and negative and a form of betrayal to the slaves, particularly women and children; that is that it was basically for the amusement and the investment of the white art establishment." - Betye Saar
"These are the slave narratives that were never written. Kara's work takes from fact but also fantasy and throws on its head any notion we might have of good and bad, right and wrong, black and white. There are no clear dichotomies." - Thelma Golden
"Walker refuses to see racism as a clear question of 'us versus them.' Instead, she performs a complex excavation of both the psychological and the sociological dimensions of identification." - David Joselit
Betye Saar, Liberation of Aunt Jemima Cocktail, 1972.
Kara Walker, A Spectacle, 2017.










Kara Walker, A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked
Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World
on the Occasion of the demolition of the Domino Sugar Refining Plant,











Kara Walker, A Subtlety, or the Marvelous Sugar Baby, Art 21





Kara Walker Artware canisters











Kerry James Marshall, Portrait of the Artist as a Shadow
of His Former Self
, 1980. Egg tempera on paper.











Charles White, Nobody Knowd My Name #1, 1965.











Kerry James Marshall, Better Homes, Better Gardens, 1994.
Kerry James Marshall, Watts 1963, 1995.











Paul R. Williams, Nickerson Gardens, 1960s.
Paul R. Williams with founders of Golden State Mutual Life Insurance Company, William Nicerson on far left, and model of headquarters.