Nicole R. Fleetwood – författare

In 2001 Renee Cox's "Yo Mama's Last Supper" was exhibited at the Brooklyn Museum. Cox's photographic recreation of Leonardo da Vinci's painting features an almost all black cast and the artist, nude, standing in for Jesus. The intense controversy that erupted testifies to the enduring power of images of black bodies to unsettle and disturb viewers. Over the course of the twentieth century, as black visibility rose across a variety of media, scholars in art history and media studies began to analyze how audiences view black subjects, while performance and theater studies scholars examined black self-presentation. "Troubling Vision" bridges the gap between these divergent approaches, arguing that grasping the cultural meaning of blackness relies on understanding both performance and vision. Taking into account this fixation on black visibility, Nicole R. Fleetwood explores how blackness is always a troubling presence in the field of vision and the black body is persistently seen as a problem. Fleetwood examines a wide range of materials from visual and media art, documentary photography, theater and performance, fashion advertising, and celebrity culture.Based on her trenchant analysis of this work, Fleetwood investigates the various ways black cultural producers disrupt dominant notions of black identity and the black body.

Winner of the National Book Critics Circle AwardA Smithsonian Book of the YearA New York Review of Books “Best of 2020” SelectionA New York Times Best Art Book of the YearAn Art Newspaper Book of the YearA powerful document of the inner lives and creative visions of men and women rendered invisible by America’s prison system.More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America’s prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them.Based on interviews with currently and formerly incarcerated artists, prison visits, and the author’s own family experiences with the penal system, Marking Time shows how the imprisoned turn ordinary objects into elaborate works of art. Working with meager supplies and in the harshest conditions—including solitary confinement—these artists find ways to resist the brutality and depravity that prisons engender. The impact of their art, Fleetwood observes, can be felt far beyond prison walls. Their bold works, many of which are being published for the first time in this volume, have opened new possibilities in American art.As the movement to transform the country’s criminal justice system grows, art provides the imprisoned with a political voice. Their works testify to the economic and racial injustices that underpin American punishment and offer a new vision of freedom for the twenty-first century.

What meaning does the American public attach to images of key black political, social, and cultural figures? Considering photography’s role as a means of documenting historical progress, what is the representational currency of these images? How do racial icons “signify”?  Nicole R. Fleetwood’s answers to these questions will change the way you think about the next photograph that you see depicting a racial event, black celebrity, or public figure. In On Racial Icons, Fleetwood focuses a sustained look on photography in documenting black public life, exploring the ways in which iconic images function as celebrations of national and racial progress at times or as a gauge of collective racial wounds in moments of crisis.  Offering an overview of photography’s ability to capture shifting race relations, Fleetwood spotlights in each chapter a different set of iconic images in key sectors of public life. She considers flash points of racialized violence in photographs of Trayvon Martin and Emmett Till; the political, aesthetic, and cultural shifts marked by the rise of pop stars such as Diana Ross; and the power and precarity of such black sports icons as Serena Williams and LeBron James; and she does not miss Barack Obama and his family along the way. On Racial Icons is an eye-opener in every sense of the phrase.Images from the book. (http://rutgerspress.rutgers.edu/pages/Fleetwood.aspx)

Celebrating the rich history of photography made by and for Black communities in Texas.Kinship & Community presents an inspiring example of collective self-representation from the final decades of official segregation in the United States. With more than 150 images of everyday Black life—created by Black photographers for Black communities across Texas—this collection celebrates a proud but overlooked regional culture while testifying to the power of photography as a social tool. These photographers, typically operating small businesses that provided portraiture, promotional images, and event documentation, worked with their communities to develop an enduring vision of hope and uplift. Many also contributed photos to newspapers, magazines, and civil rights organizations, sometimes focusing on political leaders and protests. But their primary subject was the everyday expression of a vibrant and self-sufficient Black culture—an exhilarating achievement in the wider context of entrenched racial oppression. Completing the book is a vivid new photographic essay by Rahim Fortune that takes up the archive’s legacy and places it firmly in the present tense.Copublished by Aperture and Documentary Arts.