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Post-Soul SatireBlack Identity after Civil Rights$
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Derek C. Maus and James J. Donahue

Print publication date: 2014

Print ISBN-13: 9781617039973

Published to University Press of Mississippi: May 2017

DOI: 10.14325/mississippi/9781617039973.001.0001

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PRINTED FROM Mississippi SCHOLARSHIP ONLINE (www.mississippi.universitypressscholarship.com). (c) Copyright University Press of Mississippi, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSSO for personal use.date: 19 September 2021

Post-Black Art and the Resurrection of African American Satire

Post-Black Art and the Resurrection of African American Satire

Chapter:
(p.3) Post-Black Art and the Resurrection of African American Satire
Source:
Post-Soul Satire
Author(s):

Derek Conrad Murray

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781617039973.003.0001

This chapter undertakes a critical survey of a number of the most prominent African American visual artists whose satirical work engages with the “Post-Black” designation coined by Thelma Golden and Glenn Ligon for the 2001 Freestyle show at the Studio Museum in Harlem. This chapter argues that “Post-Black” artists represent a generational shift in subject matter, style, and rhetoric, separating these artists from those of the Civil Rights period. Key to this generational shift are the frustrations that accompany notions of identity and belongingness that contemporary artists find to be stifling and exclusionary.

Keywords:   Post-Black, Visual Art, Satire, Thelma Golden, Glenn Ligon

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