Black Bodies, White Gold models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. Arabindan-Kesson traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cottonas both commodity and materialbecame inexorably tied to the monetary value of Black bodies. From the production and representation of negro cloththe textile worn by enslaved plantation workersto depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor.
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