1
10
3
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cc73d80d5ba819d2c1710ce1da709c0b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Ice T</em>
Description
An account of the resource
**Parenthetical citation
* Diff type of appropriation (Reverse appropriation)
Source
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1, 2, 3 and then MLA
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
Dublin Core
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Title
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Fine Art
Description
An account of the resource
"Fine Art" is a contentious term with its history of excluding media, expressions, artists, and ideologies. Personally, I am not fond of the term. However, in order to explore the representation of black males in comics, it is necessary to look at the history of black males in visual cultures. Comics do not exist in the vacuum; no art form does. Art is a dialogue between a creator or creators and some other, whether that other be a person, society, history, or something else altogether. The best way to show this continuum is to curate the selected comics for this exhibit in contrast to older artworks and art forms. The similarities and differences between these media in meaning and representation black male bodies have yielded insights. <br /><br />My selection criteria (in no particular order) for this collection is as followed: <br /><ol><li>Does the fine artwork offer unique insights to these questions: (a) How are these bodies represented and framed? (b) What are the intentions and effects of these bodies? (c) How can these bodies be received? (d) What are the semiotics of the black male body in this work?</li>
<li>Each piece has its own medium.</li>
</ol>
Contributor
An entity responsible for making contributions to the resource
<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
Dublin Core
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Title
A name given to the resource
<em>Ice T</em>
Creator
An entity primarily responsible for making the resource
Wiley, Kehinde
Publisher
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Wiley, Kehinde. "<em>Ice T</em>." Donald W. Reynolds Center for American Art and Portraiture, National Portrait Gallery. <a href="http://www.npg.si.edu/exhibit/recognize/paintings.html">http://www.npg.si.edu/exhibit/recognize/paintings.html</a>. Accessed 15 Nov 2017.
Date
A point or period of time associated with an event in the lifecycle of the resource
2005
Contributor
An entity responsible for making contributions to the resource
<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
Format
The file format, physical medium, or dimensions of the resource
243.8 x 182.9 cm
Type
The nature or genre of the resource
Oil on canvas
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Washington D.C.: National Portrait Gallery
Description
An account of the resource
<p dir="ltr"><span>The artwork that offers the loudest dialogue to </span><a href="http://wst198.omeka.net/items/show/6"><span>Warhol</span></a><span> and the Western art canon, in general, is Kehinde Wiley’s portraits of men of color. The similarities and differences between Warhol’s <em>Birmingham Race Riot</em> and Wiley’s <span style="text-decoration:underline;">Ice T</span> are fascinating. Warhol appropriated a newspaper photograph documenting the Civil Rights Movement. Wiley appropriates the icons, colors, and medium of Jean-Auguste-Dominique Ingres’s 1806 </span><em><a href="http://www.musee-armee.fr/en/collections/museum-treasures/object.html?tx_mdaobjects_object%5Baction%5D=show&tx_mdaobjects_object%5Bcontroller%5D=Object&tx_mdaobjects_object%5BidContentPortfolio%5D=537&tx_mdaobjects_object%5Bobject%5D=551&cHash=d5b34980f2912c609d32c6e45f75d5d7">Napoleon I on His Imperial Throne</a></em><span>. Warhol took the photograph out of its newspaper context to make it into a piece of art -- a Warhol piece of art. Wiley adds context by replacing Napoleon Bonaparte with American gangster rapper Ice T, creating a new meaning using an established Western image of the royal white male ruler. Warhol’s work was for the elite art world. Wiley’s <em>Ice T</em> belongs to the National Portrait Gallery -- it belongs to the American people. Ice T is an American artwork in the mold of the American Dream. What is the American Dream but the promise of the self-made man regardless of birth lineage? And which man has made more of himself from the humblest of beginnings than the African-American? Unlike Shetterly and Stone in </span><em><a href="http://wst198.omeka.net/items/show/2">Captain Confederacy</a></em><span>, Wiley puts the Black man as the nation’s victorious symbol.</span></p>
<p dir="ltr"><span><span class="Apple-tab-span"> </span></span><span>This painting is, like </span><a href="http://wst198.omeka.net/exhibits/show/black-bodies-black-ink/forever-free-dress-your-best"><span>Michael Ray Charles</span></a><span>’s work, is visually striking. It is meant to stir emotion and have the viewer question history with its use of a Black man in casual attire (cap, black sneakers, black sweatpants). Two noteworthy differences between this painting and the Ingres one is the positioning of the subject’s heads and the placement of the ermine hood. </span></p>
<p dir="ltr"><span>Napoleon looks straightforward at the viewer (Musée de l'Armée). His head is as level as his gaze upon the viewer. Ice T’s head, however, is tilted upwards, the brim of his cap casting a shadow across his forehead. We the viewer are looked down upon by him -- why? Is Ice T’s head tilt another symbol like the throne and scepters of his superiority over the reader? Or is he wary of the viewer? A Black man growing up in a racist society ascend to a throne. What did Ice T have to endure, what sacrifices and sins did he commit, to make it to that hallowed seat? What sacrifices and sins did the Black men who did not make it to the throne endure? Whether tilted in superiority or defense, Ice T does not gaze directly at t, e viewer unlike Napoleon, making it easier for the viewer to gaze upon him without the fear of “being caught.”</span></p>
<p dir="ltr"><span><span class="Apple-tab-span"> </span></span><span>Secondly, Napoleon wears the royal ermine, his “head emerging from a body drowned in an imposing costume, [the attire] effectively sets it apart from the [then] usual depictions of the emperor” (Musée de l'Armée). Ice T’s ermine is splayed across the throne he sits, leaving his bare, muscled arms visible as it holds the same scepters Napoleon does. Ice T does not envelope himself in the traditional attire of divine, empirical power. Instead, he wears the clothes of any American: comfy, affordable, and accessible. Yet his attire is black, like his flesh. His arms, like </span><a href="http://wst198.omeka.net/exhibits/show/black-bodies-black-ink/green-lantern-mosaic--1"><span>John Stewart</span></a><span>’s and the alien in </span><em><a href="http://wst198.omeka.net/exhibits/show/black-bodies-black-ink/strange-fruit">Strange Fruit</a></em><span><em>,</em> are his power. Once again, the Black man’s power is made physical -- he is made physical. Wiley’s Studio states that his works blur “the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men” (Kehinde Wiley Studio). Is that occurring here, where once again the Black man’s physicality is on display as his power? </span></p>
<p dir="ltr"><span><span class="Apple-tab-span"> </span></span><span>There are neither singular nor simple answers to these questions. The lack of a singular and simple answer for a work about black masculinity is a triumph. Again like Warhol, Wiley’s work succeeds in provoking questions, and with a history of reducing black men to the same stereotypes and roles, provoking questions is a form of resisting racist and sexist representations.</span></p>
<div><span> </span></div>
Source
A related resource from which the described resource is derived
<ol><li dir="ltr">
<p dir="ltr"><span>Musée de l'Armée. “Napoleon I on the Throne or His Majesty the Emperor of the French on His Throne by Ingres.” </span><span>Musée De L'Armée</span><span>, 10 Dec. 2012, </span><a href="http://www.musee-armee.fr/en/collections/museum-treasures/object.html?tx_mdaobjects_object%5Baction%5D=show&tx_mdaobjects_object%5Bcontroller%5D=Object&tx_mdaobjects_object%5BidContentPortfolio%5D=537&tx_mdaobjects_object%5Bobject%5D=551&cHash=d5b34980f2912c609d32c6e45f75d5d7"><span>www.musee-armee.fr/en/collections/museum-treasures/object.html?tx_mdaobjects_object%5Baction%5D=show&tx_mdaobjects_object%5Bcontroller%5D=Object&tx_mdaobjects_object%5BidContentPortfolio%5D=537&tx_mdaobjects_object%5Bobject%5D=551&cHash=d5b34980f2912c609d32c6e45f75d5d7</span></a><span>.</span></p>
</li>
<li dir="ltr">
<p dir="ltr"><span></span>Kehinde Wiley Studio. “KEHINDE WILEY STUDIO: Brooklyn, NY.” Kehinde Wiley Studio, <a href="kehindewiley.com/about/">kehindewiley.com/about/</a>.</p>
</li>
</ol>
appropriation
black art
black artists
black bodies
black masculinity
blackness and history
fine art
history
parody/satire
-
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dd06f89768874b9d1572a5e72a6cc04a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Captain Confederacy #4</em> (first series) [Cover]
Format
The file format, physical medium, or dimensions of the resource
25.6 x 14.3 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
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013c3c5fe5a6892692116afb64916afe
Dublin Core
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Title
A name given to the resource
<em>Captain Confederacy #4</em> (first series) [Page 13 (three panels, bottom tier)]
Format
The file format, physical medium, or dimensions of the resource
12.7 x 16.5 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
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cad7c8e3d1b57dead20e062c5b61fa6e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Captain Confederacy #4</em> (first series) [Page 13 (two panels, top right)]
Format
The file format, physical medium, or dimensions of the resource
13.0 x 7.6 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/79304c73db9b4d4d37f9a5c612ee9b7c.jpg?Expires=1712793600&Signature=JMuIOzVGMi7eCZhy-RXU06o%7Ewt6Az9beCSsa-JnieGuseXc2m80FeJJ9nzlPa54sVagQbIH-xWXg1XUsoFYFY3QY0ZgGH7sFt-dAeTCNwkHduWT08sfHEnYrQRQ5s%7E-W22p7SbhfiYC3js%7E7DtwrazpCzU%7E86XmtBe7LB-GhThcIk7qeR8QPSuThxpnp2omFkgxaAkdwodRmzznilC4HXnL8lY9XVOpbSXjgP1ukD6ZUsQ3FDjA3TnpsgpM0Wm58%7EJz55bjeKMp0HvFQOaVlwmJp0-7ikclOrCrZYFsLQXgCOGlBI4nySksch8tcC1p6ReRl3Trd6txW6ZTZJxjX-Q__&Key-Pair-Id=K6UGZS9ZTDSZM
0408d2cc0cad90dc66265e62869324aa
Dublin Core
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Title
A name given to the resource
<em>Captain Confederacy #4</em> (first series) [Page 15 (full page)]
Format
The file format, physical medium, or dimensions of the resource
25.6 x 14.3 cm
Contributor
An entity responsible for making contributions to the resource
<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
Dublin Core
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Title
A name given to the resource
Comics
Description
An account of the resource
Being my medium of academic interest, the comics used for this exhibit outnumber any other media in this exhibit. As such, they warrant their own collection. More than just the quantity of the presence, comics are an important medium when discussing black male representation. Comics use of both images and text for a mass consumer culture makes them accessible to all people: young and old, native speakers and foreigners, rich and poor. It does not cost much to make a comic -- a person just needs paper and a pen, not necessarily computers and crews. From there, a creator can create within the confines of the page and beyond, with only their imagination as their limit. The American Underground Comix and 80s and 90s West Coast Zine movements, as well as today's webcomic and crowdfunding comics, are a testament to the accessibility comic creators and readers have. Their mass consumer price and portability make them easily shared among the masses. Comics are the most democratic of mediums. As such, analyzing how black male bodies are created, consumed, and reproduced in comics is vital to understand black masculinity in culture. <br /><br />My selection criteria (in no particular order) for this collection is as followed: <br /><br /><ol><li>Does the comic offer unique insights to these questions: (a) How are these bodies represented and framed? (b) What are the intentions and effects of these bodies? (c) How can these bodies be received? (d) What are the semiotics of the black male body in this work?</li>
<li>Each comic differs in genre, tone, and art style from the other three.</li>
</ol>
Contributor
An entity responsible for making contributions to the resource
<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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<em>Captain Confederacy #4</em> (first series)
Creator
An entity primarily responsible for making the resource
Writer: Shetterly, Will.
Penciler and Inker: Stone, Vince.
Publisher
An entity responsible for making the resource available
Author (25 Oct 2017)
Date
A point or period of time associated with an event in the lifecycle of the resource
Dec 1986
Format
The file format, physical medium, or dimensions of the resource
25.6 x 14.3 cm
Type
The nature or genre of the resource
Ink on paper
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Hempstead: Hofstra University Library Special Collections
Contributor
An entity responsible for making contributions to the resource
<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
Description
An account of the resource
<p dir="ltr"><span>Whereas </span><a href="http://wst198.omeka.net/exhibits/show/black-bodies-black-ink/item/6"><span>Warhol</span></a><span> frames dehumanized black bodies for gallery walls, Shetterly and Stone frames African-Americans for the mass public of 1986 (and the 21st-century, as Shetterly made most of the </span><a href="http://pictographist.blogspot.com/"><span>series available for free online</span></a><span>). Still, even with the restoration of human identity to black bodies, the positioning of Blacks within this comic reveals the comic medium’s tensions between breaking and needing tropes.</span></p>
<p dir="ltr"><span class="Apple-tab-span"> </span>One of the rebels, a Black man named Mr. X, tells Jeremy he distrusts the former poster boy of the Confederacy (see <a href="https://s3.amazonaws.com/omeka-net/34789/archive/files/53ba469f74105e77244cc9da44d5a31f.jpg?AWSAccessKeyId=AKIAI3ATG3OSQLO5HGKA&Expires=1515324705&Signature=aj9ykoRT4Mf6OI4LfRXvdHOE1CI%3D">Fig. 3</a>). Yet, two pages later, he is asking Jeremy to be the figure of the rebellion (see <a href="https://s3.amazonaws.com/omeka-net/34789/archive/files/79304c73db9b4d4d37f9a5c612ee9b7c.jpg?AWSAccessKeyId=AKIAI3ATG3OSQLO5HGKA&Expires=1515324769&Signature=S05JvOSTuMfwYcNr3eTokspZEfM%3D">Fig. 4</a>). He doesn’t trust Jeremy, yet he wants the man he said has not proven himself of the resistance’s protection to visually lead them. <em>Captain Confederacy</em> is Jeremy’s story, he experiences the hero’s journey. However, why is Mr. X not the hero?</p>
<p dir="ltr"><span><span class="Apple-tab-span"> </span></span><span>Mr. X is already well-known and feared by the Confederacy for his rebellious actions, as Jeremy’s introduction states. He already is a symbol. He has proven his commitment to the cause and knows how to organize such far-flung allies as Kate and Kitsune. Surely he has the confidence to be a symbol of the resistance if his “Purple Rain”-era Prince appearance is any indication. Most importantly, though, Mr. X has a greater stake in dismantling the Confederacy. Mr. X, as a man of color, is a second-class citizen -- he is persecuted. Jeremy is not. The only reason Jeremy leaves the Confederate side is because his best friend -- a black man -- is killed by the Confederacy. Shetterly and Stone have a black man killed -- ending his story -- by the government to awaken the consciousness of a white man to save society. A superficial excuse is given for Jeremy wanting to directly fight the government (he needs an antidote from the government in order to live), but that does not mask the fact that </span><em>Captain Confederacy </em><span>is a white savior story. </span></p>
<p dir="ltr"><span class="Apple-tab-span"> </span>Why do Shetterly and Stone make Jeremy the hero? According to Shetterly, it is because Jeremy, as an attractive white male, is the symbol of the Confederacy: “The way to weaken symbols is to subvert them. That was my intention when I wrote <em>Captain Confederacy</em>” (Shetterly). What this does is make the words “hero,” “South,” and “man” synonymous with the white race. Jeremy being Captain Confederacy does not so much weaken and subvert the symbol -- it reinforces that symbol’s ideology that white is right. Having a Black man free himself and his fellow citizens -- black and white -- would be the subversion. Instead, we have Mr. X made one-note by being having a white man tell the reader who he is rather than showing Mr. X’s character via his actions. Also, Mr. X’s Prince appearance is inappropriate. It lacks the militancy of Kitsune’s costume while looking diminutive and unimaginative to Captain Confederacy’s muscles and costume (see <a href="https://s3.amazonaws.com/omeka-net/34789/archive/files/b305f293ef3b4cbaec4c3f4cf2acdff2.jpg?AWSAccessKeyId=AKIAI3ATG3OSQLO5HGKA&Expires=1515324823&Signature=%2F9cv7S7Zx1f4iBTCpeYRH9VQ8ug%3D">Fig. 1</a>). Mr. X is grounded in the reader’s reality, not a heroic one, with his stereotypical, humorously out-of-place attire and accent. Mr. X is created and drawn to be read as Black. That is his character, and it shows <em>Captain Confederacy</em>’s failing</p>
<span id="docs-internal-guid-17ed6d5f-6c70-d261-1a16-9c66857fc756"><span><span class="Apple-tab-span"> </span></span><span>Despite noble intentions, </span><em>Captain Confederacy</em>'s<span> Achilles heel is the very thing it is satirizing: it is a story trying to show the stupidity of systemic racism, yet uses racist story tropes to send that message. As such, the message fails. The black body satirizing racism will be explored in other works </span><span>Charles’s </span><em><a href="http://wst198.omeka.net/items/show/5">(Forever Free) Dress Your Best</a></em><span> (1999) or even Wiley’s </span><em><a href="http://wst198.omeka.net/exhibits/show/black-bodies-black-ink/item/4">Ice T</a></em><span> (2005). In regards to </span><em>Captain Confederacy</em><span>, if </span><span>Fredrik Strömberg is correct in saying comics give </span><span>“a clear picture of the spirit of a certain time,” then it stands to reason that the picture “Captain Confederacy #4” gives three decades later is of a better world for white men -- and, therefore, Black men as well (Strömberg 23).</span></span>
Source
A related resource from which the described resource is derived
<ol><li>Shetterly, Will. “On Subverting Symbols, Why I Wrote Captain Confederacy, and the Current Confederate Flag Controversy.” <em>It's All One Thing</em>, Blogspot, 24 June 2015, <a href="shetterly.blogspot.com/2015/06/on-subverting-symbols-why-i-wrote.html">shetterly.blogspot.com/2015/06/on-subverting-symbols-why-i-wrote.html</a>. </li>
<li>Strömberg, Frederik. “Prologue.” <em>Black Images in the Comics: A Visual History, </em>by Frederik Strömberg, Fantagraphics, 2003, pp. 22-34.</li>
</ol>
activism
black bodies
black bodies in comics
black comics
black masculinity
black masculinity in comics
blackness and history
captain confederacy
comics
parody/satire
white artists
-
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/1f33374e94295a5f8e927b091725a9ab.pdf?Expires=1712793600&Signature=meNoAzpYk3K19R63W0RKJlskVTUT3oZICfhHQtIwo9iCh4LuKqxKL2rKVKBM0iZ044kQNmNNxIXHAn6CPl%7EKRiEXFgdSSuEsFjqU%7EKpyZ3VfkY6ZsumPzMQDzL1tIJJdwaMKkIWYhdMRJk%7EjemScyEG98KdQvjTU4CAzNGMW3NxICfq5dHMTSPgvV6aUADujQ-fSHKnZhdb5ieIpMu-BUhDgFqFyMHlc2m5UqSqK3wLbsPH%7E3TwR2vf-ZFGWwBg7I6SxIi8FLsvnujtZLZyYCQFksS81WOS04QQWtJHsZ6Q7LxEI1tuGClHS-Oh1U7ZyRIuNoZz60d7FytDwWFe-EQ__&Key-Pair-Id=K6UGZS9ZTDSZM
8b34474287674a2206fcd76a526f2a30
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Green Lantern: Mosaic</em> <em>#1</em> [Cover]
Description
An account of the resource
* Only black person (or person of color) involved with issue
* Descrepancy in artwork
* Positioning of John Stewart
* colors
Format
The file format, physical medium, or dimensions of the resource
25.7 x 14.3 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/95f5b608db73e16b576991b07a75892f.jpg?Expires=1712793600&Signature=DLEmPyFwohLivWu-SUEJ7Q8rR2UKYJQlFPjEhdQm2kgMG9kMIGQ1d-S59G6ye4eTsymrwHuhe4nRJjEyN2zz2TLmhkhsNp7SI6wN03OrDnN13Jru4Veh8N5uoZvHeFmrfmYI1Vus2AQbjXWTvHcbIUZerROxh85UtCOGYNojnaw-EqBfjFcFBIXVDO7VIkH%7ExIgLtUmZCM55pnbclL71ITiav8rw8ZKURr-LBs1aJkT2zCXD7PkD0LguHNIwqWohw4oU2FzYLt%7E6TJMOm-1CS-kPRShX71z87lTOBm-lam6jpVWSCo2Do45cqcdiuwwQ83xJQjNSIouoVU5JhCaLwg__&Key-Pair-Id=K6UGZS9ZTDSZM
8e50275dbc53bfe34feb30ad2e4eba6c
Dublin Core
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Title
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<em>Green Lantern: Mosaic</em> <em>#1</em> [Page 1 (full page)]
Format
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26.0 x 16.7 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/f601e95ebdd657584e1dc521650d1446.jpg?Expires=1712793600&Signature=v1%7EHoQckcHo%7E%7EL2lIUlAan-q3NahtKAitcLK7I7OvhctwI8hgh6W8z2xBW3cBWnlxQg8m8i24FGygRq-JHgF078zBzXJXQ3Tod5wCiKFWNa8oZJ4sxgnsXUbcky7xsKcczlBuBJRg8CtVokjyKhkbYSIE0zHVl6IAUjMRMFjZ0Wi6xnz6c57uDv4fP1C6LkZGe1rIQ5qnlcFmgGr1jCsLV5niqhl1pJcSVoaGtvkO1K2rLtW44FSiefcuzo9Rzqm183WhySzvFVWtyYr%7EFlX1IpxQdn9EzCBic5Ym3Tw7P54AAavsyJW5xURbpWgLXEZCVkMauUJ83tnlsXsZdcfnw__&Key-Pair-Id=K6UGZS9ZTDSZM
c55eeee72273d6ba55d9a1dc9253d948
Dublin Core
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Title
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<em>Green Lantern: Mosaic</em> <em>#1 </em>[Pages 12 and 13]
Format
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26.4 x 33.0 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/5f7958842a68d7d7a6b68dd5db09309e.jpg?Expires=1712793600&Signature=dC-aIZ0L4y9tBVMiDkLXt1UrvSpyeeqtnMpUotA0m2nZFXUASdq83pL6i9sMkB0fUPfvtFs8dAdLrl2kUOEvQoiMhCE3ILnHeCMzKBFPM6zcLA-KGTG5gmF2bTqz4Oerug8cDD1OrUmTQmMNojdp0a6E6RzkOrMPvve7XedKqijRmjAMKOBn0p4AvrLSKQLiLrrudEnYDP7oVKlTC-s-n5LiBo%7Ec6U7aMB848zG-SfHq-H9f69kN6LMGhqswdG9VRGT2lFsECxE31T36-ZSKcfOMQZIEA5S2k8MRmqs78Nnhlsoy09jx9J9mNDpOJyElAmwSOw6hfnM4B4LL6v%7EY6Q__&Key-Pair-Id=K6UGZS9ZTDSZM
b5d0329d2db88e8f0a312d24c9010ed2
Dublin Core
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Title
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<em>Green Lantern: Mosaic</em> <em>#1 </em>[Page 19 (full page)]
Format
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26.0 x 16.7 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/f11fc6fafb3da84f0a84e0f5f17ca64a.png?Expires=1712793600&Signature=dVkNFAXb5nBZ47qNyK8Sy6I3PD2hKWLvvi8RyUHlUf8aL5hQhIY-7LQY6xfSaScYdBJP3DLjPruXnNhtFe35Yv8BXcTNud1ZuGrgjenEEW31N5wGxMuxzaqzEoCmt1FQBsvZ7hQ9MtUj%7ER5kVyhBF5V7Xe6ZznGaxxiMn0fP9dDx5WTtz3ms0Cj1%7EglXNzVVgtNmCujf4iqSqgLIprktliw3tyJe0yNF1ZkNtoxMqOBBB9ciUTaiNeos4lbdHH80lvl3tusJTtAgE1%7E2Zt8D974RMebWqJpbxkA6IdzkC-un-5YoWvDAja78Jq1olDU5RahjTo7NtevX%7ENgCtcxxTQ__&Key-Pair-Id=K6UGZS9ZTDSZM
d7b2fe6d8b8758a9ed0204ed86493dc5
Dublin Core
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Format
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9.2 x 16.7 cm
Title
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<em>Green Lantern: Mosaic</em> <em>#1</em> [Page 19 (three panels, bottom tier)]
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/0f6baba7f02a2e17d3db36c9130376b7.jpg?Expires=1712793600&Signature=Ro4XjyJKwJZmY-TCGG9LHRJtrpMI44W1hFDwgI-rDfME5sfjTiehgl7LuomTnqR-4bae5xjj4D4gbyT6Vz4XOfiZbRIklvTCuk0CN4Wd4rNSSs6sRWXhjtRdgOfachk7eLXc--qagw7zX7eXEvbSRHg653ShVxG8GB1EhAU2kVEZwycOs0-BD5QMw%7Ew05m1WXyQ4dY9236Mhyjx5Y3H4vJnoxswQWVekluENH%7EYiJzOQWPdZq5ri68-zwPuGzOLI%7EKb%7ESvARf86boogj-FVMF2whmOYcHxRlYKW7vAXPqafJx7Q2uKz4r0ipZS5GGlecT8j%7EwKDkPAZVddY%7Eq0oZYQ__&Key-Pair-Id=K6UGZS9ZTDSZM
26d078cb0579f169d2492943148e09a0
Dublin Core
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Title
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<em>Green Lantern: Mosaic</em> <em>#1</em> [Page 20 (full page)]
Format
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26.0 x 16.7 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/854893f7a8fe5000b1c9e5340405f52e.jpg?Expires=1712793600&Signature=sXoSw1XkL6ovwKHlUvA%7ENK8ia2GyjQpQZYmTzvmXpsZKQBXGe0Fq6mHwXGZQo0YYLaUDYHizCFx607gtie5nwgP0qojQQU-VfXr9MwL8HCNmN9x00uC%7E-CywtmpJnjCaDE1quWp8LrbHZVQ7GRyxlu5wbILHwWAEpXG4UjtcelQ2TqB5Vdb3LiTZfBU3Q7qyOOSBLQvYI3rdy8388twGVWQj2MdROpZGHQtHGP98C3nV6%7Ep0raZwHf3IhbyVAD-%7Ef0lCph9XSQLp%7ED%7E2ZTWt2j53Rl9gtoAjwWXpA2ZkCo9WItD0SXkHlx3NtLinIcfQqKjQ3shyTD61drpg2SHcbA__&Key-Pair-Id=K6UGZS9ZTDSZM
caf6213e95d6abbde31f8beec072f24d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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<em>Green Lantern: Mosaic</em> <em>#1</em> [Pages 19 and 20]
Format
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26.4 x 33.0 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/24b3761dde85caace5e004a8b71009c7.jpg?Expires=1712793600&Signature=S%7EdmXMRmHwTe7Hi35a47U0zuc%7EJ2zn%7ECMFUArv82u2wVG-TJmWz%7EceE1cH-hIBGsHz32h7SK2XkHQSptYe2mwBL3jqE4GEqSBATR8ATucJ6ytWmUjzjXvev24W9LzuWc08mdjw3MSp4%7EDTZgME11k92aMEISifdAp5w1%7Eu6oq0IPs6pyUvM%7EhBG8z0VIhwk4dXIqN0Dy9iOShmasMM5AlUML1jo-vpFHw5ojLb0bMddyfoO0LeMiTiuK4NJqNVBTmpmqtD5wrYrdvrCFv8x6E40qIIjEbiy0F4DRsY6YapnI1SEs04eUDKG%7E6J7Xb0mWTc48sRAx98b19gxatlFpZQ__&Key-Pair-Id=K6UGZS9ZTDSZM
2e28345edb7a8eb889291464da63d583
Dublin Core
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Title
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<em>Green Lantern: Mosaic</em> <em>#1</em> [Pages 21 and 22]
Format
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26.4 x 33.0 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
https://d1y502jg6fpugt.cloudfront.net/34789/archive/files/f69e98a7cf13c4fd4bc095f84b36c36d.jpg?Expires=1712793600&Signature=a1MyPhA3Kc7I4wxKFaA2RYKWcvuriDnIetKkG9HplaNYg6Ev-BlX1nxN8naRC4k6bMHHSeennkj%7E7-EteIvsswVLqatTg4y55DKvm95ISpv7lEqMoUdNAcQ1%7EU3xYaUrUXzOS2C8Jr1Qui3AAc1xxafWPb-rnA5niQA4pl8IEzGi4sNwy9PbNhGD%7EAuzFAiwo1cKxLJmvkTJtzcAXAFiLpWpVfQgzyyf50mrLMaDj5IzSXDub5gKFzvqSsdlHGdxO%7Ez7bOa2ovogyaEuYZFSSy1ToNxmR8SPpuwhgnsCTncmApeagGE0VLwfDT-t-G%7E8zpu6ZkwtELRSGRiaqVg9Pg__&Key-Pair-Id=K6UGZS9ZTDSZM
da19e58708f28c00b84d63215ba7258c
Dublin Core
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Title
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<em>Green Lantern: Mosaic</em> <em>#1</em> [Page 29 (full page)]
Format
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26.0 x 16.7 cm
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
Dublin Core
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Title
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Comics
Description
An account of the resource
Being my medium of academic interest, the comics used for this exhibit outnumber any other media in this exhibit. As such, they warrant their own collection. More than just the quantity of the presence, comics are an important medium when discussing black male representation. Comics use of both images and text for a mass consumer culture makes them accessible to all people: young and old, native speakers and foreigners, rich and poor. It does not cost much to make a comic -- a person just needs paper and a pen, not necessarily computers and crews. From there, a creator can create within the confines of the page and beyond, with only their imagination as their limit. The American Underground Comix and 80s and 90s West Coast Zine movements, as well as today's webcomic and crowdfunding comics, are a testament to the accessibility comic creators and readers have. Their mass consumer price and portability make them easily shared among the masses. Comics are the most democratic of mediums. As such, analyzing how black male bodies are created, consumed, and reproduced in comics is vital to understand black masculinity in culture. <br /><br />My selection criteria (in no particular order) for this collection is as followed: <br /><br /><ol><li>Does the comic offer unique insights to these questions: (a) How are these bodies represented and framed? (b) What are the intentions and effects of these bodies? (c) How can these bodies be received? (d) What are the semiotics of the black male body in this work?</li>
<li>Each comic differs in genre, tone, and art style from the other three.</li>
</ol>
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
Dublin Core
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Title
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<em>Green Lantern: Mosaic</em> <em>#1</em>
Creator
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Writer: Jones, Gerard.
Penciler: Hamner, Cully.
Inker: Panosian, Dan.
Cover Artist: Stelfreeze, Brian.
Publisher
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Author (25 Oct 2017)
Date
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June 1992
Contributor
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<a href="https://comicsverse.com/author/o0rayday0o/" title="https://comicsverse.com/author/o0rayday0o/">Rachel Davis</a>
Type
The nature or genre of the resource
Ink on paper
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Hempstead: Hofstra University Library Special Collections
Description
An account of the resource
<p dir="ltr"><span>American comics is a hybrid medium, marrying text and images to tell a narrative. However, within the pages of most American comic narratives is another narrative form -- the advertisement. </span><a href="http://wst198.omeka.net/exhibits/show/black-bodies-black-ink/forever-free-dress-your-best"><span>Michael Ray Charles</span></a><span> believes that the concept of blackness as we know it “was linked to early marketing practices, early advertising” </span><span>(qtd. in </span><span>“Advertising and Art: Michael Ray Charles”</span><span>)</span><span>. That is, the advertisements of centuries pass -- ads selling pancake mix or human slaves -- defined what it means to be racially Black today. Comics are an arena where these two concepts meet. The selling of a mass consumer product within a product displaying and dissecting identity is seen in </span><em>Green Lantern: Mosaic #1</em><span>.</span></p>
<p dir="ltr"><span><span class="Apple-tab-span"> </span></span><span>Throughout the comic, John Stewart is shown less fighting space aliens than himself. Visually, this is seen in such imagery as page 20 (see </span><a href="https://s3.amazonaws.com/omeka-net/34789/archive/files/0f6baba7f02a2e17d3db36c9130376b7.jpg?AWSAccessKeyId=AKIAI3ATG3OSQLO5HGKA&Expires=1515324882&Signature=dgWvPhHujhP9XZmiKlzoYBpvy5Q%3D"><span>Fig. 6</span></a><span>), where the inside of John Stewart’s being is shown. Beneath his Black skin and masculine build lies, among other images, his heart has John himself crucified. A Black man is in the position of Jesus, and his Blackness comes not from the outside, but from within his very heart. John Stewart reaffirms his identity even as he is crucified for it. He sees himself not physically as black, but spiritually, raising the question of what makes a person Black and how blackness is experienced.</span></p>
<p dir="ltr"><em>Mosaic #1</em><span> shows W.E.B. DuBois’s theory of double consciousness. The reader is visually shown how John sees himself through the eyes of others. John Stewart is deconstructing his identity within the panels of the comic. Outside of those panels, the advertisements within the comic tell the reader who this character is -- a commodity.</span></p>
<p dir="ltr"><span><span class="Apple-tab-span"> </span></span><span>In </span><a href="https://s3.amazonaws.com/omeka-net/34789/archive/files/f601e95ebdd657584e1dc521650d1446.jpg?AWSAccessKeyId=AKIAI3ATG3OSQLO5HGKA&Expires=1515325258&Signature=czeYRXdBrCmTctlPpd1wiRf00aQ%3D"><span>Fig. 3</span></a><span>, a full-page advertisement for basketball player cards is on the left of a full-page comic panel. The ad has a (Black male) basketball player in red doing a layaway. His body language -- legs forming a triangular negative space, one arm with a relaxed hand facing downwards while the other is stretched upward -- is a mirror reflection of John Stewart’s pose as he raises his fist in an act of power, green light emanating around him in glory. The two figures face one another as if deliberately meant to play on one another. If so, does that mean the ad’s tagline of “Good Things Come in Small Packages” applies to John? Is the reader supposed to be reminded that this powerful Black man does not exist -- that John Stewart is but a small package of a man? The struggle of his soul is underplayed when the ad draws attention to John’s physicality, a place Blacks are often visually placed </span><span>(Johnson 10). </span><span>In </span><a href="https://s3.amazonaws.com/omeka-net/34789/archive/files/854893f7a8fe5000b1c9e5340405f52e.jpg?AWSAccessKeyId=AKIAI3ATG3OSQLO5HGKA&Expires=1515325316&Signature=dStq3kFjMWeWOKxoikXqpTs%2Bu%2Fg%3D"><span>Fig. 7</span></a><span>, beside the stunning image of John Stewart’s inner being from </span><a href="https://s3.amazonaws.com/omeka-net/34789/archive/files/0f6baba7f02a2e17d3db36c9130376b7.jpg?AWSAccessKeyId=AKIAI3ATG3OSQLO5HGKA&Expires=1515325389&Signature=zOuKLIZPRcEgj%2FVvb1oRIc4aF5s%3D"><span>Fig. 6</span></a><span> is an ad with the tagline “This kid is having an identity crisis.” Can John Stewart’s struggle be summarized so flippantly? Is that the takeaway the reader is supposed to make, or one the advertisement gives? Lastly, </span><a href="https://s3.amazonaws.com/omeka-net/34789/archive/files/24b3761dde85caace5e004a8b71009c7.jpg?AWSAccessKeyId=AKIAI3ATG3OSQLO5HGKA&Expires=1515325438&Signature=lHKYYRu2W0QR2WH00UiwkC0U1zI%3D"><span>Fig. 8</span></a><span> contains an advertisement for a model rocket. Apparently, the rocket is “Easy to Build…” -- does the same hold true for John Stewart? Is a person so easily built? The comic art would seem to say so. The images of rocket shooting off is analogous to John Stewart flying skyward, pink lines trailing behind him to show his ascent. John’s body mirrors the object on sale. He serves the same purpose as the rocket -- to be consumed after purchase. </span></p>
<span id="docs-internal-guid-17ed6d5f-6d25-2a68-d505-38da2b025959"><span>Clearly, the placement of these ads creates a metatextual narrative and distract from the narrative of a Black man exploring his identity. The reader is pulled out of the story of this character to see him for the product he is a part of. Such a narrative is a rarity for the time: </span><a href="http://wst198.omeka.net/exhibits/show/black-bodies-black-ink/rythm-mastr-tower-of-power"><span>Kerry Marshall James</span></a><span> says when explaining his reasoning for creating his “Rythm Mastr” series that “</span><span>the market has somehow never been able to sustain a set of black super heroes [</span><span>sic.</span><span>] in a way that could capture the imagination” (Art21, “‘Rythm Mastr’: Kerry Marshall James”). </span><span>It would seem that DC Comics editorial believed this to be true; hence their cancelling of the series. </span><span>Jones and Hamner confirmed in seperate interviews that DC editorial cancelled the series prematurely at issue 18 despite sales being stronger than the Green Lantern comics starring the white Lanterns (</span><span>Andrew NDB; </span><span>Offenberger). John Stewart’s existential crisis of self -- both as a Black man and a human -- is sold short. The character is objectified and with him is identity as a Black man.</span></span>
Source
A related resource from which the described resource is derived
<ol><li>Art21. “Advertising and Art: Michael Ray Charles.” Art21, PBS, <a href="https://art21.org/read/michael-ray-charles-advertising-and-art/">https://art21.org/read/michael-ray-charles-advertising-and-art/</a>.</li>
<li>Johnson, Charles. “Foreword.” Black Images in the Comics: A Visual History, by Frederik Strömberg, Fantagraphics, 2003, pp. 6-19.</li>
<li>Art21. “‘Rythm Mastr’: Kerry Marshall James.” Art21, PBS, <a href="https://art21.org/read/kerry-james-marshall-rythm-mastr/">https://art21.org/read/kerry-james-marshall-rythm-mastr/</a>.</li>
<li>Andrew NDB. “Interview with Gerard Jones, 07.20.09.” The Green Lantern Corps Message Board, 20 July 2009, <a href="http://www.thegreenlanterncorps.com/forum/showthread.php?t=8719">www.thegreenlanterncorps.com/forum/showthread.php?t=8719</a>.</li>
<li>Offenberger, Rik. “Getting DOWN with Cully Hamner.” Getting DOWN with Cully Hamner: Interviews & Features Archive - Comics Bulletin, Internet Archive, 4 Aug. 2009, <a href="http://web.archive.org/web/20090804112217/http://www.comicsbulletin.com/features/112569591736650.htm">web.archive.org/web/20090804112217/http://www.comicsbulletin.com/features/112569591736650.htm</a>.</li>
</ol>
Format
The file format, physical medium, or dimensions of the resource
Fig. 1: 25.7 x 14.3 cm
Fig. 2: 26.0 x 16.7 cm
Fig. 3: 26.4 x 33.0 cm
Fig. 4: 26.0 x 16.7 cm
Fig. 5: 9.2 x 16.7 cm
Fig. 6: 26.0 x 16.7 cm
Fig. 7: 26.4 x 33.0 cm
Fig. 8: 26.4 x 33.0 cm
Fig. 9: 26.0 x 16.7 cm
advertising
black artists
black bodies
black bodies in comics
black comics
black masculinity
black masculinity in comics
blackness and environment
blackness and history
blackness and nature
comics
green lantern
white artists