Description

Heavy makeup, gaudy jewelry, dramatic hairstyles, and clothes that are considered cheap, fake, too short, too tight, or too masculine: working-class Black and Latina girls and women are often framed as embodying "excessive" styles that are presumed to indicate sexual deviance. In Aesthetics of Excess Jillian Hernandez examines how middle-class discourses of aesthetic value racialize the bodies of women and girls of color. At the same time, their style can be a source of cultural capital when appropriated by the contemporary art scene. Drawing on her community arts work with Black and Latina girls in Miami, Hernandez analyzes the art and self-image of these girls alongside works produced by contemporary artists and pop musicians such as Wangechi Mutu, Kara Walker, and Nicki Minaj. Through these relational readings, Hernandez shows how notions of high and low culture are complicated when women and girls of color engage in cultural production and how they challenge the policing of their bodies and sexualities through artistic authorship.

Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment

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Paperback / softback by Jillian Hernandez

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Short Description:

Heavy makeup, gaudy jewelry, dramatic hairstyles, and clothes that are considered cheap, fake, too short, too tight, or too masculine:... Read more

    Publisher: Duke University Press
    Publication Date: 06/11/2020
    ISBN13: 9781478011101, 978-1478011101
    ISBN10: 1478011106

    Number of Pages: 320

    Non Fiction , Art & Photography

    Description

    Heavy makeup, gaudy jewelry, dramatic hairstyles, and clothes that are considered cheap, fake, too short, too tight, or too masculine: working-class Black and Latina girls and women are often framed as embodying "excessive" styles that are presumed to indicate sexual deviance. In Aesthetics of Excess Jillian Hernandez examines how middle-class discourses of aesthetic value racialize the bodies of women and girls of color. At the same time, their style can be a source of cultural capital when appropriated by the contemporary art scene. Drawing on her community arts work with Black and Latina girls in Miami, Hernandez analyzes the art and self-image of these girls alongside works produced by contemporary artists and pop musicians such as Wangechi Mutu, Kara Walker, and Nicki Minaj. Through these relational readings, Hernandez shows how notions of high and low culture are complicated when women and girls of color engage in cultural production and how they challenge the policing of their bodies and sexualities through artistic authorship.

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