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• W3136163543 startingPage "259" @default.
• W3136163543 abstract "Focusing on works by two early nineteenth-century African American artists – the Baltimore portrait painter Joshua Johnson and the author of The Blind African Slave (1810) Boyrereau Brinch – this chapter considers the conceptions of racialized selfhood before 1830. What can we learn from the aesthetic surfaces left by a non-white portraitist about whom not much is known, working within the genre of family portraiture? Additionally, this chapter offers a reading of the visual as central to African American textual production in the early nineteenth century. Early Black writers were keen visual theorists. Brinch’s tale “about” memory and blindness has rarely been considered in relation to the critical tradition of visual culture studies; that this has been so has reduced not only our understanding of a specific African American literary text, but also our understanding of the place of the visual in American cultural production full stop. This chapter considers Johnson’s and Brinch’s surfaces and visuality in relation to early nineteenth-century conceptions of selfhood, race, and interior depth." @default.
• W3136163543 created "2021-03-29" @default.
• W3136163543 creator A5006015354 @default.
• W3136163543 date "2021-03-31" @default.
• W3136163543 modified "2023-09-23" @default.
• W3136163543 title "Theorizing Vision and Selfhood in Early Black Writing and Art" @default.
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• W3136163543 doi "https://doi.org/10.1017/9781108632003.017" @default.
• W3136163543 hasPublicationYear "2021" @default.
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