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Africana Archives: Making Art at the Schomburg

...descent. With collections numbering in excess of ten million items including books, manuscripts, correspondence, personal and professional papers of individuals, archived records of Africana institutions and organizations, as well as...

Art, Diaspora, and Identity: The John Biggers Papers

...are featured on both the Southern Spaces and MARBL blogs. John Biggers paints House of the Turtle, Hampton University, Hampton, Virginia, ca. 1990. Photo courtesy of John Biggers's Estate. John...

Lyle Saxon and the WPA Guide to New Orleans

...count on one hand the number of writers given high administrative responsibility. Saxon was one of them, and maybe the most highly regarded of the lot. On several occasions Washington...

Authorship in Africana Studies

...that Imoinda "challenge[d] the idea of Western opera as a corpus of works whose archaeological mise en scène deprives them of any relevance for the present." Indeed, Imoinda was meant to...

Buffalo Mountain Windfarm, Anderson County, Tennessee, 2005

Janet Powell, Buffalo Mountain Windfarm, Anderson County, Tennessee, 2005. Located north of Oak Ridge and about thirty miles northwest of Knoxville, Buffalo Mountain Windfarm was built in the 2000s as...

The Web of Cis-Atlantic History: A Review of Louisiana: Crossroads of the Atlantic World

...together the various "theft cultures" (90–91) of West Africa and Europe to create networks of exchange in stolen goods that granted them access to the colony's cash economy and the...

Social Justice Environmentalism

Essay In a 2017 essay, National Museum of African American History and Culture director Lonnie Bunch noted that, like much of black history, environmental activism by people of color is...

The Tulip Quilt [ca 1880]

...the Spartanburg Herald on May 19, 1875, offered "Singer's celebrated sewing machines, the cheapest and the best sewing machine, for sale on easy terms." In the same issue, McK. Johnstone...

A Real American Horror Story: On Steve McQueen's 12 Years a Slave

...Epps. Viewers numbed by years of cheap thrills need a film like this to remind them that horror is real and persistent, especially if you try to ignore it. About...

References
1.	David Denby, "Privilege and Bad Manners," The New Yorker, January 7, 2014, http://www.newyorker.com/online/blogs/culture/2014/01/steve-mcqueen-armond-white-controversy.html. In a statement to the Hollywood Reporter, White refers to himself as "the strongest voice that exists in contemporary criticism," and claims that several influential New York film critics are using the concocted incident as a chance to convene a "Communist-style special 'Emergency Meeting' supposedly in the interest of legislating 'decorum'—a meeting based entirely upon something that none of them actually heard and one that is really intended to purge me from the Circle." See Scott Feinberg, "Embattled Film Critic Armond White: I Never Heckled Steve McQueen," The Hollywood Reporter, January 7, 2014, http://www.hollywoodreporter.com/race/embattled-film-critic-armond-white-669032.
2.	Pitt's presence in the film is one of 12 Years a Slave's few missteps. Having such a recognizable star come in and play a kind of angel figure distracts us from both the miracle of Northup's staying alive and the power of Ejiofor's performance. Had the role been played by a younger, less well-known actor, it would have highlighted the randomness of Northup's delivery from bondage. This problematic choice to cast Pitt (perhaps made by Pitt himself in his role as producer) has had repercussions outside of the film itself, as a poster advertising 12 Years a Slave's Italian release featured a huge headshot of Pitt looming over a much smaller full-body profile of Ejiofor. The poster was quickly recalled, but not before it led to a backlash from critics who felt the marketing was focusing on the film's white stars (there was also a poster featuring Michael Fassbender, who at least has a lot of screen time) at the expense of its two black leads, Ejiofor and Lupita Nyong'o. The poster was made by a third-party distributor and reflects a long-term problem Hollywood has had in marketing films focusing on people of color, particularly in international markets.
3.	Recently, Phil Robertson, one of the stars of the astoundingly popular A&E television show Duck Dynasty, gave an interview to GQ in which he said (among many other things) that: "I never, with my eyes, saw the mistreatment of any black person. Not once. Where we lived was all farmers. The blacks worked for the farmers. I hoed cotton with them. I'm with the blacks, because we're white trash. We're going across the field. . . . They're singing and happy. I never heard one of them, one black person, say, 'I tell you what: These doggone white people'—not a word! . . . Pre-entitlement, pre-welfare, you say: Were they happy? They were godly; they were happy; no one was singing the blues." See Drew Magary, "Duck Dynasty's Phil Robertson Gives Drew Magary a Tour," GQ, January 2014, http://www.gq.com/entertainment/television/201401/duck-dynasty-phil-robertson.

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