Visual Culture in Freud’s Vienna: Science, Eros, and the Psychoanalytic Imagination by Mary Bergstein (review)

Reviewed by: Empires of Vision: A Reader ed. by Martin Jay and Sumathi Ramaswamy Carla Manfredi Empires of Vision: A Reader. Edited by martin jay and sumathi ramaswamy. Durham, N.C.: Duke University Press, 2014. 688 pp. $119.95 (cloth); $32.95 (paper). Empires of Vision contributes to our understanding of the visual cultures of European imperialism and to their afterlives in postcolonial milieus. Thoughtfully edited by cultural historians Martin Jay and Sumathi Ramaswamy, the volume includes twenty-one reprinted essays and is divided into two sections: “The Imperial Optic” and “Postcolonial Looking.” The first section introduces five visual media within a trans-historical and global context that spans roughly five hundred years of imperialism. The second section focuses on the decades following decolonization and explores the different ways in which subaltern artists have responded to or “look[ed] back” (p. 3) at Europe. The selections offer a multitude of historical, regional, cultural, and theoretical perspectives, which will be of interest to an interdisciplinary readership. Although many of the volume’s selections will undoubtedly be familiar to seasoned scholars, they will provide graduate students with a solid grounding for future historical and theoretical research across the fields of imperialism, postcolonialism, visual and cultural studies, and art history. It is impossible to do justice to any book in a brief review let alone to extracts from twenty-one impressive pieces of scholarship. Thus, this review focuses on the editors’ contributions to Empires of Vision, which are bold reminders of what cross-disciplinary study can achieve: a recasting of conventional, written histories and a questioning of entrenched theoretical paradigms. In “The Work of Vision in the Age of European Empires,” Ramaswamy offers a sophisticated and lucid introduction to current critical approaches to colonialism and visual culture. The stakes of Empires of Vision are clearly defined: “The image is a site where new accounts of empire, the (post)colony, and Europe itself emerge and depart from—even challenge—the more familiar narrative line(s) of nonvisual histories” (p. 3). The volume, explains Ramaswamy, responds to and encourages a gradual academic reorientation. Despite the appearance of several recent visual culture anthologies, the study of art remains largely limited to art history; indeed, histories of colonialism and postcolonialism marginalize the integral role of visual culture in the production of colonial violence. Ramaswamy supports her claim with an anecdote about Edward Said, who confessed that “‘just to think about the visual arts generally sends me into a panic’” (p. 5). Panic becomes a productive metaphor for theorizing how images are often “disorderly” and “unpredictable” and sometimes “incoherent”; thus, Empires of [End Page 927] Vision offers alternative histories to those presented in official textual archives (pp. 5–6). If colonial and postcolonial studies have given short shrift to the visual arts, then visual culture studies also need to catch up. In conventional visual culture accounts, the presence of empire is still obscured, resulting in a European framework of visuality (p. 10). To illustrate this argument, Ramaswamy refers to a compelling 1996 “Visual Culture Questionnaire” published in the journal October: No one who responded to this questionnaire was a specialist in visual arts from regions other than Europe or the United States (pp. 10–11). Needless to say, the questionnaire highlights the importance of this collection, which will militate against parochialism (whether disciplinary or otherwise) and encourage interdisciplinary and interregional approaches to visuality and empire. In their introduction to part 1, “The Imperial Optic,” Ramaswamy and Jay trouble Eurocentric approaches to visual culture by underscoring the dynamic interactions between metropolitan technologies and indigenous traditions and practices. Thus, the “mutually constitutive relationship between empire and image-work” engendered new practices of seeing in and outside Europe (p. 25). Part 1 is divided into four sections, which deal with easel painting, mass-printed illustrations, cartography, and photography/film respectively. Anthropologist Deborah Poole’s influential notion of “visual economy” (1997) serves as an underlying concept for this part. The term “visual economy,” rather than “visual culture” is better suited to consider how images circulate within wide social, cultural, geographical, and imperial networks. In other words, individuals do not have to share a common (visual) culture in order to belong to the...

The overwhelming focus on textual or dharma studies in Buddhism, to the relative neglect of artistic production, has led to a bias in understanding the close and intricate relationships between Buddhist art (usually comprising sculptures, mural paintings, architectural facades and ornamental elements, illuminated paintings, cloth banners, and drawings in manuscripts), rituals, and the written word. The constant dialogue between material, visual, and ritual cultures should be approached in tandem. Visual culture is a significant part of Buddhism and must be treated as part of the same social, historical, and geographical contexts as texts and practices. Buddhist visual culture, including art media, graphic aids, and physical objects or monuments associated with Buddhist practices, does not merely serve to illustrate sacred texts, legends, and doctrines. In addition, the textual tradition does not always have to explain or justify the presence—or absence—of a material object such as a Buddha icon or a Buddhist painting. While visual culture studies have become increasingly important in various academic fields over the years, a critical and complete overview of the precise relationship between art, ritual, and text in the study of south and southeast Asian Buddhism has yet to be written.

Reviewed by: Selling Antislavery: Abolition and Mass Media in Antebellum Americaby Teresa A. Goddu Matthew Fox-Amato (bio) Antislavery, Slavery, Abolition, Media, American Anti-Slavery Society, Print culture, Material culture, Visual culture Selling Antislavery: Abolition and Mass Media in Antebellum America. By Teresa A. Goddu. (Philadelphia: University of Pennsylvania Press, 2020. Pp. 344. Cloth, $55.00.) The American Anti-Slavery Society (AASS), for Teresa A. Goddu, was more than an influential organization in the 1830s: It was also a cultural machine. The scale and diversity of the AASS's cultural production back this point. Established in 1833, the AASS had reached an estimated circulation of 725,000 copies of its publications per year by the end of the decade. Its many publications included monthly periodicals such as Human Rightsand The Emancipator, the yearly American Anti-Slavery Almanac, and the widely read American Slavery as It Is: Testimony of a Thousand Witnesses(1839). It published images such as the broadside Slave Market of America(1836) and organized well-attended fairs in cities such as Boston and Philadelphia, where attendees could buy all kinds of consumer goods to support the cause. In Selling Antislavery: Abolition and Mass Media in Antebellum America, Goddu asks how AASS representations mobilized opposition to slavery while shaping the identities of the abolitionists who consumed them. One of the many virtues of Selling Antislaveryis how it treats abolitionist [End Page 154]literary texts as one of many cultural forms produced by the movement. After a chapter on the publishing strategies and distribution networks of the AASS, Goddu examines its representations in three sections: print culture (almanacs and slave narratives); material culture (consumer goods at fairs and the fairs as symbolic sites); and visual culture (images in publications and prints). A concluding chapter explores how Black artists and writers not affiliated with the AASS appropriated and contested its aesthetics. Blending business history with wide-ranging cultural analysis, Selling Antislaveryis a compelling contribution to our view of abolitionist media. The book joins a growing body of scholarship stressing the importance of visual and material culture to antebellum activists fighting for abolition and racial justice. Work over the last decade includes Maurie D. McInnis, Slaves Waiting for Sale: Abolitionist Art and the American Slave Trade(Chicago, 2011); Maurice O. Wallace and Shawn Michelle Smith, eds., Pictures and Progress: Early Photography and the Making of African American Identity(Durham, NC, 2012); Deborah Willis and Barbara Krauthamer, Envisioning Emancipation: Black Americans and the End of Slavery(Philadelphia, 2013); John Stauffer, Zoe Trodd, and Celeste-Marie Bernier, Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century's Most Photographed American(New York, 2015); Darcy Grimaldo Grigsby, Enduring Truths: Sojourner's Shadows and Substance(Chicago, 2015); and Aston Gonzalez, Visualizing Equality: African American Rights and Visual Culture in the Nineteenth Century(Chapel Hill, NC, 2020). Though not limited to abolitionism, these and other works have shown how abolitionists were keen to use images and ephemera to denounce slavery, define their public personas, and forge political bonds. Selling Antislaveryunderscores these insights while deepening our understanding of how, precisely, abolitionists were able to blanket the nation with representations in the 1830s. This was possible, for Goddu, because the AASS employed "innovative organizational structures, new technologies of reproduction and publicity, and systematized distribution" (10). The organization's top-down management structure, which started with the executive committee in New York, catalyzed expansion. The New York office took the lead in strategizing fundraising, planning the production of texts, and training paid lecturers. The AASS also embraced new media technologies, such as the steam press. Once created, AASS texts circulated across the North, to Europe, and even into the slave [End Page 155]South, as in the case of the 1835 postal campaign. Goddu describes the personnel who enabled such distribution and the actual places where people encountered media, including the many reading rooms and bookstores housed in offices of local societies. Grounded in extensive research in newspapers, personal papers, and the records of the AASS executive committee, Selling Antislaveryoffers an invaluable resource for those interested in how the AASS produced and circulated abolitionist texts with great variety, over a vast geography, in...

The concluding chapter returns to the book’s different subjects, and studies how they took new shape in the early moments of the regime that toppled Allende and inaugurated a military dictatorship that ruled for close to two decades. It then turns to street photography as a case study for transformation and continuity in political practice and visual culture. It shows how photographers responded to political repression by fashioning a visual language that played upon the “objectivity” of the lens and the “transparency” of the image, fashioning an innovative genre of “creative testimony.” Street photographers ultimately turned images into the preeminent medium around which they could organize an active resistance movement. This perspective suggests that citizens responded to political violence by reimagining the tactics of political conflict they had developed in democracy into a rich visual and material culture of political resistance. In the absence of generalized armed conflict, ephemeral acts and visual culture became the most effective form of political engagement and resistance in Chile. They scrawled slogans and images on buildings, distributed leaflets, acted out fleeting forms of furtive political street theater, and crashed empty pots and pans as an ongoing form of aural protest. Developed in democracy but reimagined under dictatorship, these ephemeral practices were essential to the creation of clandestine networks of political association and organization after the coup.

This book addresses the important question of what appears as luxury in contemporary visual culture. The author introduces the reader to the concept of visual culture to clarify the transformation of the private and public spheres of luxury in contemporary advanced cultures. • Luxury in contemporary visual culture is contextualized by linking its precise sphere – abundance – to those of fashion and art, photography, cinema, television, and social media that configure the structures of contemporary visual culture. • The visual representations of contemporary culture are considered as luxury-branded visual representations and the idea of visual culture as the portrayal of luxurious photographic, cinematic, and televisual selves. • Examinations of the roles of contemporary fashion and art in visual culture are employed as conduits to later analyses of visual consumers, luxury-branded and other visual representations produced by twentieth-century and contemporary fashion photographers and filmmakers, television, and social media producers in everyday life. • The ways in which luxury is utilized and operates in twentieth-century and contemporary cinema and television are investigated through the luxury lifestyles, lavish choices, luxurious values, and occasionally wayward inclinations sustaining the new voluptuousness and behaviors. • The new role of the luster of the digital luxury fashion house is addressed before the conclusion. Luxury and Visual Culture presents a thoughtful, yet user-friendly explanation of how luxury is undergoing numerous shifts in visual culture. It is vital reading for all scholars and students in critical luxury studies and visual culture, fashion theory, contemporary art, photography, cinema, television, and social media studies.

The subject of this thesis is a perception that the visual arts is declining in value in Australian culture. The rationale for this perception is drawn in the immediate sense from repeated debate in favour of abolition of the Australia Council (the premier source of grant funding to artistic producers). The method selected to investigate this perception is a comparison of rational and social epistemologies for curriculum, based respectively on the work of Arthur Efland and Theodor Adorno. By making this comparison, the thesis argues that the perceived shrinkage in the value and status of visual art is based on a fundamental conflict between the meanings of “art” and “culture”. The context of the debate is in fact perceptions of curriculum and their function vis-à-vis “cultural production” and is taken here to signal a change in the way Australia regards and values artistic activity. <br> <br> The thesis argues that culture needs to be defined appropriate to the Australian experience of “cultural production”. A lack of appropriate definition has resulted in terms like “creativity” becoming so broad in meaning that they are losing theoretical impact. I am inquiring as to what this loss of meaningfulness indicates about art education: some of the questions I ask in order to conduct the inquiry address whether the switch from visual art to visual culture signals a decline in the value of artistic culture; or does it owe itself to changing conditions between art education and artistic employment or commerce? <br> <br> The study examines visual art in particular as it might fall within the realm of Australian cultural production, providing one instance of artistic employment (i.e., in the visual arts). The focus of the study will be on addressing the stand-off between visual arts and visual culture in the field of curriculum studies: my method entails the application of Theodor Adorno’s aesthetic theory so as to place visual art and visual culture within a framework by which both rational and social epistemologies of art education can be used to define change in the realm of cultural production. <br> <br> Such change will include a re-evaluation of the role of visual art within higher education. At Monash University in Melbourne, the Faculty of Art, Design and Architecture has progressively eroded the value of different studio practices by shutting down programs in disciplines that cannot attract sufficient enrolments. The institution appears to displace artistic practice, and to favour visual culture as a more reliable, rational form of investment, leading to more secure forms of employment, and offering less risk in terms of the returns to public education and the economy more generally. <br> <br> Visual culture, or visual culture studies, purports to be a postmodern approach to the study of art and replaces fine art and visual art studies, which represent a more rational epistemology within the field of art education. Visual culture studies aims to work with the current corporate and technocratic reality rather than deny its existence. It permits interdisciplinarity and the removal of a metanarrative about the artist as hero, offering in its place a semblance of plurality, multiplicity, indeterminacy and fragmentation. <br> <br> Visual culture embraces forms of symbolic analysis to construct meaning or rather, to analyse artworks (Lankshear, 1997); addresses digital and social media more readily, and turns to visual literacy to justify the artfulness of artworks (de Duve, 1994; Brown, 2003). This process may suggest a value-free art is being practised: it erodes the significance of traditional aesthetic skills, making aesthetic judgment less essential to the creation of an artwork. <br> <br> One implication of this change is to free fine art in general from its supposedly elitist origins, and to enable the art world to encompass both “high” and “low” art forms with equal value. This new value, which is implicitly more value-free than the high art it seeks to overturn, destabilizes art to the point that it has so few boundaries its continued existence (in its traditional form) becomes questionable.

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

The complicated interrelationship between advertising and visual culture is the subject of this research paper. It demonstrates the significant influence of visual culture on advertising and vice versa by investigating the historical history, theoretical foundations, and modern advertising practices. This research study offers important insights into the comprehensive nature of advertising and its role in influencing current visual culture through an exhaustive analysis of case studies and academic literature. The paper navigates through the evolutionary trajectory of advertising, spanning historical roots to contemporary paradigms, elucidating its symbiotic association with visual culture. The exploration encompasses an array of visual tools wielded by advertisers — ranging from imagery, symbols, aesthetics, and semiotics — highlighting their strategic deployment to engage audiences and manipulate cultural perceptions. Examining the moral issues raised by the persuasiveness of visual communication in advertising is at the heart of this study. This research examines visual persuasion's ethical ramifications and societal effects, critically evaluating its influence on forming collective awareness. Resorting to an extensive array of scholarly works and case studies, this study sheds light on the ever-changing advertising landscape. It examines cases in which advertising campaigns have left a lasting impression on visual culture with great care, demonstrating these media's significant impact on modern society. Essentially, this work unravels the complex relationship between advertising and visual culture, operating as a complete storehouse of information. It provides a deeper knowledge of how advertising shapes and is shaped by the visual world of our times, laying the groundwork for understanding the complex dynamics.

Across the last 25 years, digital projects on the visual culture of Latin America have begun to shape, ever more fundamentally, both research and teaching environments. To be sure, books and journal essays remain the dominant mode of publishing (and significantly so), but digital projects—made possible in part because of increasingly accessible databases and less expensive editing platforms—are becoming widely recognized as key elements in the visual and intellectual landscape. The visual culture of Spanish America (also known as colonial visual culture or viceregal visual culture) extends across three centuries, dating from roughly 1520 to 1820. Yet its history, which embraces both the physical traces of everyday life and ephemeral experiences, is arguably the least familiar of Latin America’s artistic and material legacies, especially outside Latin American Studies. Nonetheless, the period has inspired a suite of projects that, considered together, highlight the current potentials (and limits) of digital work, provide useful models for future research, and open onto debates relevant across the digital humanities (as they are currently called). If this is the basic landscape, then what are the important issues when it comes to the intersections of digital technologies and colonial visual culture? This question is considered here along three avenues. First, what can be achieved with existing software, particularly imaging software, and the inherent epistemological assumptions imbedded in software commonly used? This topic receives the most attention because future research depends so heavily upon our perceptions and understandings of present technological capabilities. The second theme considered is accessibility. Given that institution-driven projects, most often online ventures sponsored by a museum or a library, have opened certain collections to an online public, what are the implications of the accessibility they offer, and how might such databases shape the parameters of research—both in the data they provide and in the kinds of questions their technologies make it possible to pose and answer? Finally, consideration is given to the possibilities and potentials for collaboration that the online environment offers in the study of visual culture of Latin America. To set a framework for discussion, this article begins with a broad view, “The Object(s) of Visual Culture,” and then turns to examples of scholar-driven projects currently online. Typically, these are generated by scholars working at universities and dependent upon both internal and external funding. The sections “Seeing Images, Knowing Landscapes” and “Epistemological Assumptions” not only describe examples, but also explore the modes of interpretation that digital environments enable and the habits of viewing that are produced as a result. Because scholar-driven projects do not exist in isolation, the article turns to institution-driven projects, represented primarily by digitized museum collections and archives, which have become central components of the research environment. Many projects in this vein are well-described elsewhere—our focus therefore rests on the effects on the larger research landscape, in a section called “Accessibility, Canonicity, Finance.” Lastly, issues related to collaboration are dealt with, in order to both address ideas that are being explored through digital work in other fields, but which have not yet surfaced with much force in the field of colonial visual culture, and to ask why.

The present research investigates the experiences of pre-service visual arts teachers in the planning and application phase of a course focusing on visual culture in the special teaching methods course. This course in Turkey provides information about how and with what type of methodologies arts-related topics should be taught in visual arts education. During the first semester, the course was conducted theoretically, and in the second semester the researcher focused on the application of these theories. In this research, visual culture is discussed as one of the special teaching methods of visual arts education. A total of five visual arts pre-service teachers were selected as participants using criterion sampling. The research used practitioner inquiry as a method and conducted during the 2017–2018 spring and 2018–2019 fall semesters, lasting 8 weeks in total. During the application process, the pre-service teachers taught their samples of course plans on visual culture that they created during their pre-service practice to the primary and secondary school students in 2 weeks of classes. The research data were obtained through semi-structured interviews, document review, and reflective notes and analyzed with descriptive methods. As a result of this research, the visual arts pre-service teachers saw the students gain a critical perspective, become more aware of issues in their daily lives, express themselves in a better way, and improve their inquiring skills with the application of a visual culture course plan. With the visual culture course plan, the pre-service teachers also gained several professional experiences and skills.

ABSTRACTThe goal of the action research project on visual culture is to contribute to the dialogue on the exploratory ecology vs commodity culture of the elementary school classroom. Exploratory culture, unlike commodity culture, applauds open-ended thinking, inchoate imaginings, and critical thinking with its attachment to divergent paths to resolving problems. This educational action research project moves to effect change, so as to a) understand visual culture as an educational component of teaching and learning, and b) awaken the need for the inclusion of research on visual culture in student teacher preparation. Visual culture can best be understood when preservice teachers are immersed in the classroom. The visual landscape of the walls, light, air, hallways, seating arrangements, posters, rugs, room dividers, windows, entrances and exits of the classroom and school building can all be seen as a third teacher. The action research focuses on core classroom experiences revealed through six student teachers weekly reflections, post observation discussions, and interdisciplinary arts-infused lesson planning and facilitation. Engaging in lesson planning and implementation has shown to broaden student teachers’ understanding of meaning-making through the visual, the essence of visual culture. The student teachers described the dynamic synergy between language and visual arts teaching and learning, personalization of technology that can extend learning, and the role of imagination in the movable landscape of the classroom.

This essay seeks to look further at adolescents and younger children who were militarised, and to explore the contradictions and complicities of the State and the family through an examination of boys as mascots, orphans, and war heroes. It highlights the impact of contradictory policies on military age that sustained traditional positions for boys in the Armed Services, while incoherently policing underage voluntarism at that same time that official recruitment campaigns targeted youths. The paper emphasises the role of visual and material culture, which strengthened boys’ resolve to ‘pass as a man’. The family is positioned as playing an important role in being unable or unwilling to restrain the will of adolescents. It explores how military masculine heritage was communicated through the male line when families dressed up boys in miniature uniforms or enabled them to act as regimental mascots. As well, the paper considers how orphaned and stray children in Europe negotiated kinship-like relationships with Allied armies of ‘temporary fathers’. Complex attitudes to childhood and youth are identified in flexible attitudes to child victimhood versus the valorisation of boy heroes, assessing the issue of children killed or wounded in service to the State. The essay seeks to explain the impact of material and visual culture, rituals and photography, which evoked a range of emotional and social relationships to the military at a time of particular significance in the life of children and adolescent boys.

Critical inquiry at the intersections of hip-hop music, African American literature, and Black visual culture inform a generative discourse for Black underground imagery within and across an array of interrelated texts. Through certain textual pairings—Jonathan Green’s “Seeking” and the Gravediggaz’s “The Night the Earth Cried”; or Mos Def’s “hip-hop” and Jeff Wall’s “After Invisible Man,” (among others)—this chapter seeks to excavate a ritualistic intertextuality imbedded in certain works that feature elements of what can tentatively be referred to as Black visual underground culture, a constellation of lyrics, images, and textual allusions that articulate an underground ethos present (if not readily audible/visible) in hip-hop culture. In Practices of Looking …, Marita Sturken and Lisa Cartwright argue that “visual culture encompasses many media forms ranging from fine art to popular film and television to advertising to visual data in fields such as the sciences, law and medicine.”1 The Black visual underground functions in much the same way except that the subject matter embraces blackness and the cultural, spiritual, and political markers of Black identity—especially here in contemporary popular culture.KeywordsMusic VideoAfrican American CultureNative TongueBlack LifeMiddle PassageThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Photographic Presidents: Making History from Daguerreotype to Digital