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Winner, 2021 Katherine Singer Kovacs Book Award, given by the
Society for Cinema and Media Studies Winner, 2021 Will Eisner Comic
Industry Awards for Best Academic/Scholarly Work Honorable Mention,
2021 Harry Shaw and Katrina Hazzard-Donald Award for Outstanding
Work in African-American Popular Culture Studies, given by the
Popular Culture Association Winner, 2020 Charles Hatfield Book
Prize, given by the Comic Studies Society Traces the history of
racial caricature and the ways that Black cartoonists have turned
this visual grammar on its head Revealing the long aesthetic
tradition of African American cartoonists who have made use of
racist caricature as a black diasporic art practice, Rebecca Wanzo
demonstrates how these artists have resisted histories of visual
imperialism and their legacies. Moving beyond binaries of positive
and negative representation, many black cartoonists have used
caricatures to criticize constructions of ideal citizenship in the
United States, as well as the alienation of African Americans from
such imaginaries. The Content of Our Caricature urges readers to
recognize how the wide circulation of comic and cartoon art
contributes to a common language of both national belonging and
exclusion in the United States. Historically, white artists have
rendered white caricatures as virtuous representations of American
identity, while their caricatures of African Americans are excluded
from these kinds of idealized discourses. Employing a rich
illustration program of color and black-and-white reproductions,
Wanzo explores the works of artists such as Sam Milai, Larry
Fuller, Richard "Grass" Green, Brumsic Brandon Jr., Jennifer Crute,
Aaron McGruder, Kyle Baker, Ollie Harrington, and George Herriman,
all of whom negotiate and navigate this troublesome history of
caricature. The Content of Our Caricature arrives at a gateway to
understanding how a visual grammar of citizenship, and hence
American identity itself, has been constructed.
Some comics fans view the industry’s Golden Age (1930s-1950s) as
a challenging time when it comes to representations of race, an era
when the few Black characters appeared as brutal savages, devious
witch doctors, or unintelligible minstrels. Yet the true portrait
is more complex and reveals that even as caricatures predominated,
some Golden Age comics creators offered more progressive and
nuanced depictions of Black people.  Desegregating
Comics assembles a team of leading scholars to explore how
debates about the representation of Blackness shaped both the
production and reception of Golden Age comics. Some essays showcase
rare titles like Negro Romance and consider the formal
innovations introduced by Black comics creators like Matt Baker and
Alvin Hollingsworth, while others examine the treatment of race in
the work of such canonical cartoonists as George Herriman and Will
Eisner. The collection also investigates how Black fans read and
loved comics, but implored publishers to stop including hurtful
stereotypes. As this book shows, Golden Age comics artists,
writers, editors, distributors, and readers engaged in heated
negotiations over how Blackness should be portrayed, and the
outcomes of those debates continue to shape popular culture today.
Winner, 2021 Katherine Singer Kovacs Book Award, given by the
Society for Cinema and Media Studies Winner, 2021 Will Eisner Comic
Industry Awards for Best Academic/Scholarly Work Honorable Mention,
2021 Harry Shaw and Katrina Hazzard-Donald Award for Outstanding
Work in African-American Popular Culture Studies, given by the
Popular Culture Association Winner, 2020 Charles Hatfield Book
Prize, given by the Comic Studies Society Traces the history of
racial caricature and the ways that Black cartoonists have turned
this visual grammar on its head Revealing the long aesthetic
tradition of African American cartoonists who have made use of
racist caricature as a black diasporic art practice, Rebecca Wanzo
demonstrates how these artists have resisted histories of visual
imperialism and their legacies. Moving beyond binaries of positive
and negative representation, many black cartoonists have used
caricatures to criticize constructions of ideal citizenship in the
United States, as well as the alienation of African Americans from
such imaginaries. The Content of Our Caricature urges readers to
recognize how the wide circulation of comic and cartoon art
contributes to a common language of both national belonging and
exclusion in the United States. Historically, white artists have
rendered white caricatures as virtuous representations of American
identity, while their caricatures of African Americans are excluded
from these kinds of idealized discourses. Employing a rich
illustration program of color and black-and-white reproductions,
Wanzo explores the works of artists such as Sam Milai, Larry
Fuller, Richard "Grass" Green, Brumsic Brandon Jr., Jennifer Crute,
Aaron McGruder, Kyle Baker, Ollie Harrington, and George Herriman,
all of whom negotiate and navigate this troublesome history of
caricature. The Content of Our Caricature arrives at a gateway to
understanding how a visual grammar of citizenship, and hence
American identity itself, has been constructed.
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