Cultural Studies. African American Studies. Visual Arts. THE FACT OF BLACKNESS: FRANTZ FANON AND VISUAL REPRESENTATION is a collection of essays that create a far-reaching and original dialogue between cultural theory and visual practice. The rich insights which emerge from this collection explain why Frantz Fanon's seminal texts of the 1950s and 60s, Black Skin White Masks and The Wretched of the Earth, have re-emerged at the forefront of postcolonial studies. Ranging between the contemporary politics of location, everyday traumas of social inequality, and the structures and technologies of representation, these dialogues re-affirm the contention of Fanon's writings: that narrative, the media, image and symbol lie at the very heart of the practice of politics and social knowledge. Includes essays by Homi K. Bhabha, Stuart Hill, bell hooks, Kobena Mercer, Françoise Vergès, Lola Young, and many others.
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Book Description
Editorial Reviews
From Kirkus Reviews
This exploration of Frantz Fanon's continuing impact on the visual arts is a woefully maladroit collection of third-rate essays and dialogues. It strenuously defies its subtitle, the English language,, and common sense. The volume grew out of a Fanon conference at London's Institute of Contemporary Arts, where editor Read is director of talks. But at this point can you really gather together a collection of reasonable people interested in a psychoanalyst/political philosopher whose marginal ideas faded long ago into musty obscurity? True, there was a brief moment when Fanon's books, such as The Wretched of the Earth and Black Skin, White Masks, enjoyed a trendy popularity in certain leftist circles. But most of the conference participants/essayists seem interested in him (never mind his impact on visual representation) only as a rickety launch platform for their own convoluted pratings. A game few, such as bell hooks and Homi K. Bhabha, do offer elaborate postmodern defenses of the man that try to alchemize Fanon's leaden irrelevance. But the richest irony here is that the once exquisitely politically correct Fanon is now hoist on his own tendentious petard. Academics have become very good at witching out heresies, particularly among the supposedly faithful. So the man who passionately cried out for justice for the oppressed is now revealed by several essayists--using their full deconstructionist tool kit--as a homophobe, and a sexist to boot. As feminist critic Lola Young notes, ``In Fanon's writing there is evidence of a deep seam of fear and rage regarding black women.'' One wishes this postmodern muddle were a pointed satire. Then, at least, it might have something to say. (20 b&w photos) -- Copyright ©1996, Kirkus Associates, LP. All rights reserved.
Review
The contemporary legacy of Frantz Fanon, a psychoanalyst and political philosopher, is considered in a book which examines the black intellectual's ideas and influences upon others. Enjoy a strong consideration of Fanon's works which includes many revealing, scholarly analyses. -- Midwest Book Review
This text, which documents, expounds upon and contributes to the fascination and current re-readings of Fanon, is a necessary resource for any one interested in re-examining the notions and impact of identity and considering the incredible historical and contemporary significance of Black Skin, White Masks -- International Review of African American Art, Summer, 1997
This work is, in a descriptive sense, a humanistic collage. Collage, by definition, is an artistic composition of materials and objects pasted over a surface, often with unifying lines and color. The book attempts to juxtapose and sometimes blend critical essays, discussions between artists and filmmakers, and photographs into a cohesive whole, a visual cultural dimension of the black diaspora in Europe..... This book is highly recommended for those truly interested in the study of cultural diversity -- MultiCultural Review, June, 1997
This text, which documents, expounds upon and contributes to the fascination and current re-readings of Fanon, is a necessary resource for any one interested in re-examining the notions and impact of identity and considering the incredible historical and contemporary significance of Black Skin, White Masks -- International Review of African American Art, Summer, 1997
This work is, in a descriptive sense, a humanistic collage. Collage, by definition, is an artistic composition of materials and objects pasted over a surface, often with unifying lines and color. The book attempts to juxtapose and sometimes blend critical essays, discussions between artists and filmmakers, and photographs into a cohesive whole, a visual cultural dimension of the black diaspora in Europe..... This book is highly recommended for those truly interested in the study of cultural diversity -- MultiCultural Review, June, 1997
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