Seeing Race in Modern America
Publication Year: 2013
Zooming out for the bigger picture, Guterl illuminates the long history of the practice of seeing--and believing in--race, and reveals that our troublesome faith in the details discerned by the discriminating glance is widespread and very popular. In so doing, he upends the possibility of a postracial society by revealing how deeply race is embedded in our culture, with implications that are often matters of life and death.
Published by: The University of North Carolina Press
Title Page, Copyright, Dedication
In the early 1920s, young Langston Hughes was an avant-garde New Negro poet, a conduit for both white and black audiences to a racially authentic aesthetic emerging from Harlem’s cobblestone streets (plate 1). As young crewman on the S.S. Malone, Hughes had left New York for Europe’s postwar possibilities, but the route took...
I. Close-Ups The Devil in the Details
When an anonymous young woman posted her question on Yahoo—“What makes a Mexican look like a Mexican?”—she asked for “serious and kind answers only.” “You know,” she explained, “when you look at a person, and automatically know that they are most likely Mexican, not by the way they dress or language...
"There are 16 million eyes in the city,” the poster reads, “[and] we’re counting on all of them.” An array of twelve sets of eyes, each marked with racial and ethnic distinctions, stares outward at the reader. A part of the “See Something, Say Something” sloganeering effort of the Metropolitan Transportation Agency in New York...
On the eve of the Great Depression, a trio of European eugenicists, eager to more accurately identify race and to provide the common public with easy-to-use tools, suggested that the practice of silhouetting offered some startling new data points. Working in the Anthropometric Department of the Galton Laboratory...
3. Bought and Sold
On his tour of the slave states, James Silk Buckingham went to New Orleans and stopped in the Rotunda of the St. Louis Hotel to watch a slave auction. For the sojourning British abolitionist and temperance advocate, the dramatic bidding for human flesh at the rotunda was a version of something he’d seen across the...
II. Group Portraits Looking for Contrast
The famous Italian clothier Benetton is renowned for a clothing line that is famously bright and cheerful, full of the lollipop colors of a cartoon rainbow. In its accompanying advertisements, the full spectrum of colors gets applied to the full spectrum of racial possibilities, once again with an emphasis on unexpected juxtaposition...
4. The Domestic Ensemble
One striking expression of racial contrast comes through the representation of transnational and multiracial adoptive families. American visual culture is rich with images of stable, contented families, their comity and sameness a metaphor for national harmony. This imagined family has a long history. It is...
5. Platoon Harmonics
Like the multiracial adoptive family, the mixed platoon draws the eye into the study of difference. A heterotopic ensemble, the platoon is a narrative device, always on the move, its movements always revealing the centrality of mixture to the nation’s survival or failure. It creates a common structure—the army unit—even as...
III. Multiple Exposures The Evidence of Things Not Easily Seen
Sometimes, race can be very difficult to see. In “The Wizard,” an episode of Seinfeld, and a subtle send-up of white discomfort around racial ambiguity, Elaine Benes and her new boyfriend, Darryl, both suspect that the other person is nonwhite, and they script their relationship around this presumption, but they refuse...
The hybrid body, as Jean Toomer imagined it, is a racial ensemble, or platoon, in miniature, not easily categorized as a “mulatto” or “mestizo.” With its component features easily viewable, discrete, and engaged productively, this body is an anachronism, out of sync with national time and space, but a useful one, serving as a vehicle...
The squint of David Carradine, playing Kwai Chang Caine, is sort of akin to yellowface. The same is true, of course, of Stallone’s patterned headband, his bow and arrows, and his long knife. Both parallel—very obliquely, given that their subjects are hybrid— the long-standing tradition of blackface minstrelsy. The oblique part...
Unlike the boldfaced racial masquerade, racial passing—historically, the dark body blending, without any remark or notice, into whiteness—offers nothing on the surface to see. Where the masquerade exposes its layers—spotlighting the gap between the false surface and the deeper real—racial passing refuses such...
In the late 1990s, a new category of actor, performer, and model, described by fashion writer Ruth La Ferla as “ethnically ambiguous,” appeared, seemingly overnight. “Ambiguity is chic,” La Ferla noted, “especially among the under-25 members of Generation Y, the most racially diverse population in the nation’s history.” Describing a fascination...
The discriminating look, I have suggested, is historically minded, drawing from centuries of representations to make sense of small details, but also fairly consistent and durable. Its consistency and durability encourage a set of familiar outcomes, allowing us to “see” bodies marked as racially different in common patterns, bodies that range from those boldly illuminated as simply “black” or...
Page Count: 248
Illustrations: 10 color plates, 97 halftones
Publication Year: 2013
OCLC Number: 867741401
MUSE Marc Record: Download for Seeing Race in Modern America