Kehinde Wiley, St. John the Baptist II, 2006.


This course explores both depictions of Black subjects in the western art tradition and the emergence of Black artists within an art historical canon that not only reflects white supremacy, but is actively used to further argue against the merit and very existence of Black cultural contributions in the Global North. We’ll interrogate the use of Black subjects by European artists, grapple with dominant concerns in the western canon that exclude Black artistic aesthetics, and work to untangle philosophical themes that have long been used to support the notion that the white male perspective is singular, natural, and neutral.