Visuality and Black Masculinity in Ralph Ellison's Invisible Man and Romare Bearden's Photomontages

Abstract

Placed together, Stuart Hall and Cornel West's statements not only attest to the malleability of bodies and the almost irrevocable fixity of racism's traumatic incisions; the shared trope of the canvas implicitly asks for an analysis of the relations between racism, the sexed and gendered economies that underpin the visual and physical signs of race, and visual art. 2 While contemporary cultural theorists have demonstrated the necessity of seeing race's inextricable ties to gender and sexuality, visual art is not frequently included in the project of elucidating the various and often profoundly visual manifestations of these ties.

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