Sexuality has also been used to denote sex assignment or male-versus-female differences, largely on the basis of genital and secondary sex characteristics and reproductive functions.
It is a concept that has been applicable to the social organization and formation of human and nonhumans alike.
Drawing from black feminist and queer theories, some sexuality scholars examine the historical forms of racialized sexual oppression of black people and how black sexual minorities are oppressed within and excluded from black sociocultural institutions.
Yet this productive scholarship on sexuality has been suppressed and marginalized in African American studies due, in part, to an overcompensatory response to racist/white-supremacist renderings of black people as sexually deviant.
Patton goes on to say that black sex was particularly fraught because it invoked too many taboos: stereotypes and caricatures of “black Hottentots” with freakish feminine proportions; asexual mammies or lascivious Jezebels; and hypersexual black men lusting after white women.
This has been compounded by the painful history of slavery, rape, and lynching and the panoply of ways in which black bodies have been subjected to and victimized by brutal forms of sexual violence and abuse by both state and nonstate actors in the U. Further, Patton explains in her essay that, conversely, in recent years, some black scholars from a number of disciplines have begun to “break the silence” and conspicuously engage issues around sexuality confronting black communities.One of the most fecund aspects of Foucault’s work is his contention that sexuality is produced out of discourse whereby sexual acts become associated with actual human beings.Hence, the “sodomite” becoming the “homosexual” is a modern phenomenon (Foucault 1978).This event sparked a spirited discussion about sexuality studies that marks a pivotal turn in the contemporary discourse on sexuality in the field of African American studies and black communities.The etymology of “sexuality” is derived from the postclassical Latin .In 1980, objects from the Warren Robbins collection became part of the museum, including works by 19th century artists Joshua Johnson, the earliest documented professional African-American painter; classical landscapes by Edward Mitchell Bannister and Robert Scott Duncanson; and neoclassical sculptures by Edmonia Lewis, the first professional African American sculptor.Six years later, the museum acquired more than four-hundred works by folk and self-taught artists from the holdings of Waide Hemphill, Jr.From an important grouping of recently acquired works by self-taught artist Bill Traylor to William H.Johnson’s vibrant portrayals of faith and family, to Mickalene Thomas’s contemporary exploration of black female identity, the museum’s holdings reflect its long-standing commitment to black artists and the acquisition, preservation, and display of their works.Contemporary artists in SAAM’s collection include Mark Bradford, Sam Gilliam, Kerry James Marshall, Martin Puryear, and Faith Ringgold among others.Important holdings in photography include works by Roy De Carava, Roland Freeman, Marilyn Nance, Gordon Parks, and James Van Der Zee.