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dc.contributor.authorLloyd, Christopher
dc.date.accessioned2019-02-19T12:45:06Z
dc.date.available2019-02-19T12:45:06Z
dc.date.issued2017-06-01
dc.identifier.citationLloyd , C 2017 , ' Silent Landscapes, Textured Memory : Keith Morris Washington's Lynching Paintings ' , European Journal of American Culture , vol. 36 , no. 2 , pp. 105-120 . https://doi.org/10.1386/ejac.36.2.105_1
dc.identifier.issn1758-9118
dc.identifier.otherPURE: 11175101
dc.identifier.otherPURE UUID: 98cb5be4-3998-445b-87d5-836a5a36e012
dc.identifier.otherScopus: 85027097241
dc.identifier.urihttp://hdl.handle.net/2299/21108
dc.description.abstractKeith Morris Washington’s landscape paintings have received surprisingly little scholarly attention, and thus the present article aims to address that lack. Primarily, this article argues that in representing landscapes associated with lynchings, Washington’s paintings are a form of cultural memory that helps us apprehend the traumas of the southern past. Rather than presenting us with dead bodies of lynching victims, Washington paints the ‘texture’ of violence and memory in seemingly innocuous rural landscapes. Through his brushwork, framing and visual motifs, Washington reveals what I am calling the ‘after-burn’ of lynching: the way in which it circulates as a kind of haunting and memory that disturbs our gaze. While lynching scholarship has expanded in recent years, there is often a focus – as with other contemporary visual theories – on looking at lynching photographs; we are encouraged by a number of critics to apprehend death directly. This article suggests that Washington’s artwork provides us with another visual mode of apprehending lynching. In registering the texture of violence and memory, and through intimating the presence of corporeality, Washington enables a form of looking that does not re-victimize the victimized. Rather, his visual ethics allows us to both see and not see the deaths of (primarily) African Americans across the nation and region.en
dc.format.extent16
dc.language.isoeng
dc.relation.ispartofEuropean Journal of American Culture
dc.rights/dk/atira/pure/core/openaccesspermission/embargoed
dc.subjectVisual Arts and Performing Arts
dc.titleSilent Landscapes, Textured Memory : Keith Morris Washington's Lynching Paintingsen
dc.contributor.institutionEnglish Literature and Creative Writing
dc.contributor.institutionEnglish Literature
dc.contributor.institutionSchool of Humanities
dc.description.statusPeer reviewed
dc.date.embargoedUntil2018-06-01
dc.relation.schoolSchool of Humanities
dc.description.versiontypeFinal Accepted Version
dcterms.dateAccepted2017-04-02
rioxxterms.versionAM
rioxxterms.versionAM
rioxxterms.versionofrecordhttps://doi.org/10.1386/ejac.36.2.105_1
rioxxterms.licenseref.startdate2018-06-01+01:00
rioxxterms.typeJournal Article/Review
herts.preservation.rarelyaccessedtrue
herts.date.embargo2018-06-01+01:00
herts.rights.accesstypeopenAccess


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