Second Skin: Josephine Baker & the Modern Surface
Through the figure of Josephine Baker, Second Skin tells the story of an unexpected yet enduring intimacy between the invention of a modernist style and the theatricalization of black skin at the turn of the twentieth century. Stepping outside of the platitudes surrounding this iconic figure, Anne A. Cheng argues that Baker's famous nakedness must be understood within larger philosophic and aesthetic debates about, and desire for, 'pure surface' that crystallized at the convergence of modern art, architecture, machinery, and philosophy. Through Cheng's analysis, Baker emerges as a central artist whose work engages with and impacts various modes of modernist display such as film, photography, art, and even the modern house.
What people are saying - Write a review
We haven't found any reviews in the usual places.
2 In the Museum
3 Skins Tattoos and the Lure of the Surface
4 What Bananas Say
5 Housing Baker Dressing Loos
6 Radiant Bodies Dark Cities
7 The Woman with the Golden Skin
8 All That Glitters Is Not Gold or Dirty Professors
Other editions - View all
Adolf Loos aesthetic African Alwina American animal anxiety Anzieu artist authenticity Baker House Baker’s voice banana skirt black female black skin civilization cladding Colomina colonial Corbusier Corbusier’s covering critical culture dance dark desire discourse dream dress E. E. Cummings embodiment essay essence European fašade fact fantasy female body femininity feminized fetish fetishistic Figure film French Freud gender gold Hal Foster human ideal images imagination imperial intentionally left blank invoked Josephine Baker Le Corbusier look Loos’s Loosian Mark Wigley masculinity material Modern Architecture modern art modern surface Modernist museum naked nakedness notions objects Ornament and Crime performance photographs Picasso play politics precisely primitive Primitivism Primitivist Princesse Princesse Tam Tam race racial difference racial fetish relationship reveals Ripolin scene second skin sexual shadows skyscraper social stage story strip striptease structure style stylistic suggest Tanizaki tattoos theatrical tion turn twentieth century Venus viewer visible visual woman