In a recent interview, cultural theorist Paul Gilroy stated, ‘blackness is the body but whiteness … While explicit artistic classical receptions of the Farnese Hercules have not reckoned with the problem of sculptural whiteness, another work by photographer Robert Mapplethorpe begins to re-address the issue. Gilroy, P., Sandset, T., Bangstad, S., and Ringen Høibjerg, G. (2019) ‘A diagnosis of contemporary forms of racism, race and nationalism: a conversation with Professor Paul Gilroy’, in Cultural Studies, 33:2, pp. Also, like Darbyshire, Koons’ failure to address the whiteness of his sculptures only perpetuates the notion that whiteness is their proper state. The consistent whiteness we now perceive in ancient Greco-Roman sculpture is, via Winckelmann’s schema, deeply situated in the scientific racism espoused during the eighteenth-century [vii] and informed by decades of othering the non-White body in the name of the trans-Atlantic slave trade, itself building upon centuries of racist colourism against non-White people (Osei-Tutu, 2010: 100-1). He wants to marry lovely fair maiden Rosita, but her haughty governor father disapproves. Modern social colour-coding also applies to race, clear in our naming of racial categories by colour. In any case, other artistic mediums highlight that Hercules is not considered conceptually white – see, for example, the c.530 BC Caeretan hydria depicting Hercules fighting the Egyptian king Busiris, on which Hercules is very conspicuously black, even against figures who are actually Black (not all figures on this pot are black, highlighting the significance of the colour as regards Hercules); if nothing else, this highlights the difference between ancient Mediterranean conceptualisations of social colour-coding and modern race categorisation. Painter, N. I. You can use them for free. 89). When colour, especially on figurative sculpture – regardless of implied visual race or ethnicity – is recreated or re-enacted, it triggers the above issue (the body as Black) and threatens the invisibility of Whiteness. The artificial whiteness of classical sculpture fits within a tradition of presenting false racial narratives of the Greco-Roman historical past and mythology, one that codes all idealised bodies as white, young, and hetero-normative. Carpenter, T. H. (1991) Art and Myth in Ancient Greece. Comic Story: Hercules (32 pages) Synopsis: Subject to a tyrant king's commands, Hercules must endure many tests of strength then sail in search of the Golden Fleece. (2010) ‘Critical Mixed Race Studies: New Approaches to Resistance and Social Justice’, in J. O. Adekunle and H. V. Williams (eds.) 58 pages. In this piece, part of a series of sculptures which similarly take inspiration from classical marble sculpture, Hercules is merely a stand for the glass gazing ball balanced on his shoulder. While Mapplethorpe’s concern with the form means that the idealism of ancient sculpture is still not being undermined, his use of a Black model as a Herculean form was radical in itself. An example of social colour-coding by race is in colourism within cultural or ethnic groups, often driven by the presence of (or desire to fit into) a socially White category (Rockquemore and Brunsma, 2010: 162); this can be seen in the inherent colourism which drives the skin lightening industry, a widespread problem in the global South (Glenn, 2008). Mapplethorpe’s nude photography takes clear inspiration from classical sculpture, but it is his images of the actor and dancer Derrick Cross that concern me here. Figure 2: Farnese Hercules (National Archaeological Museum of Naples). Whether protected or reviled, colour is crucial in most cultures, both ancient and modern, and its use denotes a desire to colour-code to cause or maintain social divides (Finley 2007: 398). Mapplethorpe was inspired by the same homoerotic idea of the inherent Beauty of the body’s form that so enthused Winckelmann, and did in fact photograph Greek and Roman sculptures, as well as real people. Routledge, pp. Hercules’ adventures generally see him relying on his strength, or otherwise employing the help of others where his own might is not enough. The History of White People. With Sergio Ciani, Rosalba Neri, Piero Lulli, Andrea Aureli. The Parthenon. (2017). While Koons and Darbyshire’s works are both fabricated from cheap materials, their status as art – in the modern sense, where gallery exhibition generally prohibits any engagement from the viewer beyond looking - means that they are not physically engaged with in the same way as a painted piece of marble (that may be the focus of religious or ritual attention) and needs constant care and maintenance to keep it looking its best. ; 2017b for the black one.the pink hue bothers me,400 bucks is a lot of money a... Love to give and can be used on any background scratching table surface, as we!, 1983, Gelatin silver print, 20 x 16 inches, x... 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