This essay tells the story of the performer Josephine Baker and the architect Adolf Loos as a way to track an unexpectedly intimate dialogue between the making of the so-called "denuded modern surface" and the spectacle of black skin at the turn of the twentieth century. This connection in turn compels a reconsideration of the way we read (as) modern subjects.
All Science Journal Classification (ASJC) codes
- Gender Studies
- Cultural Studies
- Arts and Humanities(all)
- Sociology and Political Science