Most people think of racism as conscious hate towards people of colour, however racism if much more complicated and complex then that. Racism if is embedded in the threads of the very fabric we live in, because of the very nature of the political and cultural loom that creates it. Racism can look like obvert hatred, but that is only one way it can manifest - Access, wealth, privilege, Ignorance, etc are all other more subtle but just as harmful forms. Although no one is born a racist, we are born woven into this cultural fabric of racism, because the loom that weaves it was calibrated with ideals derived from a colonial history, socioeconomic inequality and white superiority. Using a Critical Race Feminism lense, and citing the works put forth by Charmaine Nelson, Minelle Mahtani, Jasmin Yiwani, and Robin D.G. Kelley, this paper explores how Canada’s colonial past and racial history, is internalized in the lives of women and how this construction of race continues today on both the social and institutional level.
To understand this complex fabric of …show more content…
1). Beaucout is a praised Canadian artist, and within art historians “Portrait of a Negro Slave” has been exalted on style, composition, and brush stroke. Nelson uses a post-colonial feminist lens to question these embedded colonial bias and Eurocentric ideals within art history, which dictate every aspect of the discipline, including what has value to study (Nelson 22-23). Nelson critiques this model by saying that to talk about style, erases her as a person and the racist and sexist implication of this painting have gone unnamed (Nelson 22-23). Nelson uses a historical lens to show that the context in which the portrait was produced shows her as a visual commodity rather than a human. The exclusion of
To understand this complex fabric of …show more content…
1). Beaucout is a praised Canadian artist, and within art historians “Portrait of a Negro Slave” has been exalted on style, composition, and brush stroke. Nelson uses a post-colonial feminist lens to question these embedded colonial bias and Eurocentric ideals within art history, which dictate every aspect of the discipline, including what has value to study (Nelson 22-23). Nelson critiques this model by saying that to talk about style, erases her as a person and the racist and sexist implication of this painting have gone unnamed (Nelson 22-23). Nelson uses a historical lens to show that the context in which the portrait was produced shows her as a visual commodity rather than a human. The exclusion of