INDEX
Note: page numbers in italics refer to illustrations.
Aching, Gerard, 40
Africa: African motifs on backdrops,
85–87; consumption in, 279n88;
photography in, 82, 171–172, 189–
190, 287n71
African American Vernacular Photog-
raphy, 80, 82–84
African diaspora culture: consumer
culture in, 24–26; definition of,
272n13; memory in, 11–12; repre-
sentation in, 172–174, 213, 250–
251; visual technologies in, 2–5,
9–14, 44–46, 172–174. See also
bling; hip- hop
Afro- futurism, 52, 84, 108
Afro- modernity, 49–50, 84, 108
afterimages, 6, 14–16, 34, 99, 107,
130, 191, 274n33, 274n35
Agamben, Giorgio, 292n17
Agassiz, Louis, 275n39
Ainsworth, Simone, 293n37
Alberti, Leon Battista, 228
Alexander the Great, Variation
(Wiley), 252, 253
“All Falls Down” (West), 31–32,
303n23
Alpers, Svetlana, 227, 228
Ambassadors, The (Holbein), 225–226,
226, 229, 232, 233, 243
Andries Stilte as a Standard Bearer
(Verspronck), 240–241, 243
Annunciation, The (Wiley), 45
anti- imperialism, 119–120
Apagya, Philip Kwame, 82; Francis in
Manhattan, 82, 83
Appadurai, Arjun, 82, 84, 105
Appiah, Anthony, 193
art history: hip- hop and, 224, 230–
235, 231, 237–251, 258–263; race
and, 220; surfacism in, 37–38,
225–230
Art Is . . . (O’Grady), 250, 251
Atlanta, street photography in, 47,
48, 49, 54–59, 57, 58, 64, 65, 66, 70
Backdrop Project (Nelson), 42, 43, 51,
72–79, 73, 76, 285nn52–53
backdrops: African motifs on, 85–87;
black power movement influence
on, 95–96; bling on, 48, 98–104;
civil rights figures on, 95–96,
109; consumer products on, 8–9,
47–48, 51, 56–59, 57, 58, 61, 64,
67, 96–103, 145, 287n73, 298n141;
dancehall promotion via, 96–97;
entryways on, 48, 70, 70–71; at
funerals, 110, 110–111; graffiti
movement and, 91; hip- hop de-
pictions on, 48, 74–78, 91–92, 93,
98–99; history of, 79–84, 286n59,
287n83; landscapes on, 10–11, 11,
12, 47–48, 59–60, 273n22, 284n25;
light on, 59, 100–103, 106,
290n123; mobility of, 52; paint
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