"I love the fact that she’s messy and mysterious and you don’t know who she is. She’s not necessarily nurturing and, ‘Come sit on my lap so I can talk to you, baby.’ She’s not the kind of person that—doesn’t need God, Jesus, or Buddha, because she knows all the answers. She’s messy. She’s a woman. She’s sexual. She’s vulnerable. And I think—I feel extremely fortunate that I am alive and still active and this role came to me at this point in my life.” [x]
“She removes her wig, her eyelashes, her makeup, never breaking eye contact with the reflection of her natural self. It’s an intimate, powerful moment television doesn’t often show: A black woman removing all the elements white supremacy tells her she has to wear to be beautiful, successful, powerful. And let’s not forget that that wasn’t just Annalise taking it off: It was Davis, too—Davis, who remains brave in a world where a New York Times critic can get away with calling her ‘less classically beautiful.’” x
Rapper/actress/producer/talk show host Queen Latifah on the November 2014 issue of Essence magazine.
La Capresses des Colonies
In his unpublished memoirs Charles Cordier cites the law of April 27, 1848 that abolished slavery in France and its colonies, writing: “My art incorporated the reality of a whole new subject, the revolt against slavery and the birth of anthropology.” In pioneering ethnography as a subject for sculpture in the nineteenth century, Cordier aimed to illustrate what he described as “the idea of the universality of beauty.” His busts often paired couples of the opposite sex but of the same race. This rare instance of matched busts of women was desired by the purchaser, a gaming club in Marseilles, that also commissioned the sumptuous Second-Empire pedestals from Cordier.
The busts revel in the period taste for polychromy in sculpture, an international phenomenon sparked by artistic debates about the painting of ancient statuary and inspired by ancient Roman and Renaissance sculpture composed of variously colored marbles. On a trip to Algeria in 1856 Cordier discovered onyx deposits in recently reopened ancient quarries and began to use the stone in busts such as these. He ingeniously fitted enameled bronze heads into the vibrantly patterned stone, creating exciting though costly representations of Africans that appealed to the highest levels of European society. (MET)