Feminist scholar / cultural worker / intellectual Michele Wallace has been furthering the difficult work of decolonization since her first brave and controversial book "Black Macho and the Myth of the Superwoman" appeared in 1979, when Wallace was twenty six. She was attacked, like Ntozake Shange, for her refusal to be reticent about the corrosive and painful effects of sexism and racism on Black women. As she commented in her interview in Marlon Riggs' "Black Is, Black Ain't", she is still, in many ways, being punished. Wallace's exemplary critical writing on visual art is cogently presented in such essays as "Modernism, Postmodernism and the Problem of the Visual in Afro-American Culture" and her afterword in the book Black Popular Culture. (based on a pathbreaking conference organized by Wallace at the Studio Museum in Harlem in 1991), "Why Are There No Great Black Artists? The Problem of Visuality in African-American Culture". Her attention to the invisibility and/or fetishization of Black women in the gallery and museum worlds has made possible new critical thinking around the intersection of race and gender in African-American visual and popular culture, particularly in what she has called "the gap around the psychoanalytic" in contemporary African-American critical discourse. Presently, Wallace teaches in the English Department at the Graduate Center of City University of New York (CUNY).

Below you will find a link to a hypertext bibliography of Wallace's work, and we hope to reproduce written work by Wallace in the future.



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