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By virtue of his specific choices, however, he links abject materials to perceptions of “race,” and yet what we find in works such as Elephant Dung Sculpture (1978) — ​a central point of reference for Chris Ofili — ​is a playful sense of humor that produces a poetics of visual punning in which degraded and devalued objects are transvaluated by acts of counter-appropriation. In the case of How Ya Like Me Now? (1988), initially presented to the public in the form of a billboard, the risks entailed by the ironic reversal of blackface reveal that Hammons’s mode of address is not confined to the demographic majority but is universal precisely because it is aimed at a dialogue with the inner fears and fantasies of his black audiences as well.

15. Hugh Honour, The Image of the Black in Western Art, vol. 4, pt. 2, From the American Revolution to World War I (Cambridge, MA: Harvard University Press, Menil Foundation, 1989), 62. 16. Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (Oxford: Oxford University Press, 1993). 17. Stallybrass and White, Politics and Poetics of Transgression, 4–5. 18. Orlando Patterson, Slavery and Social Death: A Comparative Study (Cambridge, MA: Harvard University Press, 1982). 19.

Oil on canvas, 100 × 94 cm. Uffizi, Florence. Courtesy ZooID Pictures Limited. myth. Passarotti’s old woman, however, does not quite bear the traditional identifying marks of either Ceres or Venus, though the golden bunches of dangling ornaments to her fillet could be seen as wheat-like. Passarotti’s mix of the pagan and the proletarian, which mocks rather than ennobles his revelers, may have been influenced by the anticlassical engraved caricatures of the Olympian gods produced by Martino Rota (d.

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