Fear of a Black God – Renee Cox’s Yo Mama’s Last Supper
by Shantrelle LewisThe racialized, Eurocentric homo-gendered iconography of Catholicism automatically coerces someone existing outside of that spectrum to naturally experience isolation and distancing. This is especially probable for a Black girl child who wondered why nowhere in the Catholic Cathedrals where she genuflected, did she see an image of God in the form of sculpture, oil painting, or stain glass window that looked anything remotely like herself.
What happens then, when that same little Black girl, with Jamaican roots and upper-middle class upbringing, interacts with those negating images? She grows up into a Black woman, or most notably, a “rude gyal” with an attitude, who would thirty-something years later unabashedly confront that iconography, in the form of a series entitled Yo Mama. Although according to Genesis 1:26, God created (wo)man in the image of Him(her)self, nowhere in Christian texts could be found a brown skin God with the face of a girl child from the Diaspora. That is not until Renee Cox decided to photograph herself nude as Jesus surrounded by 12 fully-clothed male disciples, all of them Black with the exception of Judas, who was white, and titled the 5-paneled piece Yo Mama’s Last Supper. [Continue reading.]
oh my god, I remember when my class went over this in like 2000 some white person said that this was wrong because Black people didn’t exist during biblical times. I was a freshman, and really paranoid about how the college thing worked, and the fact that I was in a town with 90 total racial minorities. I bust out laughing. It was really long, and really hard, and it caused the two other Black people, including the “I don’t have time for this Black shit” bougie Black girl, and our art professor to also start laughing.
one girl trying to save the world

Trying my best to be something I've not quite worked out.
My pulse reverberates through this malleable shell.
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