We are grateful to Anna Arabindan-Kesson for her development of this project.
The author would like to thank the following people for their assistance in writing this In Focus: thank you to my former student Jamal Maddox (Princeton University, 2017) for transcribing my interview with Barkley L. Hendricks and for making the audio clip that accompanies this essay; colleagues in the Art and Archaeology Department and African American Studies Department at Princeton University – Rachael Z. DeLue, Chika Okeke-Agulu, Wendy Belcher, Eddie S. Glaude and Stacey A. Sinclair – who provided insightful feedback during presentations on this article; and fashion historians Amber Butchart and Christopher Breward, who were invaluable sources on 1970s style. The comments of the anonymous peer reviewer provided important points of clarification, and Susan Hendricks has been a wonderful correspondent and friend. This article is dedicated to Barkley L. Hendricks who passed away on 18 April 2017. I will always be grateful for his aesthetic acumen, his generosity, his sharp wit and his friendship.
This project belongs to a series of In Focus studies commissioned as part of Refiguring American Art, a major research project generously supported by the Terra Foundation for American Art.
Dr Anna Arabindan-Kesson, Assistant Professor of African American and Black Diasporic Art, Department of Art and Archaeology and Department of African American Studies, Princeton University
Series editor: Jennifer Mundy, Head of Collection Research, Tate
Commissioning editor: Alex Taylor, Terra Foundation Research Fellow in American Art, Tate
Project manager: Julia Bailey, Terra Foundation for American Art Research Project Manager, Tate
Project editor: Celia White, Collection Research Editor, Tate
Digital editor: Susannah Worth, Digital Editor (Research), Tate