The objectification of black women is prevalent in modern art but the subjugation of female black bodies began even before the enslavement of Africans. Synonymous with barbaric nature, uncivilized promiscuity, and danger, blackness has long been portrayed negatively by colonial art. White Europe ingrained their fabricated perception of blackness into art so as to normalize the abuse of black bodies for two purposes: capitalism and social hierarchy.  Consequently, the hypersexualization of black women has been historically engrained in art, reinforced by black men, and appropriated by white women for profit.

           Before we can discuss the prevalence of the sexualization of black women in black art, we must first understand the white art that forced a twisted idea of blackness into mainstream society. During the Middle Passage and enslavement of Africans, Europeans made obscenely artistic efforts to justify the owning, raping, and killing of black women. Freelance journalist Dr. Edward Rhymes outlines several examples of English and American portrayals that purposefully degraded black female bodies for the validation of social dominance. After paintings of black women in uncivilized sexual contexts were created, “The English colonists accepted the Elizabethan image of ‘the lusty Moor,’ (Moor being Elizabethan for Black) and used this and similar stereotypes to justify enslaving Blacks” (Rhymes). White slave owners were therefore endorsed in abusing black women, later culminating in the systematic rape of black women for power and profitable reproduction. Dr. Rhymes argues that this result was “accomplished by arguing that Blacks were subhumans: intellectually inferior, culturally stunted, morally underdeveloped, and with a bestial sexuality” – falsified ideas often expressed through European and American art during this time period.

           Colonial demonstrations of black women did not disappear with the abolishment of slavery, nor the end of the Jim Crow era. White artists’ expressions of female blackness were far too ingrained in the western culture to be removed by public policy or social movements. Art and material items displayed women in objectifying situations. For example, a "metal nutcracker, from the 1930's, depicts a topless Black woman. The nut is placed under her skirt, in her crotch, and crushed” (Rhymes). Everyday items mirrored colonial and postcolonial tendencies by displaying sexually explicit images of black women on “ashtrays, postcards, sheet music, fishing lures, drinking glasses, featured scantily-clad Black women” (Rhymes). The hypersexualization of black women, once rooted in European art, grew into a normalized belief evidenced from the slave trade to today.

Appropriation by White Women      

    Given recent intersectional feminist movements, black women have been encouraged to use their sexuality for self-empowerment and self-love. Artists such as Beyoncé and Nicki Minaj have publicly embraced their thicker body type successfully.

However, once black female artists began winning their uphill battle of success, white women realized they could profit off commonly black characteristics. From butt or lip injections to wearing their hair like black women typically do, white female artists such as Miley Cyrus and Iggy Azalea have used cultural appropriation for capital and fame.

Furthermore, black male artists have been guilty of reinforcing obscene perceptions of black women and the cultural appropriation they face especially through hip-hop and rap. DeAsia Paige of the Huffington Post argues that “The most unfortunate aspect of [cultural appropriation] is that black women will call out the white woman before calling out black men who accept them (the white women) ” (Paige). Artists like Cyrus and Azalea have been accepted by and worked with prominent black male artists, like Mike WiLL Made-It, rather than being condemned for their misuse of black culture. It is clear that “white girls like Kylie Jenner and Miley Cyrus would not have gained as much hype within the black community if black men would have shown even a little bit of adamance in not normalizing them” (Paige).

Intra-racial Objectification

While black men accept culturally appropriative art by white women, their rap lyrics continue to objectify black women in particular. For example, Notorious B.I.G.’s “Me and My Bitch” talks of ‘beating’ women and using them for sex. Likewise, his song “Fucking You Tonight” says that women owe him sex because of his fame and wealth (Paige). Even worse, black male artists collaborate with white female rappers while leaving black women on the sidelines. Despite the unity of the black community and efforts by black women to use their sexuality as a means of self-empowerment, black men have continued to lyrically sexualize black women for their own career and monetary advancement.

           The hypersexualization of black women in art has become a two-front war as neither black men nor white women can be seen as allies in black female oppression. Objectifying abuse has been experienced by women of all color, but has only been normalized in everyday art and material items when devaluing black bodies (Rhymes). Explicit sexual perceptions of black women have been mainstreamed since colonial times, leaving lasting which are impacts visible in today’s art and music. Furthermore, white women have used their privilege to co-opt black characteristics for power and profit. The solution may not yet be interracial unity, but to first move black female artists such as Beyoncé, Nicki Minaj, and Lauryn Hill at the forefront of art and music