References
- Appiah, K. 1991. “Is the Post- in Postmodernism the Post- in Postcolonial?” Critical Inquiry 17 (2): 336–357. doi:10.1086/448586.
- Appiah, K. 2007. Cosmopolitanism: Ethics in a World of Strangers. New York: Norton.
- Aryal, Y., and Anthony Appiah. 2010. “Cosmopolitanism and Issues of Ethical Identity.” Journal of Philosophy 5 (12): 54–57.
- Beam, C. 2012. “Outsource to China: While Riffing on the Western Canon, Kehinde Wiley's Global Reach.” New York, April 30.
- Britten, N. 1984. “Class Imagery in a National Sample of Women and Men.” British Journal of Sociology 35 (3): 406–434. doi:10.2307/590973.
- Brown, J. 2008. Babylon Girls: Black Women Performers and the Shaping of the Modern. Durham: Duke University Press.
- Collins, L. 2008. “Lost and Found.” The New Yorker, September 1.
- Collins, L., and Margo Crawford, eds. 2006. New Thoughts on the Black Arts Movement. New Brunswick: Rutgers University Press.
- Connell, R., and J. Messerschmidt. 2005. “Hegemonic Masculinity: Rethinking the Concept.” Gender and Society 19 (6): 829–859. doi:10.1177/0891243205278639.
- Dyer, R. 1997. White: Essays on Race and Culture. New York: Routledge.
- Edwards, B. 2003. The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism. Cambridge, MA: Harvard University Press.
- Gikandi, S. 2014. Slavery and the Culture of Taste. Princeton: Princeton University Press.
- Gilroy, P. 2010. “Planetarity and Cosmopolitics.” British Journal of Sociology 61 (3): 620–626. doi:10.1111/j.1468-4446.2010.01329.x.
- Golden, T. 2005. “Kehinde Wiley.” Interview 35 (9): 158–163.
- Goodman, N. 1978. Ways of Worldmaking. Indianapolis: Hackett.
- Gray, H. 1995. “Black Masculinity and Visual Culture.” Callaloo 18 (2): 401–405. doi:10.1353/cal.1995.0055.
- Green, A. 2009. Selling the Race: Culture, Community, and Black Chicago, 1940–1955. Chicago: University of Chicago Press.
- Hainley, B. 2004. Kehinde Wiley. Artforum 42 (5): 159.
- Hall, S. 1978. Policing the Crisis: Mugging, the State, and Law and Order. London: MacMillan.
- Hartman, S. 1997. Scenes of Subjection: Terror, Slavery, and Self-making in Nineteenth-century America. New York: Oxford University Press.
- Hill, L. 2006. “Kehinde Wiley.” Rolling Stone, October 19.
- Hobbs, R. 2012. “Kehinde Wiley's Conceptual Realism.” In Kehinde Wiley, edited by Kehinde Wiley, Thelma Golden, Robert Hobbs, Sarah Lewis, Brian Keith Jackson, and Peter Halley. New York: Rizzoli.
- Jackson, B. 2012. “Quiet As It's Kept.” In Kehinde Wiley, edited by Kehinde Wiley, Thelma Golden, Robert Hobbs, Sarah Lewis, Brian Keith Jackson, and Peter Halley. New York: Rizzoli.
- Jenkins, H. 2006. Convergence Culture: Where Old and New Media Collide. New York: New York University Press.
- Keeps, D. 2009. “Wiley World.” The Advocate, June 1, pp. 107–109.
- Lockwood, D. 1992. Solidarity and Schism: “The Problem of Disorder” in Durkheimian and Marxist sociology. New York: Oxford University Press.
- Miller, C. 2008. The French Atlantic Triangle: Literature and Culture of the Slave Trade. Durham: Duke University Press.
- Miller, M. 2009. Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity. Durham: Duke University Press.
- Morgan, J. 2004. Laboring Women: Reproduction and Gender in New World Slavery. Philadelphia: University of Pennsylvania Press.
- Moten, F. 2003. In the Break: The Aesthetics of the Black Radical Tradition. Minneapolis: University of Minnesota Press.
- Muñoz, J. 1999. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press.
- Muñoz, J. 2009. Cruising Utopia: The Then and There of Queer Futurity. New York: New York University Press.
- Nünning, V., ed. 2010. Concepts for the Study of Culture: Cultural Ways of Worldmaking: Media and Narratives. Berlin: Walter de Gruyter.
- Redmond, S. 2013. Anthem: Social Movements and the Sound of Solidarity in the African Diaspora. New York: New York University Press.
- Richard, F. 2009. “Kehinde Wiley.” Artforum 48 (3): 229.
- Roach, J. 1996. Cities of the Dead: Circum-Atlantic Performance. New York: Columbia University Press.
- Schur. 2007. “Post-soul Aesthetics in Contemporary African American Art.” African American Review 41 (4): 641–654.
- Scott, D. 2010. Extravagant Abjection: Blackness, Power, and Sexuality in the African American Literary Imagination. New York: New York University Press.
- Shareef, S. 2010. “The Power of Décor: Kehinde Wiley's Interventions into the Construction of Black Masculine Identity.” M.A. Thesis, University of North Carolina at Chapel Hill.
- Sischy, I. 2006. “The New New York School.” Vanity Fair, December 1, p. 432.
- Stillman, N. 2008. “Kehinde Wiley.” Artforum 47 (3): 353.
- Taylor, D. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press.
- Tongson, K. 2011. Relocations: Queer Suburban Imaginaries. New York: New York University Press.
- Turner, C., and Michelle Antoinette. 2013. “Introduction: The World and World-making in Art.” Humanities Research 19 (2): 1–9.
- Weheliye, A. 2008. “Pornotropes.” Journal of Visual Culture 7 (1): 65–81. doi:10.1177/1470412907087202.
- White, E. 2012. Modernity, Freedom, and the African Diaspora: Dublin, New Orleans, Paris. Bloomington: Indiana University Press.
- Wiley, K., Thelma Golden, Robert Hobbs, and Krista Thompson. 2008. Kehinde Wiley: The World Stage: Africa, Lagos~Dakar. New York: Studio Museum in Harlem.
- Wiley, K., Thelma Golden, Robert Hobbs, Sarah Lewis, Brian Keith Jackson, and Peter Halley. 2011. Kehinde Wiley. New York: Rizzoli.
- Young, K. 2012. The Grey Album: On the Blackness of Blackness. New York: Graywolf Press.