Oluwatosin Philip Adeyemi, a second-year master’s student, shares a synopsis of his thesis and inspirations
Philip Adeyemi’s research in the African American studies field offers an intervention into how we engage with visual histories of racial violence. His master’s thesis examines the work of contemporary Black artists who reframe traditional lynching imagery, shifting focus from Black suffering to Black resilience. “My research focuses on the paradigm shift of how contemporary African American artists want us to see lynching images using different artistic techniques,” he explains. “These artists are doing something different: they are trying to show that we should focus on Black joy, not just Black death.”
Artists like Kerry James Marshall, Kara Walker, and Hank Willis Thomas, whose pieces often redact Black victims entirely or center white perpetrators, form the core of Philip’s study. Drawing from scholars like Karlos Hill, he argues that avoidance of lynching imagery in Black communities is less about forgetting and more about survival. “Not everyone wants to look at those images,” he says. “The first time I saw one, I was shocked. It’s not something you want to look at twice.” His work pushes back on earlier frameworks, including Dora Apel’s argument that public engagement with lynching photographs is necessary to prevent historical erasure. Instead, Philip’s thesis explores how contemporary visual artists are challenging these expectations, proposing a new visual language for Black mourning, noting: “These artists are telling us there’s another way to remember and respond.”
Philip’s scholarly interests are intertwined with his love for music and culture. He’s particularly drawn to artists whose work blurs boundaries between personal storytelling and collective history. Kendrick Lamar and J. Cole are longtime favorites, but it’s Killer Mike’s album Michael that has resonated with him most recently, sharing: “I heard Yoruba in it—my language. That told me his craft didn’t just focus on African Americans but reached across to people in Nigeria too.” Philip describes music as a form of intellectual and emotional engagement, much like visual art. His approach to both is reflective and critical. “When I find something compelling, whether it’s an album or a piece of art, I want to learn about it, talk about it, and understand it in context,” he says.
That intellectual curiosity appears in the classroom, too. His interest in visual art has found its way into every course he’s taken, from historical studies on redlining and lynching to contemporary Black arts movements. His thesis builds on themes first explored in courses with Professor Brenda Gayle Plummer and Professor Sandra Adell. Now nearing graduation, Philip plans to pursue a Ph.D. in History, where he wants to continue exploring the intersections of race and artistic expression.