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Sweetness is a primal pleasure, like warmth or softness. In the Western imagination, sugar is pleasure, temptation, and vice - and in modern history, it is original sin. And it is a commodity, one historically produced with some of the most brutal labor practices on the planet. It is sexual desire and pleasure, and also temptation and sin. It is a respite for palates swept clean of childish joy for too long. The sugar sphinx, the artist wrote in the work’s full title, was “an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant.” A crouching black woman made from 40 tons of glistening white sugar, surrounded by life-sized figurines of black boys carrying bananas or baskets, she hunched forward on her toes, knees, and forearms, her lips, breasts, butt, and labia swelling round in cartoonish extravagance - an uneasy reflection of the fetishization of black women’s bodies and the commodification of their flesh. Titled A Subtlety, or the Marvelous Sugar Baby, Walker’s sculpture was the single largest piece of public art ever shown in New York City. The artist Kara Walker tackled a profoundly different collision of femininity and sweetness than Katy Perry on a candy cloud when she conceived of a 35-foot sugar sphinx inside the former Domino Sugar Refinery in 2014. “The shelf on which i sit,” reads Lucille Clifton’s poem “Aunt Jemima”:Īnd sugar’s history is brutal. ![]() Aunt Jemima, a character derived from minstrel shows, is the apotheosis of the happy, nurturing “mammy” stereotype, empty and filled with sweet syrup, her smile used to sell sugar for PepsiCo. The racist trope of watermelon-eating African Americans, popularized in this era, framed black people as simpletons and children craving nothing beyond a sweet slice of melon. Those stereotypes persist - and even generate profit - today. A drug that decimated predominantly poor, black American communities is now a punchline for middle-class white indulgence.įor black Americans, sweetness was an essential ingredient in Jim Crow-era stereotypes designed to keep newly emancipated people from their rights. Even those selling sugary food winkingly parrot the language of addiction - consider Milk Bar’s notoriously sticky, seductively sweet Crack Pie. “Is sugar the world’s most popular drug?” wondered another. Sugar is “America’s drug of choice,” one headline claimed. The flood of industrial sugar into packaged food has real public health consequences, but predictably, the backlash has taken on a puritanical zeal far beyond reasonable concerns. In the 1958 hit song “Sugartime,” to which Barthes was referring, the sunny, smiling McGuire Sisters harmonize sweetly, filling their mouths with honey: “Sugar in the mornin’ / Sugar in the evenin’ / Sugar at suppertime / Be my little sugar / And love me all the time.”Īnd like anything pleasurable, sugar is often characterized as a vice. “A spoonful of sugar,” as Mary Poppins croons, is a bribe, something to help “the medicine go down.” Sugar is leisure and celebration - what British birthday would be complete without the stickiness of cake frosting on fingers? It is, according to Roland Barthes, an attitude - as integral to the concept of Americanness as wine is to Frenchness. Cool stuff can be “sweet, man.” Our crush is a sweetheart, and our sweetheart might be our honey. When children are good and happy, they are cutie pies. Sugar is sprinkled everywhere in our language. ![]() The uncomfortable excess of Cotton’s work was used to sell uncomfortable excess. When the painting made its debut on the cover of Perry’s 2010 album Teenage Dream, it sat somewhere between commercial pop and high-art comment on all of the above. ![]() Perry offers a look both languid and post-orgasmic, lips parted, her hair nostalgically curled like a 1950s pinup. The landscape bulges and billows with emphatic softness, dominating the painting except for a hint of blue sky. In a romantic oil painting by Will Cotton, Katy Perry lies naked on a cotton candy cloud, a whisper of pink spun sugar draped over her butt. |
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