"Commodities provide a lens through which local and global histories can be understood and written. The study of commodities history follows these goods as they make their way from land and water through processing and trade to eventual consumption. It is a fast-developing field with collaborative, comparative, and interdisciplinary research, with new information technologies becoming increasingly important. Although many individual researchers continue to focus on particular commodities and regions, they often do so in partnership with others working on different areas and employing a range of theoretical and methodological approaches, placing commodities history at the forefront of local and global historical analysis. This Oxford Handbook features contributions from scholars involved in these developments across a range of countries and linguistic regions. They discuss the state of the art in their fields, draw on their own work, and signal lacunae for future research. Each of its 31 chapters focuses on an important thematic area within commodities history: key approaches, global histories, modes of production, people and land, environmental impact, consumption, and new methodologies. Taken together, the Oxford Handbook of Commodities History offers insight into the directions in which commodities history is heading, and the multiple ways in which it can contribute to a better understanding of the world"--

In Black Bodies, White Gold Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton—as both commodity and material—became inexorably tied to the monetary value of Black bodies. From the production and representation of “negro cloth”—the textile worn by enslaved plantation workers—to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor.