How are racial representations created? I compare two kinds of jazz album cover from the 1950s and 60s to show that the production of culture approach has untapped potential for answering that question. After demonstrating that photographic and modern art-based work constructed Blackness in different ways, I account for photography's domination of the sleeve by focusing on the structure and history of occupational careers. Compared to painters, I show, photographers had (a) easier entry into and harder exit out of cover design, and (b) earlier and more regular access to jazz musicians. Based on these findings, I call for a rethinking of the role of racial projects in racial formation; an elaboration of the production of culture approach; and the expansion of the scope of the interracial coalition concept.

中文翻译：

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未采取的种族形成：职业生涯和爵士乐专辑封面的制作，1950-1969

种族代表是如何产生的？我比较了 20 世纪 50 年代和 60 年代的两种爵士乐专辑封面，以表明文化方法的制作在回答这个问题方面具有尚未开发的潜力。在证明摄影和现代艺术作品以不同的方式构建黑人之后，我通过关注职业生涯的结构和历史来解释摄影在袖子上的统治地位。我表明，与画家相比，摄影师（a）更容易进入封面设计但更难退出封面设计，以及（b）更早且更经常地接触爵士音乐家。基于这些发现，我呼吁重新思考种族项目在种族形成中的作用；文化生产方法的阐述；以及跨种族联盟概念范围的扩大。