Author Archives: Tanekwah Hinds

The Commercialization of Multiraciality

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“Performing Postmodernist Passing”, Cathy Covell Waegner: Artists’ exploitation of black face and yellow face create discourse on the connection between the African and Asian American culture.

“Biraciality and Nationhood in Contemporary American Art”, Kymberly N. Pinder: A multiracial individual is often used as a currency for moral redemption for white oppression over people of color.

Tiger Woods is more complex than you may think. No, I am not talking about his sex scandal or golf. I am referring to his multiracial identity in relation to his sports career. His ethnicity includes Caucasian, African American, and Asian American origins. This may not affect his golf performance. However, it affects how the global society sees the sports player. Because of his complex mix of racial identities, African Americans and Asian Americans can claim him as making progress in the sports world for their ethnicity. The celebrated athletic symbol can also serve to remedy racial issues and tensions from the past of America. The thought that parents of distinct and mixed races came together to produce such a magnificent golf player is thought to represent a truce between racial groups in a country that has struggled with its racist past. Such an exclusive thought of Woods and other prominent mixed raced individuals asserts multiracial individuals as “socio-political currency,” as Kymberly Pinder states in Race-ing Art History. They exist as symbols of redemption for past implications and consequences of colonialism and white supremacy. If the parents of Tiger Woods put aside past racial differences to produce him, can’t we all? But this view commercializes the identity as a form of currency and commodity to claim or cash in and ignores layers of socially constructed racial identities that they struggle with. It exploits their complex social reality as an item to claim for various ethnic groups and the system white supremacy, asserting that this system can do no wrong. But it has in the form of colonialism and still stalks the “other” identities of the present, such as multi-racial individuals.

The Fight for the Black Male Body

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Looking for Langston depicts the “hidden” gay black male identity during the Harlem Renaissance as a verbal & visual aesthetic black and white film.

Mercer: Fani-Kayode confronts the hybridity of his identity in depicting black masculinity and gay culture.

Golden describes the use of stereotypes in art to represent the ignored diversity in black male culture.

In the essay, “My Brother”, Thelma Golden depicts the high desire to use the black male body as a canvas. In the past, western artists fetishize the body with stereotypes of savagery, overt sexuality, and defiance. Now, contemporary black artists, left to reconstruct and decolonize the body, appropriate stereotypes and various mediums in an attempt to reclaim the black male body. The canvas continues to fascinate media as pop culture consumes the black male body for its fame and infamy in sex, crimes, and sports. These multiple uses of the canvas represent a fight and struggle over the body’s representation. The contradiction that this contest produces is undeniable: the black male body is invisible yet overrepresented, an endangered presence yet a historic icon, demonized yet overinterpreted. Kobena Mercer explains it best when he describes the body as a site of “social identity in crisis” and “ideological representation.” The debate over the representation of the black male body exemplifies the crisis of the canvas.

The debate sparked by the negative imagery of the black male body, which overshadows the positive imagery, continues as the negative images are thought to represent black masculine culture. Golden emphasizes that this misinterpretation is false, as black masculinity, like other cultures, cannot be defined by stereotypes. There is “no single way to represent the black male.” Since black masculinity exists as an identity of otherness, the debate over representation and the authors of the imagery will continue to exist. Despite the privilege of masculinity, black males still face the social construct of their blackness, which defines their otherness. Jeff Koons, a Caucasian American, produced the work below, Moses. It notes the success of black men in sports, representing Moses Malone, a professional basketball player. But the contradiction of the name Moses, a hero from the Bible, and the hell-like background plays on the double consciousness of the black male, one with the privilege of masculinity yet the burden of blackness. The artist’s identity and the image’s contradiction set an example of causes for the continued debate over the image of black masculinity.

Moses by Jeff Koons, 1985

Moses by Jeff Koons, 1985

 

The Gaze

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Summaries:

Pariah: In Pariah, Alike confronts her sexuality as she struggles with the identity of her black womanhood in the context of her family.

Black Womanhood, Barbara Thompson: Diverse artists from the diaspora disrupt and reply to the Western standard of Black females via stereotypical appropriation.

Contemporary Art, Taylor: The artists featured in Documenta 11 addresses the context of identity on an international level.

In Black Womanhood, Thompson provides examples of various artists who not only disrupt and reply to the Western European standard but also the gaze of the art world, another sphere of influence for the Western white male. This gaze acts as a form of judgment or standard from the art world which asserts the perspective of the western white male. The “other” identities depicted in traditional work are considered in relation to this “ideal” identity, demeaning the value of the “other”. The works of artists who disrupt and reply to the gaze is important because they also provide a space and canvas for reaffirmation of the other identity. In Black Womanhood, Thompson presents diverse artists from the African diaspora who redefine and reaffirm the identity of the black female as well as counter the gaze of the art world. Such artists are necessary as the traditional Western white male perspective has dominated the art world and defined the black female identity as overtly sexual, subordinate, and savage-like. I think Thompson describes the new perspective best when she states that through the work of such artists, viewers can “imagine themselves in her skin taking up negative space of her absent body with all of its cultural baggage and expectations.” This contradiction of existence and identity cannot be understood through the gaze of the art world or the western European standard, asserting the necessity for the perspective of diverse artist from the diaspora.

The Others: the Colonized and the Iranian Queers

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Summaries:
“From Homoerotics of Exile to Homopolitics of Diaspora by Sima Shakhsari”: The Internet and the post war on terror environment foster an intellectual environment for the digital presence of Iranian queers.
Contemporary Art by Taylor: Colonization led to artistic appropriation of “subordinate” cultures and enforced the “other” identities

Blog:
In Contemporary Art, Taylor explores various identities of otherness affected by colonialism and historical appropriation. The identity crisis of these individuals contrasts with the “other” experience of queers from the Iranian diaspora as explained in Sima Shaksari’s “From Homoerotics of Exile to Homopolitics of Diaspora by Sima Shakhsari.” The Iranian diaspora belongs to a country which lacks a history of colonialism and is affected by its national identity rather than historical appropriation. In the motherland, the national identity promotes a heterosexual narrative and persecutes those who identify as homosexuals. Hence, Iranian queers exist as the “other” of their accepted national identity. Like the identities affected by colonialism, queers of the Iranian diaspora are affected by the West. On a visit to Columbia University in September 2007, Iranian President Mahmoud Ahmadinejad stated in response to a question about execution of Iranian homosexuals that “[I]n Iran we don’t have homosexuals like in your country.” He expressed a common belief in Iran that homosexuality is associated with Western culture. This is perpetuated by a history of conflict with the United States and the West. Recent sanctions and declarations, including Bush’s labeling of Iran as an “axis of evil” in 2002, against the country worsen the relationship of Iran with the West and the relationship of Iran with its queers.
Taylor explains how the “others” affected by colonialism purposely use appropriation to express their identities. Whereas Iranian queers, as stated by Shaksari, are conveying their narrative via outlets of the Internet, such as blogs and online magazines. Iranian gay activists and bloggers, such as Arsham Parsi, utilize cyberspace as a haven to articulate perspective, network with other queers, and depict visibility. Although examples of Parsi mark great strides, online homophobic hate speech claiming a purpose of freedom counteracts the progress. Also, a need for diverse voices exists in online Iranian queer forums. Like identities affected by colonialism, Iranian queers still face obstacles in defending their rights in their claimed forms of expression.

The Local Approach

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Summaries of Readings:

Taylor: Performance art acts as an active medium for the artist to experiment with the body and radical concepts.

Introduction: Albero introduces Fraser’s work as an unprecedented use of literary essays that complement and context her contemporary art work.

A Gallery Talk: Jane acts as an awkward museum guide to provide commentary on the city of Philadelphia and the museum’s structure.

A Letter to the Wadsworth: Fraser’s performances use candid language to criticize the ignorance of class conflict in Hartford and explain its reasoning.

A Sensation Chronicle: Addressing the Sensation controversy, Fraser emphasizes voices in the art world and the different autonomies that govern the field.

Andrea Fraser's 'Box Set'

Andrea Fraser’s ‘Box Set’

Response:

As a conceptual artist, Andrea Fraser mainly uses the active medium of performance for her work. She differentiates herself from other performance artists by using museums as the location to provide commentary on the local community. In Welcome to the Wadsworth (1991), Fraser acts as a tour guide of Wadsworth Atheneum who indirectly explains how the patronage history of Hartford leads to the city’s current ignorance of class conflict. The subject of Fraser’s Welcome to the Wadsworth continues to distinguish her method as she enters an artistic safe haven of Hartford as an outsider and critiques the community. On the surface, her approach seems like a rather rude, creative intrusion. Nevertheless, Fraser creates a tangible subject for her audience, unlike other artists who address more broad subjects. Certain artists decide to tackle overarching themes, such as racism and sexism in America. Such works inform and involve the audience in ignored topics but distance the viewers as they attempt to understand the broad themes which may appear unfeasible for them to influence. Whereas, Fraser’s performance addresses the ignored issue of class conflict on the local level of Hartford. Viewers who are moved by her Welcome to the Wadsworth are more likely to address the issue in the neighborhood than a viewer who feels that they do not have much influence on racism in America.

Nevertheless, Fraser still creates distance between her performance and her audience. In Welcome to the Wadsworth, she makes her tour attendees feel rather uncomfortable as she blatantly expresses disgust for the urban poor and migrants who are changing the scene of Hartford. Her harsh words are meant to articulate the unexpressed thoughts of the middle class and above who are disturbed by the changes. Although Fraser’s statements contain truth, their abruptness catches the tour attendees off guard which can prevent them from understanding her performance. Like the work of other artists’ who tackle broad themes, Fraser criticizes her subject and fails to provide a way for the community to tackle the issue. Hence, viewers of her performance may still feel isolated from the topic of her work, although it addresses more tangible and local issues.

Have the Political Movements Taken Their Dose of the Artistic Supplement?

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“Chicana Art and Scholarship on the Interstices of Our Disciplines”, Guisela Latorres: The Chicana art movement tackled issues ignored by the political movement, such as gender, colonialism, and sexuality
“Silencing Our Lady: La Respuesta de Alma”, Alma Lopez: Our Lady stood as visual imagery provoking discussion about the gender relations, art, and religion of Chicana/o culture

Blog:
In class last week, we engaged in a skype conversation with Professor Leigh Raiford on her extensive work and our class material. At one point in the conversation, when she addressed the Black Civil Rights movement, she mentioned that “We don’t need another male leader like Malcolm or Martin; but an inclusive space for the diverse African diaspora.” I interpreted this to mean that the existing male leaders and patriarchal views are not necessary for the progress of the political movement. What is necessary is the acknowledgment of diverse identities within the movement. I found that her idea can also be applied to the Chicana/o movement that we are exploring this week. In the article “Chicana Art and Scholarship on the Interstices of Our Disciplines,” Guisela Latorres acknowledges that the Chicano/a political movement promoted nationalism, el movimento, and addressed issues of race and class within the ethnic group; but it ignored the topics of gender and sexuality within the community. Chicana artists, such as Alma Lopez, Juana Alicia, and Irene Perez, use their work to address these silenced subjects head on and provoke discussions on such controversial topics. These artistic female leaders mark a certain relationship between political movements and their corresponding artistic movements. Often the political movements, like Raiford tries to explain, take on a patriarchal perspective, addressing the shared marginalization of the group but ignoring the internal marginalization of women and other identities. This approach acknowledges the common identity of the ethnic group, rather than acknowledging the diversity of identities within the movement. Artistic movements, such as the Chicana art movement, tackle difficult subject matters which the patriarchal perspective of the political movement overlooks. In such a way, artistic movements supplement the progress of the corresponding political movement as a reaction to its ignorance. The irony of this situation is too hard to ignore as political movements attempt to address the ignorance of others yet ignorance can still exist in a political movement. Not all hope is lost as long as political movements take their dose of corresponding artistic movements, prescribed by Dr. Hinds.

Self Censorship for African American Artists

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Summary:
Leigh Raiford: The Black Panther Party faced internal and external struggles and successes with its visual image and media.

Ken Johnson: Black artists accepted by the art world often sacrifice black solidarity to make their viewers feel comfortable.
Kellie Jones: The Black artists of Los Angeles created a new visual culture in the ’60s narrating the tumultuous political culture of their time
Response to Forged From the Fires of the 1960s by Ken Johnson:
In a review of the exhibition “Now Dig This! Art & Black in Los Angeles 1960-1989”, Ken Johnson reveals the struggle of African American artists in Los Angeles and beyond to depict their black solidarity or make their white audience who dominate and control the art world feel comfortable when viewing their work. This brings up the question of whether the black artists should sacrifice the authenticity of their own narrative for their artistic success. Artists, like David Hammons from 1960s Los Angeles, use universal symbols in their works so that their entire audience can relate. This choice allows him and others who follow the Hammonsian mode to gain more recognition in the art world. But moderating the narratives of the black struggle that is translated into visual art deprives the work of its truthfulness and continues a trend of obscuring the African American experience. This presents the danger of gradual censorship in African American art for the pleasure of their audience rather than the unrestricted freedom of expression needed to communicate the minority’s history in America. Yet artists, like John Riddle who is also from 1960s Los Angeles but chose to depict black empowerment with less universal symbols, divide their viewers into those who identify with the empowerment and those who cannot identify with it. Such artists run the risk of excluding audience members who feel uncomfortable or cannot understand the African American experience. Whether African American artists chose to take Riddle or Hammons approach, they face the difficulty in their identity as an artist before he/she even presents his/her work. This makes embracing the Hammonsian mode more appealing. However, the expense of recognition and favor of the audience prevents an accurate depiction of the African American experience.

To be American (unreal) or not to be American (real)?

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This week’s readings focused on the portrayal of Japanese Americans during their relocation to internment camps as a result of wartime racism during World War II. The lack of documentation of this tragedy presents an issue as it overlooks the history of the minority in America. This creates a sense of present and past invisibility for Japanese Americans as the War Relocation Authority (WRA) transferred the racial group out of the public eye and now, when one attempts to look back towards this dark period of American history, not enough documentation exists to explain the Japanese American experience of racism. The photographs that do exist waver on the line of reality and exaggeration. A conflict occurred among the photographers, government officials, artists, or internees who smuggled in cameras, to depict the reality of the internment experience. In the photographic book Born Free and Equal, Ansel Adams depicts close-up portraits of smiling Japanese Americans as schoolgirls and service, usually military, men and women. The department of WRA, which authorized this book, took a similar approach in its photography, using the smiling internees as war propaganda to show the American public that the program was working to create loyal American citizens out of the Japanese Americans. Adam’s purpose, although different, still overlooked the reality of internment camps to debunk the notion that Japanese Americans were treacherous and dangerous like the Japanese, the enemy of the U.S. in WWII. He sacrifices the authenticity of the Japanese American experience to disprove the racist stereotypes. But photographers, such as Dorothea Lange, an authorized photographer, and Toyo Miyatake, an internee who smuggled in a camera, captured the truth in the racism that existed behind the camp walls. Their concern was not to portray loyal American citizens but rather the unseen emotions and experience of the internees. Thus, the rare documentation that does exist struggles between distorting an unreal image of Japanese American internees as loyal assimilated citizens to hide the discrimination and segregation of the United States government and representing the real (realest to our knowledge) image of Japanese Americans as historical subjects of American hysteria and wartime racism.