the social phenomenological (subjectivity, collective experience, and their relationships to race concepts), 2. Indispensable role of form first and second section introduces two means to establish and legitimate black representational space- 1. "the other regards it as in some measure elective" (32) "the racialization of black difference strictly as an objectivizing, persecutory action" 2. This reading ignores the ample evidence that the image of blackness Fanon deftly constructs in Black Skin, White Masks betrays its self-made, even compulsive qualities" we must accept two outlooks- 1. ![]() to create a space within a context dominated by such habits for other types of identification-keyed to their specificity as artworks" A strategic formalism, "one interested in the peculiarity of works within their varied contexts of meaning, responsive to the specific artistic operations that often manifest relations and differences to which culturalist regimes of reception must remain blind" (32)įanon's Black Skin, White Mask "Fanon's insight into representation are invaluable for their intersubjective approach and at times astonishing optimism" racialization and art spectatorship " the black body, objectified in its blackness, functions as a black representational space par excellence" "the standard reading of Fanon's text views the resultant space-which Fanon calls "consciousness," though many misname it "race consciousness"-solely as a remnant of racism. " What makes black art black?" "What functions have to be performed successfully in order to secure that identification? What legitimates that identification as a positive one? And, What other kinds of work does the positive racial identification of an artwork permit one to do?" (31) " The work of many contemporary black artists reveals that, for them, black is but one mode among the many in which they elect to work" "This necessitates a historical vision of black art that assays the present's voice a vision that understands this part in terms of both limitations imposed and freedoms won" (31) Du Bois and his interlocutors " I want to suggest that by thinking black representational space historically-as a set of practices diligently maintained over years of intense work and debate, but inadequate critical self-examination- we can better understand how blackness itself has become 'an obstacle to going ahead' for many who take art to be a function of change" (30) "the second function designates a conceptual terrain, outlined by philosophical norms, wherein the politics of representation is itself represented as if by nature it is an intracultural matter" " Such constant policing of black representational spaces not only preserves it bur renaturalizes it" (29-30)Įarly twentieth-century discussions on black aesthetics and art, notably mobilized by W.E.B. "it designates a cultural territory whose coming about is the reward of success in what Hall identifies as the "struggle over relations of representation," which is to say the means of production of "black images"" 2. ![]() " Black representational spacecan only be thought as the effect of a politics of representation raging ever since "blackness" could be proposed as the starting point of a certain mode or type of artistic depiction" two functions: 1. " A shift from a set of relations of representation to a politics of representation" ( Stuart Hall) "thus the recognition of difference came to challenge the hegemony based on 'the innocent notion of an essential black subject'" arguing that " the black subject cannot be represented without reference to the divisions of class, gender, sexuality, and ethnicity" thereby "destabilizing 'particular conceptions of black masculinity'" (28) " But if we fixate too heavily on the transitional nature of this development, it becomes harder both to ask certain crucial questions about the current embattled state of "black art" and to posit replies that are aptly historical" (29) The ambivalent role of interpellation, race as constitutional instability " This chapter comprises a speculative historical analysis of the category's attainment of an authority with which it would articulate the black artist's project before she, and it, have the change to speak for themselves" (28) "One of my objectives here is to underscore the losses entailed by mistaking the appreciably black spirit of this art for a wholesale enlistment in a category that would become its only context" (27) Key terms: Black art, black representational space, politics of representation, historical vision of black art, strategic formalism, epidermalization, ![]() English, Darby, "Beyond Black Representational Space," How to See a Work of Art in Total Darkness, The MIT Press, 2007
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