Art Criticism and The Importance of Interpreting The Black Narrative

Abstract 

In this essay about art criticism, it is highlighted that the interpretation of art, especially the black narrative, is crucial and should be placed with deep consideration as it plays a significant role in the reality perceived by non-black individuals. The unfamiliarity of white critics and artists with the intellectual, conceptual, and artistic ideas that underlie the work of artists of color creates a space for dismissiveness, leading to a depreciation of art. The portrayal of black figures should be delicate and given a proper placement to avoid the breeding of a stereotypical narrative that is harmful to the worldwide platforms of art and art criticism.

Introduction

“The artist is the creator of beautiful things. The critic is he who can translate into another manner or a new material his impression of beautiful things. Thought and language are to the artist instruments of an art. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree the artist is in accord with himself. “ 

-OSCAR WILDE (preface) 

An excerpt from “The Picture of Dorian Gray” by Oscar Wilde, published in 1890 is still extremely relevant today. Interpretation is key when it comes to criticism, especially to the black narrative. Connotations are attached to the impressions critics receive based on their comprehension of the artists, or the dynamics of their lives. “The critic is he who can translate into another manner or a new material his  impression of beautiful things.” The translation of a work of art has a diverse visual language that varies between cultures, it is essential to art creation and art criticism that is based on perception. “It is the  spectator, and not life, that art really mirrors.” The thought and language that comes from a work of art comes from the perception of that spectator, and the human experience on an individual level is on a  diverse spectrum. It comes from experience and apprehension. In aestheticism, art philosophies on the notions of thought, emotion, and beauty. So the placement of the black narrative from the black experience and its interpretation in thought and emotion from art is important to the spaces they are a part of.   Chuck Styles, an African American artist stated: “​As artists, it is our job to document the times and display it how we choose. 100 or more years from now our art forms will give future generations insight on how we creatively captured our era, good or bad. And It may not always be pretty.​ We as folks have a gift  ingrained in our DNA to be able take our trauma and make poetry and beautiful things with it.” The creative impact of black art and artists defines the black community. That definition needs a proper placement, it should not be placed frivolously or carelessly, as the widespread interpretations of black culture could breed a stereotypical narrative that is harmful, worldwide, and within the platforms of art and art criticism. Art changes, but history does not. That history is documented and reiterated through the hands that pass it down the most, the voices that are most heard. 

From one of the extrinsically underrepresented communities, art is one of the most important forms of self-expression for the black community. Through a community that is majorly overlooked and misunderstood. Art that uses black figures created from outside of black culture could be placed into a deeper consideration, although it remains dependent on the depiction of the individuals in the work of art. This does not mean that black figures should be exclusively portrayed by black culture, it just means that black art and the portrayal of black figures is delicate. It plays a component in the reality perceived by non-black individuals. This portrayal should have deep consideration as to how they are portrayed. It acts as a way for black voices to be heard, seen, and interpreted. The majority of the black narrative that is taught has been dictated by white figures for hundreds of years. The white narrative has overwritten black history, while the black narrative, written from many perspectives, does not have enough credit to the perspectives of black culture. Many times this white narrative has been used to exploit and profit off of black culture. Similar to the controversial American author William Styron’s ‘Confessions of Nat Turner’, who wrote a slave narrative from the point of view of Nat Turner, a slave who was facing execution. When white culture takes on black culture, they take on a white savior narrative or portray themselves as oppressed while at the same time are the most oppressive towards black individuals. So how can white critics or artists and intellectuals place their judgment on the artwork made by black artists when they have never experienced the black narrative firsthand?​ Elizabeth Méndez Berry and Chi-hui Yang ​touch on this in their essay, “The Dominance of the White Male Critic”. Where critics described the film “​Green Book”, and claimed that it was not radical enough. Simone Leigh, an artist, suggested that critics could not identify the radicalism in her work because they are unfamiliar with the art, the artists, and themes she found inspiration from. Art critic Aruna D’Souza stated, “The problem is not that these critics lack some essential connection with the work of artists of color, it’s that many of them simply are not familiar with the intellectual, conceptual, and artistic ideas that underlie the work.” 

Unfamiliarity creates a space for dismissiveness, as people dismiss what they do not understand. Although they are not entirely to blame, people learn and understand by the human experience. An artist or critic cannot fully grasp what they have never experienced. The dynamic of those experiences can only be understood through emotion. Those who are outside of that emotion, do not fully understand how their lack of that emotion has its impact. It shows in the language they choose to use in topics that trigger a level of pain that they have simply never felt. White artists cannot depict black pain. 

Many will describe an emotion or black pain as over sensitivity, but we cannot deny that emotion is one of the strongest factors that is the force that drives the experience of art and how art is deciphered. When a critic imposes their opinions on thoughts without sentiment, there is an opportunity for depreciation, because there is no emotion attached. As well as the interpretation of blackness through white artists. Artists like Dana Shultz and Victor Arnautoff have raised controversy from their artwork and the spaces they have been presented in. These artworks may have not had the intent to harm, but the representation of black people in all aspects of creativity is vital to black culture, a community that has for a long time been represented by their setbacks. They are often expressed in positions of pain, enslavement, and many other forms of discrimination. Robertha Smith's interpreted the slaves in Victor Arnautoff’s murals as “pure” because of the symbolism in their “white” clothes. In a way it is almost as if she implied that the presence of whiteness removes the issue of the situation. Will the same message remain in Arnautoff’s murals if the slaves were not dressed in white, or if George Washington was removed? As well as the Native American perceived to be in “peaceful” sleep, when he is clearly facedown, on the dirt, in a position that is universally uncomfortable.  

There could be more representation of black figures and people of color who display their strength, their strength in their history, and talents. The significance of Dewey Crumpler's response murals in the same space as Victor Arautoff has this significance. If the black figure will exist in a space that dehumanizes them, there should at least be another form that displays their strength and community that also symbolizes their historic struggles. Artworks like this were especially significant in the Harlem Renaissance, where black figures are seen in portraits, in dance, who exist with one another in their community. Black artists in the Harlem Renaissance embraced literary, musical, theatrical, and ​visual arts​. 

They redefined “ Negro” the term that set the standard by white culture of African Americans to their heritage and to each other. They also sought to break free of the racist beliefs from the Victorian ​moral values and bourgeois who imposed the degradation of African American lives. The Harlem Renaissance movement had a significant impact on black literature and ​consciousness​ worldwide. It consisted of noteworthy intellect and talent and remarkably served as a symbolic cultural enlightenment. Although it goes unnoticed, in conversations with fellow students about the Harlem Renaissance they ask “What is it?”. The Harlem Renaissance should be taught more in schools. 

The importance to understand the history of the black narrative is vital, but it is not all about discrimination and controversy. It should not be all that calls the attention of critics and in the art world. The interpretation of black figures do not have to be in crop fields like in Victor Arnautoffs murals, or in a casket with a battered face like Dana Shultz, and they most definitely do not have to be portrayed as sexualized women with toothpaste all over their bodies like Kelley Walker, or in an article about the controversy that each of these artists created. Black figures and artists are more than the controversy that comes with them. These controversies provoke the narrative of discrimination, which offers less to the fact that it is not all that black culture is. It is important for the controversies to be talked about, but let's also give the same opportunity to more black artists themselves, not how their bodies are offensively portrayed.  

Although uncontroversial, Vernon Ellis painted a beautiful painting (donated by his sister Mr. George Cubberly to the Chrysler museum), yet it is tainted by the title “Negress.” The title may have been harmless, but it is an offensive term to refer to a black woman, and it goes to show how black people are seen through white eyes. It is why more black artists who portray black artists should be displayed more often. It is important to talk about black artists to present black figures in art that are created from the black culture, but also have them exist without racial connotations. Toni Morrison, an African American writer, stated in an interview in response to the question of how black writers write in a world dominated by, and informed by their relationship to white culture. Morrison responded with: “by trying to alter the language, simply to free it up, not to repress it or confine it, but to open it up. Tease it. Blast its racist straitjacket. I wrote a story entitled 'Recitatif:' in which there are two little girls in an orphanage, one white and one black. But the reader doesn't know which is white and which is black. I use class codes, but no racial codes.” as Morrison further said without the use of racial codes 'was to be forced as a writer not to be lazy and rely on obvious codes. soon as I say, black woman... I can rest on or provoke predictable responses, but if I leave it out then I have to talk about her in a complicated way - as a person.' (Toni Morrison, the art of Fiction the Paris review, fall 1993).  

This leads to a great appreciation in critics like John Yau who broke down the work of Kerry James Marshall as the artwork itself, although he acknowledged the racial tones, Yau described the symbolism of the work as well as the techniques behind it. Yet at the same time he mentioned the absence of white figures in Marshall's work, which was an unnecessary statement. Where the eye is so accustomed to the display of white figures in the art that the absence of it is noticed, but the absence of black figures in art is never put into consideration. In the future, we look forward to a time where black art and people as well as other forms of art from people of color will exist in space as they are, for their beauty and expertise, and not for the racial connotations associated with it. Just as the impact and meaning of African American artist Nick Cave’s sound suits wear “alternate skins” as if it is armor. Protecting them from the connotations of race and gender. Which are completely disguised, and prejudicial prejudgment is eliminated. Where the black narrative is finally defined without constant controversy. 

Conclusion

In conclusion, the interpretation of art, particularly the black narrative, plays a vital role in how non-black individuals perceive reality. The unfamiliarity of white critics and artists with the intellectual, conceptual, and artistic ideas that underlie the work of artists of color leads to dismissiveness and can result in the depreciation of art. The portrayal of black figures in art should be given proper consideration and placement to avoid the breeding of harmful stereotypical narratives. The creative impact of black art and artists defines the black community, and their voices should be heard, seen, and interpreted with care. The white narrative has often overwritten black history, and it is crucial to give credit to the perspectives of black culture. Unfamiliarity creates a space for dismissiveness, and it is important for white critics and artists to educate themselves on the intellectual, conceptual, and artistic ideas that underlie the work of artists of color. Art changes, but history does not, and the portrayal of the black narrative plays a significant role in the platforms of art and art criticism.

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