Black Women in Art
Historically and currently African American women use art as a way to express themselves, their emotions and as an act of resistance. In this paper, I will discuss the various ways two very influential artists, Laurie Cooper and Lorna Simpson, use imagery to uncover and forefront the various forms of oppression that affect their lives as African American women. Since the late 1970s, African American art, as a form of self expression, explores issues which concern African peoples worldwide. During this time period, African American artists use symbols which represent the struggles, despair, hopes and dreams of a people striving to debunk prominent stereotypes and dismantle the intersecting oppressions of race, class and gender.
Despite the long history of African American art, many black artists in contemporary society still have a difficult time getting their art viewed or accepted by the masses. Society, in general, tends to look at African art as ethnic, trivial, simple, folk art, perhaps even collectable, but not worthy of true in-depth exploration of fine art accreditation. However, Laurie Cooper and Lorna Simpson disrupt these perceptions in their art.
Lorna Simpson, a photographer, was born in New York during the sixties. Still residing there today, she remains active in the art world. Simpson brings much attention to a cause near and dear to her, the “situation of black women in society.” The ambiguity in her photographs allows the viewer to evaluate the meaning of her work and to draw their own conclusion with her spirit in mind. An excellent example of this is in her piece Counting(1991). The Albright-Knox Art Gallery helps interpret the piece:
Lorna Simpson’s work, Counting, contains three images: a fragment of a woman’s body, a small brick hut, and a group of braids. The figure is anonymous and wears a white shift, Simpson’s preferred costume for her models. She likes the simplicity; she believes that it indicates what she terms "femaleness," without bringing up issues of fashion; and she also likes the fact that there are many possible interpretations for such an outfit. The times to the right of the figure might indicate work shifts, but the schedules are unrealistic if considered closely. Other possibilities for what they might mean are open to viewer interpretation.
The central image shows a smoke house in Sout...
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...e, the work is not answer oriented. It’s intentionally left open-ended. There’s not a resolution that just solves everything.
This statement leaves the viewer free to form their own conclusion and remain open to various interpretations. Lorna Simpson and Laurie Cooper help to change the world for the better by addressing confrontational, silenced issues by opening the eyes of the world to all of the “isms” that plague society and gives us hope for the future.
Both women subvert traditional imagery, physically and psychologically in prominent historic and current representations of African American’s historically and currently in American society. This subversion allows their artwork to escape the marginalization of African American art as seemingly “ethnic folk art” and exposes their works as tools for social progression.
Bibliography
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4. Jorge Arango. “At Home with Lorna Simpson.” Essence Magazine, 2002, p.172
5. Audre Lorde. “Beyond the Margins” Words of Fire, The New Press, 1995, p.287
The black women’s interaction with her oppressive environment during Revolutionary period or the antebellum America was the only way of her survival. Playing her role, and being part of her community that is not always pleasant takes a lot of courage, and optimism for better tomorrow. The autonomy of a slave women still existed even if most of her natural rights were taken. As opposed to her counterparts
Did you know that in 1960, Betye Saar collected pictures of Aunt Jemima, Uncle Tom, and Little Black Sambo including other African American figures in areas that are also invalid with folk culture and advertising? Since, Saar collected pictures from the folk cultures and advertising she also makes many collages including assemblages, changing these into social protest statements. When her great-aunt passed away, Saar started assembling and collecting memorabilia from her family and created her personal assemblages which she gathered from nostalgic mementos of her great aunt’s life.
In conclusion, scholars have come to identity “Ethiopia Awakening” as one of Fuller’s most meaningful works. 34 The sculpture demonstrated multiple and diverse meanings. “Ethiopia Awakening” embodied symbolic language that pointed to the struggles of contemporary African Americans. Fuller’s use of symbolic language demonstrated that like music and religion, art has the power to express emotion. Today, “Ethiopia Awakening” stands in the reading room of the Manuscripts, Archives, and Rare Books Division at the Schomburg Center for Research in Black Culture in New York City. The sculpture reminds researchers to recover, document, write and share African American history.
While visiting the Nasher Museum of Art at Duke University, the works of Archibald Motley caught my attention. Two paintings by the same artist are the focus of this compare and contrast paper. Both are oil paintings during the same time period. Portrait of my Grandmother was painted in 1922 and Hot Rhythm was painted in 1934 only 12 years later. Although the paintings are by the same artist and have similarities, there are also differences which make the artist’s work interesting. Portrait of My Grandmother and Hot Rhythm are two paintings by Motley that capture different emotions (aspects would be a better word) of African Americans.
How does one embrace the message and soul of artwork when you can’t get passed the color of skin in the portraits? Two barrier breaking retrospective artists born with more than 2,899 miles between them have beat down the walls in the art world opening up endless opportunities for female artist today. Carrie Mae Weems and Lorna Simpson specialize in catching the viewer’s eye and penetrating their feelings towards issues of culture, politics, equality, and feminism. It is well established that these woman specialize in identifying problems in their artwork, both artists seem to struggle with not being able to avoid the ignorant eye of stereotyping because they use African American Models in their artwork. Carrie Mae Weems doesn’t see her artwork
The Black arts movement created a new medium that had its own distinct black aesthetic to bring about and inspire revolutionary change. Karenga’s essay “Black Cultural Nationalism” outlines three distinct components that black art must meet in order to be true black art. These three components are that “it must be functional, collective, and committing.” What this means is that black art must serve a purpose towards revolutionary change. It cannot simple be “art for arts sake” but rather must be a means by which artists make revolution through a medium that awakens, invigorates, and inspires revolution with in the black community. Gil Scott-Heron’s poem “The Revolution Will Not Be Televised” commits its audience to a revolutionary awakening by emphasizing the importance of being a part of this change, which ties into what Maulana Karenga asserts about the “function of art is to make
Kara Walker’s piece titled Gone: An Historical Romance of a Civil War as It Occurred b 'tween the Dusky Thighs of One Young Negress and Her Heart represents discrimination on basis of race that happened during the period of slavery. The medium Walker specializes in using paper in her artwork. This piece is currently exhibited in the Museum of Modern Art. Even though this artwork depicts slavery, discrimination is still an issue today in America, the country where people are supposedly free and equal. Even though slavery ended in the 19th century, we still see hints of racial discrimination for African Americans in our society. Walker uses color, image composition, and iconography to point out evidence of racial inequality that existed in the
and the academic endeavour, to illuminate the experiences of African American women and to theorize from the materiality of their lives to broader issues of political economy, family, representation and transformation” (Mullings, page xi)
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In order to add something to their lives, [black families] decorated their tenements and their homes in all of these colors. I've been asked, is anyone in my family artistically inclined? I've always felt ashamed of my response and I always said no, not realizing that my artistic sensibility came from this ambiance.... It's only in retrospect that I realized I was surrounded by art. You'd walk Seventh Avenue and took in the windows and you'd see all these colors in the depths of the depression. All these colors.
These specific ploys that are performed by the Guerrilla Girls are in the way they dress, the masks they wear, pseudonymous names of dead women artists and the witty factual evidence in their works. These are all examples to evoke audiences in challenging not only the art society which dictates the value and worth of women in art, but also to confront yourself and your own beliefs in a way that makes audiences rethink these growing issues. Over the last twenty years, the Guerrilla Girls have established a strong following due to the fact that they challenged and consistently exhibited a strong supportive subject matter that defies societal expectations. In an interview “We reclaimed the word girl because it was so often used to belittle grown women. We also wanted to make older feminists sit up and notice us since being anti- “girl” was one of their issues....
The term “stereotype” originally referred to a stamp used in the printing industry to make multiple copies from one single block. The first one to adopt this notion, to describe the way society categorized people, was social psychologist Walter Lippmann in 1922, in his book on media democracy, Public Opinion. He described the term as “the picture (of the world) that a person has in his/her head”. He was convinced that a picture it is definite, and reduces the world to simple characteristics which are represented as permanent by nature (Lippmann, 1997 [1922], p. 233).
The months and even the years prior to the Harlem Renaissance were very bleak and the future of life in America for African-Americans didn’t seem to bode very well. Well, progression towards and reaching the era known as the Harlem Renaissance changed the whole perception of the future of the African-American people as well as life for the group as we know it today. It can be best described by George Hutchinson as ”a blossoming (c. 1918–37) of African American culture, particularly in the creative arts, and the most influential movement in African American literary history [that took place specifically in Harlem]. Embracing literary, musical, theatrical, and visual arts.”. With an increase in the focus of “Black culture”, America seems to be changing its norms with the introduction of this new movement or rather this new “era”.
In many circles of the world, various groups of people distinguish themselves from one another through religion, language, culture, and sometimes gender. People also develop stereotypes about a particular group of people in order to identify them. However, most of the time, these stereotypes hold true for only some members of a group. Sometimes, these stereotypes are just plain misconceptions that do not even apply to the group it claims to. Stereotypes are placed on people because it is a way to easily identify what type of person or ethnicity an individual is. At one point in time, these stereotypes may have been true; however, in today’s modern society, most of these stereotypes are outdated and false, which leads them to turn into misconceptions. Usually, stereotypes are utilized to humiliate and degrade the person or group; they also do not provide any beneficial outcomes. Stereotypes focus on how a particular group acts because of the radical ideas and actions of the few, how a particular group looks, or how that group is physically lacking in some way. These stereotypes often lead to conflicts because the group does not appreciate the way it is being perceived. Seldom are the stereotypes placed on a group of people truthful and accurate. Some hardly even apply to the particular group people it claims to. It is true that how people are perceived has a big impact on how other individuals interact with them; however, people are not perceiving these groups correctly.
The Black Arts movement refers to a period of “furious flowering” of African American creativity beginning in the mid-1960’s and continuing through much of the 1970’s (Perceptions of Black). Linked both chronologically and ideologically with the Black Power Movement, The BAM recognized the idea of two cultural Americas: one black and one white. The BAM pressed for the creation of a distinctive Black Aesthetic in which black artists created for black audiences. The movement saw artistic production as the key to revising Black American’s perceptions of themselves, thus the Black Aesthetic was believed to be an integral component of the economic, political, and cultural empowerment of the Black community. The concepts of Black Power, Nationalism, Community, and Performance all influenced the formation of this national movement, and it proliferated through community institutions, theatrical performance, literature, and music.