Why Black Art Must Matter to Black Lives

Why Black Art Must Matter to Black Lives
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Black Power, 2006 by Hank Willis Thomas

Black Power, 2006 by Hank Willis Thomas

Credit: aperture.org

“Without art, we don’t have empathy, and without empathy, we don’t have justice.” --Darren Walker President, Ford Foundation

The ongoing civil rights struggle has given birth to a bevy of new voices in a number of different arenas. Writers, photo journalists, filmmakers, lawyers, activists and organizers, policy gurus, strategists, even political hopefuls have all found space and spotlight on a stage where, just a few years earlier, no one may have noticed them or placed an appropriate amount of value in the work they are doing. To be fair, it’s quite possible that, with regard to value, there still may be a lag in terms of the market catching up in its appreciation for the intellectual property, visual and otherwise, that so many storytellers are advancing around black lives. But, there can be no doubt that the shift in discourse to intersectionality and systemic oppression has amplified the work of folks who are expressing our collective experience, even non-traditionally.

It makes sense: #blacklivesmatter, arguably the most impactful hashtag/rallying cry of an entire generation is, at its heart, an expression. It is both cry and proclamation. A bold and defiant declaration in the face of everything suggesting otherwise. The storytellers referenced earlier have chosen the respective mediums of their expression and seized upon an opening where the public appears to have taken a greater interest in such expression.

But what about true contemporary artists? High art is one of those things that only pockets of our community intentionally experience. Beyond the occasional use of a Kehinde Wiley piece to up ones “coolness” cache, very few people of color have regular access to galleries or time to explore visiting exhibits at local museums, thus limiting their exposure to high art or our discovery of new artists’ messages. Hip hop culture has, in recent years, popularized Miami Art Basel, but the unfortunate irony is that it remains very much out of reach for most and is still something principally reserved for the upper-crust. Accordingly, our exposure to what we believe is high contemporary art is often confined to social media, street art, and other pieces that while aesthetically intriguing, don’t hold much value in a contemporary art space which is driven by more formal standards and a stringent, even while subtle, academic rigor.

There is, however, an intrinsic (and historical) value in us actively developing an appreciation for art in this particular moment. In antiquity, art was used as a propaganda arm by monarchs seeking to affect the mood of their subjects through large statuary projects and grandiose relief narratives. Presently, contemporary artists are positioned to push certain conversations forward through their own versions of messaging, but this is done primarily in safe spaces away from the disenfranchised communities that fuel that messaging. The heavy lift of activism or revolution is often left to an idealist audience ill-equipped to affect the minutiae of change needed to truly uplift communities. Several contemporary artists have debuted provocative pieces around social justice that seek to bridge this gap and even more have sought to leverage their influence to impact relevant discussion. Hank Willis Thomas is an example of someone who has started to penetrate that veneer with his “For Freedoms” campaign, the first artist-run super PAC that is intended to use art as an inspiration for deeper political discourse. There are also artists like Stephon Senegal who has sought to move the needle through public art installations within economically burdened communities. His series of installations titled No. 1792 incorporates martial themes around resource competition, vigilance, and even militancy. Likewise, other artists like Glenn Ligon, Vivian E. Browne, Dindga McCannon, and Faith Ringold have all used their respective work as commentary on everything from poverty, racism, class, to black feminism. The shared intention, presumably, is to place art in spaces that engage and create conversations among core members of the community.

As with all things, this is not a space that is without challenges. Intersectionality is welcome, and art can be a vehicle that penetrates privilege, giving access to those with influence, power, and resources. However, there is the danger of misinterpretation, co-opting, and cultural appropriation. The balance there has to be intentional and instructive at the same time and requires consistent engagement between messenger and recipient.

Civil rights, fundamentally, is about the equality of access and of outcomes. Art is the expression of life, imagined through the lens of the artist. When we appreciate the expression of black artists as part of our contemporary discourse, we allow for a new level of discussion and more opportunities to move the needle in different and creative ways. We also open ourselves and those around us to new possibilities in career pursuits, historical analysis, inspiration, and avenues of self-care. As our movement continues, it only makes sense that we make space for contemporary Black artists and their work as an important part in it.

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