Visual Voice: Who Controls Black Representation?
Sometimes art reflects society, and sometimes it challenges us. Whether an image we examine serves as a lens, a filter or a mirror depends upon who has control. The artist and the subjects send and receive messages, each communicating what (and who) has meaning and value. The viewer 鈥� consumer 鈥� has their own influence in the process, as well. Rarely is the power and control in this interchange equally distributed.
Stereotypes may not be created by the art and media we consume, but these modes of representation and interpretation serve to amplify our visions of each other. The visions influence our decisions and behaviors 鈥� sometimes consciously, sometimes not.
The second day of Kwanzaa, the pan-African harvest festival that emerged from the movements for Black Power in the 1960鈥檚, is dedicated to self-determination. Kujichagulia embodies the sense of control that was denied people of color throughout much of the history of what we know as western civilization. The challenge 鈥渢o define ourselves, name ourselves, create for ourselves and speak for ourselves鈥� is rooted in the struggle for control of the images presented and accepted in society.
Throughout the history of what we know as western civilization, people of color have struggled for self-determination in all aspects of life 鈥� including control of their own images presented and accepted in society.
When we shake our heads in disbelief at injustice and struggle to understand how tragedy or inhumanity endure, we have to consider critically the source of the perceptions that contribute to such incidents. What images pervade our communities? In our media? In our art? What qualities do they convey about people of color?
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Sometimes art reflects society, and sometimes it challenges us. Whether an image we examine serves as a lens, a filter or a mirror depends upon who has control. The artist and the subjects send and receive messages, each communicating what (and who) has meaning and value. The viewer 鈥� consumer 鈥� has their own influence in the process, as well. Rarely is the power and control in this interchange equally distributed.
Stereotypes may not be created by the art and media we consume, but these modes of representation and interpretation serve to amplify our visions of each other. The visions influence our decisions and behaviors 鈥� sometimes consciously, sometimes not.
The second day of Kwanzaa, the pan-African harvest festival that emerged from the movements for Black Power in the 1960鈥檚, is dedicated to self-determination. Kujichagulia embodies the sense of control that was denied people of color throughout much of the history of what we know as western civilization. The challenge 鈥渢o define ourselves, name ourselves, create for ourselves and speak for ourselves鈥� is rooted in the struggle for control of the images presented and accepted in society.
Throughout the history of what we know as western civilization, people of color have struggled for self-determination in all aspects of life 鈥� including control of their own images presented and accepted in society.
When we shake our heads in disbelief at injustice and struggle to understand how tragedy or inhumanity endure, we have to consider critically the source of the perceptions that contribute to such incidents. What images pervade our communities? In our media? In our art? What qualities do they convey about people of color?
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Talley Dunn Gallery is honored to announce an exhibition featuring the works of the artists in the 2023-24 Talley Dunn Gallery Equity in the Arts Fellowship cohort.
