Watching the Dominant: The Avant-Garde and Kitsch in Art and Everything Else

"This reminded me of Binyavanga Wainaina's satirical piece, How to Write About Africa. Wainaina picks apart examples of how African populations, landscapes, and cultures are so commonly portrayed and represented in western books and movies. He mentions how the people are animalized, made to seem all of the same molds, and how animals and the landscape are personified and animated. He goes through stereotypes and how the elements of African presentation in western culture are calculated to appeal to the western populations and entice readers/viewers (because they become mystified, sympathetic, and fascinated with the carefully calculated view of Africa). The re-framing is much like that of the artifacts discussed by Dean.” -L. Sprague

This concept is one that followed me through this week’s readings. I find odd parallels between race relations and art evaluation constantly, so during my study of last week’s assigned articles this idea was jumping around in my head. I have not fully refined my thoughts, but I thought I’d try to get something down on paper. 

Exhibit A - Taken from Fashion Bomb Daily

The truth that lies within the dehumanization of black and brown bodies through the projection of animalistic characteristics is a huge part of American culture. Though it is not noticeable to the average viewer, examples of this reframing are everywhere; see exhibits A, B, and C. In addition to the unfortunate but intentional animalizing of black people, those in power find value in demonizing black victims as a way of justifying the pain and suffering they have endured. What's interesting though, is the way white criminals are portrayed in comparison to black victims. If you need proof that this phenomenon exists, you needn't look further than a news headline. 

Exhibit B - Taken from Watching the Watchers 

Exhibit C - Taken from When The Media
Treats White Suspects And Killers Better
Than Black Victims

This discussion of "art," culture, and privilege really plays into this growing trend of animating black individuals as a way of perpetuating stereotypes and garnering appeal to western populations. What's true in art, holds true in day to day life; it is easy to pluck something from its original place and disregard its original purpose to call it art. Similarly, it easy to separate the "wheat" from the "chaff" by implicitly describing the undesired element as "other."

It is human nature to use differences as a way to identify oneself from another. Because of this innate need to self-group, differences become essential to the forming of one identity to another. As Laura stated, dominant cultures "can control the production and distribution of art." In this case, the dominant cultures are also responsible for the production and distribution of dangerous stereotypes which are perpetuated through fashion, media, sports, law, and of course, art.

This human desire to separate and create group identities is the reason the avant-garde exists. Those with power sought to separate themselves from the plebes; what better way to do that than through art? Through creating a distinction between high and low art, a figurative sieve was developed, destined to separate the wheat from the chaff forever. The structures put in place to distinguish the avant-garde from kitsch are the same structures that appropriate African art, perpetually animalize black people, and serve to separate us through these brutal and bloody race wars that are often manifested as hidden battles in plain sight.