Marginalization Of African American Art example essay topic

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 1970's, 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 South Carolina that was also used as a slave hut.

This adds a reference to the previous status of African-American women in this country, where slavery was first acknowledged about 310 years ago (as indicated by the number in the box to the left). It can be inferred that perhaps the number of bricks listed is the number of bricks used in the construction of the building. Simpson first began putting hair in her work around 1990, and it can lead to many different interpretations. The only clue she provides to viewers is an accounting of the number of twists, braids, and locks. It has been suggested that the hair represents the age of an old woman, presumably one who has seen and experienced much in her lifetime. The way Simpson challenges the viewer to think, her willingness to be provocative, confrontational and intelligent are a few things which enable her to stand out as a leader of African American female artists.

Laurie Cooper is another outstanding black female artist. She challenges the shame and embarrassment society has taught her to feel for being a woman of color by shedding that ideology both figuratively and literally within her work. Laurie Cooper is at the front line of Pennsylvania's art community raising society's awareness regarding issues of racism and self liberation. In Cooper's series, Facing Reality, she features two prints. One of a black woman with a look of agony and shame on her face and a white mask crumbling off and conversely, in the second print, it is a man, wearing a face of anger and contempt and is seen removing his mask intentionally.

These two prints illustrate a very interesting dichotomy. The man removes his mask with power and intent, the woman is ashamed and afraid to have hers falling off. This truly exemplifies the ongoing struggle of equality not simply between white men and black women, but between black men and black women, which highlights the need to address sexism in the African American community. The uncertainty the female shows on her face in Facing Reality (the woman) is an excellent reflection of the compounding oppressions of race, class and gender. If she becomes free of the mask, she will be left exposed. However, this is just a small part and only the beginning of personal liberation.

In "Words of Fire" Audre Lorde explains, "For as long as any difference between us means one of us must be inferior, then the recognition of any difference must be fraught with guilt". (287) In Facing Reality (the man), he takes off his mask intentionally giving the viewer the impression he will not be held down or denied his ancestry. He possesses masculine qualities that render him "stronger" and "more confidant" than his female counterpart. This alludes to the way society tends to perceive men, as action takers, fighters, and people endowed with power. Simultaneously, he sheds a white mask and embraces his heritage to exist as a black man in a "white thinking" America. Unlike Lorna Simpson, Cooper does not use ambiguity in her work.

She incorporates the element of fantasy and wonder in her work which leaves the viewer in a quasi dreamlike state. "She likes the juxtaposition of more regular, ordinary kind of background with something totally striking and different - almost out of place - that draws you in and makes you wonder". Both of these women make strides towards a social awakening and use their art as a vehicle for social change. They bring to life the thoughts and ideas that need to be addressed in order for society to progress. Black women in art may not have the most powerful platform to stand on but they bear witness to the struggles of black women with some of the strongest voices to speak with and the most to say. Lorna Simpson states: I would hate to think my work is perceived as a portrayal of victimization.

It is not enough for me to relate an experience through the work only to have a viewer say 'Oh, that's too bad,' and walk away from it. I want to relate the dynamics of a situation, both how that situation occurs and how it affects people's lives. In another sense, 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

1.2. 3.4. Jorge Aran go. "At Home with Lorna Simpson". Essence Magazine, 2002, p.
1725. Audre Lorde. "Beyond the Margins" Words of Fire, The New Press, 1995, p.