Showing posts with label Idea. Show all posts
Showing posts with label Idea. Show all posts

Thursday, April 8, 2010

4/8/10: Idea #10: Racial Slurs

Racial Slur Database

I never knew there were so many racial slurs. Some of them are funny but they probably shouldn't be because someone is offended by them. I think it is interesting that some slurs are actually used as self identification. For example, I know many Filipino people who all themselves flip. Apparently this is not acceptable.

You can search certain words too. I decided to look up mud because I have a piece with dirt/mud:

Mud DuckBlacksDark skin. See Mud People.
Mud PeopleBlacksSentiment that only Wasps are born with souls, everyone else God made from mud. Also suggests life without meaning, value or worth. Used by the church that was attended by Mr. Smith - the hate killer that shot up a bunch of Jews and Blacks in the summer of '99.
Mud TurtleBlacksBeing bottom-feeders; Mud "musk" turtles have a distinct odor and are mud-colored
BlackfootFrenchPossible reference to French-Indian War and/or WW1 and the general sense of French cowardess during wars. Since they had no boots due to the trenches eating them away, when they ran their feet became all covered in mud. Or French born in North Africa.
MuckadooBlacksShawnee, Native American term for "Mud person"
MudMixed RacesBlack/White mix, or white women who date black men
Mud FlapsBlacksBlack people who have large lips.
Mud SharkWhitesWhite girls who date black men.


































































  


When you put in the term "mixed" the list is really long for racial slurs that are used against various races. I have heard of several black/white mixed people referring to themselves as "mulatto". It directly translates to Mule, offspring of a donkey and a horse. Racial/ethnic slurs are also called ethnophaulisms



BumblebeeMixed RacesBlack/Oriental couple or mixed child.
HalfroMixed RacesWhite/Black Mixed Race
McSpicMixed RacesMixed race of Irish and Hispanics
MullatoMixed RacesBlack/White mix, usually. The Spanish "Mullato" translates to "like a mule." Could refer to any mixed breed.
MuttMixed RacesAny mix of races. The regular use of 'mutt' refers to dogs of mixed breed.
Race-TraitorMixed RacesWhite/Any other race mix. Term used by whites for any person of mixed race or who marries a non-white..

Thursday, April 1, 2010

4/1/10: Idea #9: Blackface

A closer look into blackface. Just to have some historical grounding and understanding since my work can fall into this perception.

Wiki:
Blackface is theatrical makeup used in the United States in minstrel shows, and later vaudeville, and around the world, where the practice became popular during the 19th century


A more contemporary depiction:
Lynette Mager "Black face" 2002

This picture is interesting. I wonder what they were thinking. Apparently it wasn't that this would be offensive. It is harmless enough, right? They want to save the little black kids in Africa since they can't go to school. Quote from a blog post about it: "I was encountered with a picture of a German child whose face was smeared in what looked like mud, and the headline translated as "I’m waiting for my last day in school, the children in Africa still for their first one." The second headline said that “This Ad-campaign is developed pro bono by the agency Jung von Matt/Alster shows four German kids who appeal for solidarity with their contemporaries in Afrika”. So, basically UNICEF is stating that all African children are un-educated, and they are using this to "save Africa".... blog

Or what about when Tyra Banks put her models through black face and other depictions of races/cultures they did not belong in.

I think that it can be utilized to make a certain statement but it needs to be one with awareness.

Thursday, March 25, 2010

3/25/10: Idea #8: Materials

After critique, peer discussion and self evaluation I have decided that the most successful approach I have done was with the black and white paint. How can I vary this approach? I am interested in the materials and different ways of shooting/presenting.

Bernie Searle covered herself in spices.










Nayland Blake used frosting.









Bruce Nauman used paint









 These are artists Ive researched in the past and its important to know what others have done and why. Searle's was most relevant to her own culture, referring to the spice trade as a south african. I am not sure if I really relate to any one material.

Black/dark Materials
  •  black tape/electric tape
  •  chocolate frosting
  • coffee grounds?
  • dirt/mud
  • fur/hair
  • paint? (different approach)
  • chocolate syrup

White/light Materials
  • milk
  • flour
  • vanilla frosting
  • powder
  • cotton (interesting reference to slavery)
  • feathers
  • paint? (different approach)
  • toilet paper

What other materials would be interesting? What about the background/setting?

Wednesday, March 10, 2010

3/11/10: Idea #7: Rally

I have been very fortunate to have so much material relating to discrimination as of late. Not that it is a positive thing that so many ill events are happening. It is fueling my senior thesis. Today we held an anti-discrimination rally at VCU in response to Cuccinelli's "advice" to rescind policies protecting homosexuals, gender identity and gender expression. He was ridiculous to think that there wouldn't be a booming response from the students and the community. I will use this to my advantage. The ironic thing is that just last week we had a peace rally in response to the crazy Westboro Baptist group. We didn't think that we would be back so soon to sound out for our rights.

ral·ly 1 (rl)
v. ral·lied, ral·ly·ing, ral·lies
v.tr.
1. To call together for a common purpose; assemble: rally troops at a parade ground.
2. To reassemble and restore to order: rally scattered forces.
3. To rouse or revive from inactivity or decline: paused to refresh themselves and rally their strength.
v.intr.
1. To come together for a common purpose.
2. To join in an effort for a common cause: "In the terror and confusion of change, society rallied round the kings" (Garrett Mattingly).
3. To recover abruptly from a setback or disadvantage: The stock market declined, then rallied. The home team rallied in the ninth inning to win the game.
4. To show sudden improvement in health or spirits.
5. Sports To exchange several strokes before a point is won, as in tennis. (freedictionary.com)

For my purposes, a rally is a demonstration. "A demonstration is a form of nonviolent action by groups of people in favor of a political or other cause, normally consisting of walking in a march and a meeting (rally) to hear speakers. Actions such as blockades and sit-ins may also be referred to as demonstrations" (Wikipedia). What is particularly important to me is that it is a form of activism and maybe even a performance art. As Americans, we have the right to assemble peacefully, as stated in our first amendment.I came across this idea of protest art as well, dealing with the signs that are made for these rallies and marches.

 Copyright Cassie Mulheron. VCU Counter protest to Westboro Group, Anti-hate Rally 3/2/2010

Thursday, March 4, 2010

3/4/10: Idea #6: Artist Statement

The mere idea of writing an artist statement brings me anxiety. You have to find a really concise way to explain what you are doing that, A) Explains your concept, B) Is mildly intelligent and C) Isn't too short or too long.... Yeah. 

Last Semesters artist statement:

In general, my work focuses on different aspects of my personal identity, whether racial, sexual or gender.   This body of work focuses specifically on my experience and critique of being multi-racial, more specifically as “mulatto”. I do not feel as if I am drawn to any particular culture and am interested what expectations are placed on being culturally black or white. There are social pressures to choose a side when one is multi-racial. To explore what biracialism means to me, I explore performance art, still photography and the ideas of racial binaries and images in sequence.

I began realizing a while ago that it was more than just self portraiture or self identity that I was interested in. My work ties together but I don't feel as if my older artist statement really grasps where I am going with everything. The statement is relevant because everything stated is true and affects how I function daily, but is missing something. I think the lightbulb sort of turned on when I started talking with Tom and my peers about this idea of othering. I don't want to get too technical in my artist statement because I don't want to lose any of my audience that may not be familiar with the research. 


Othering

I have come to the realization that the parts of my identity that I take pride and comfort in set me apart from what is considered normal and acceptable in our society. I never really felt as if I was part of any particular culture and would rather stay neutral and be different. In the simplest of terms, the "other" is one who is different. People are often dehumanized in situations where certain aspects of their identity are not the majority and are seen as opposite or even inferior. Society puts these pressures on minority groups and further marginalizes them day by day. I am interested in who these "others" are and how discrimination affects their lives. 

I feel like I have come a long way from last semester. I feel more comfortable with explaining my concept. I am interested to present at midterm critique because Tom records our "performances". I think its important as an artist to be able to speak to your audience clearly and be aware of your actions. I have a feeling that it will be odd watching the video afterwards but look forward to it.

Thursday, February 25, 2010

2/25/10: Idea #5- Othering

Various Definitions:
  • Othering is a way of defining and securing one’s own positive identity through the stigmatization of an "other."  Whatever the markers of social differentiation that shape the meaning of "us" and "them," whether they are racial, geographic, ethnic, economic or ideological, there is always the danger that they will become the basis for a self-affirmation that depends upon the denigration of the other group.  
  • Simplistic recognition of normal human diversity, combined with ethnocentric thinking can lead to a tendency to depict ‘others’ [women, natives, gorillas...] as somehow, categorically, topologically, intrinsically, DIFFERENT.
  • This practice of comparing ourselves to others and AT THE SAME TIME DISTANCING ourselves from them is called ‘OTHERING’, by which we mean positing that humans and societies whose life and historical experiences vary from your own are ‘different’ [which is true] and not understandable [which is not true]; use of the distance and difference to re-confirm one’s own ‘normalcy’
Othering is a way a group excludes or marginalizes another group. The emphasis is put on what makes that person different or "opposite" and feeds into stereotypical characterization. White people have made black people cultural others, ie: black face comedy, Aunt Jemima and Sambo. This concept is not just relating to black/white binary thinking. Any group can be othered. I talked with Tom about this idea. A white person can be othered if they are in a predominately black neighborhood. The idea of the other or minority varies from situation to situation. "But there is no place for the 'other' in human rights because to argue that some people are more 'deserving' than others of having their rights protected is to argue that some beings are less than human." This may be true when relating to what is wrong and right morally but is a reality in our society. Gays are seen as less than human and prohibited the right to marriage.

I am interested in this concept of the "other", and want it to have an affect on my work. What happens when the other, other's for lack of better words? I am particularly interested in hearing how people have been discriminated against that are different from me. Some of my peers have suggested that white people don't get discriminated against but I know they do. You can be discriminated against for the color of your hair, let alone the color of your skin.



http://www.cwrl.utexas.edu/~ulrich/rww03/othering.htm
http://normblog.typepad.com/normblog/2010/02/othering.html

Tuesday, February 16, 2010

2/16/10: 4th Visiting Artist: Hank Willis Thomas

 Pitch Blackness, Off Whiteness 2009. Neon Sign. (multiple views)

"There is something called black in America and there is something called white in America and I know them when I see them but will forever be unable to explain the meaning of them because they are not real even though they have a very real place in my daily existence, a fundamental relationship to my understanding of history and a critical place in my relationship to humanity." Carl Hancock-Rux

Branded Head, 2003 Lambda photograph

How to Market Kitty Litter to Black People: Ebony Magazine, 2005/2006

Ball and Chain 2003

 
Scarred Chest 2003


Hank Willis Thomas
Along the Way Video (youtube)
Jack Shainman Gallery

Hank Willis Thomas is a contemporary photographer who deals primarily with advertising, pop culture and race. He strives to challenge depictions of african american men. Hank Willis Thomas was raised in New York City. He received a BFA in Photography and Africana Studies from New York University's Tisch School of the Arts. He received an MFA in Photography and an MA in Visual Criticism at the California College of the Arts. His mother, Debra Wilis, is actually a photographer as well which immersed him into imagery early on. His book Pitch Blackness was published by Aperture and was driven by the loss of his cousin to murder, advertising, and the idea of "off-whiteness" or "black-ness".

He was really interesting and I found that I could relate to the themes within his work. "Five year olds recognize that they are not black or white...I'm not black, I'm brown." Willis Thomas stated that before the slave trade, black people were just people. By taking a complex race and cutting it down to "black", they were seen as sub-human and that justified why they should be sold. He talked about how you can tell a story a new way, referring to the murder of his cousin Songha Thomas Willis. He was murdered over a chain and when his story was published in the newspaper, they chose to use Hank's image of him. He said that was the first image of his that was ever published. He made a stop motion film, "Winter in America", using his child-hood G.I. Joe's to retell his cousins story. His work all ties together...we are all materialistic. He made a mastercard ad with an image from the vigil and spoke with us about how much a casket cost. Why put so much value on something that will be buried? He talks about commodity and what sells.

Prodigy Mother/son collaboration "Sometimes I see myself in you"

 
Priceless 2004

Thursday, February 11, 2010

02-11-10: Idea # 3: Sit-ins



Fifty years after the student-led sit-ins: where are we now?
VCU Friends of the Library
Tuesday, February 9, 2010
7:30 p.m.
W.E. Singleton Center for the Performing Arts


Panelists:

  • Jenny Jones, PhD, Associate Professor of Social Work, VCU
  • Napoleon Peoples, PhD, Associate Dean of Student Affairs, VCU
  • Jill Rowe, PhD, Assistant Professor, African American Studies, VCU
  • Shawn O. Utsey, PhD, Associate Professor of Psychology and Chair of African American Studies, VCU
  • Moderated by Njeri Jackson, PhD, Associate Professor of Political Science and Special Assistant for Diversity in the Office of the Provost, VCU
Program information: "In February 1960, African American students and others began to participate in sit-in demonstrations at lunch counters throughout the South. These protests against segregation in public facilities received national attention and precipitated the passage of the Civil Rights Act of 1964, which extended voting rights and outlawed racial segregation in schools, the workplace, and in public facilities. Join us for a panel discussion exploring the legacy of those protests, including the state of Black America and race relations 50 years after the student-led sit-ins."

When I heard that there was going to be a panel discussion about the civil rights sit-in activism I was very excited. The act of the sit-in is very performative. I see it as performance for activism. Njeri Jackson talked about sit-ins during the Civil Rights movement and also explained that many other groups employed this tactic. Ghandi was a prime example along with feminists of many different times. Sit-ins are put on the same level with strikes and are a statement of protest against injustice.

Tom stated that I need to be educated about those who came before me and on many levels this directly relates to me. One of the panelists, Dr. Utsey, said that he visited the lunch counters after the movement happened to see "where everything went down". He talked about being in the right place at the right time or being in the wrong place at the wrong time. The panelists talked about how the sit-ins impacted their lives indirectly or directly. Dr. Jenny Jones said that she was taught to believe in making a difference and that progressive action cab be taken in many different ways. As students we are living an "inherited" legacy and have the capacity to make a difference.

I was a bit appalled at something I learned. There is a thing called the B.I.T.C.H. test:

Black Intelligence Test of Cultural Homogeneity

We all cringed a bit when Dr. Utsey brought this idea to our knowledge. I didn't appreciate the use of a derogatory name to get attention. Anyway, the test was made in favor of african-americans. Robert Williams created it to show that if a test is made in favor of a certain population, that the other would do poorly. White people tended to do badly on this test and it was to show that tests to "prove" African-American intelligence as biased and weighted in favor of whites.


VUU Students at Woolworth's lunch counter. Richmond, VA. February 20, 1960. Courtesy Valentine Richmond History Center.

Thursday, February 4, 2010

02/04/10: Idea #2: Experimentation

I'm pretty sure that by now everyone is pretty tired of the weather we have been experiencing as of late. As far as I know, it won't be any better this weekend. I was excited when I found out that the studio was open for limited hours on Saturdays and will be taking full advantage of that (once its possible). Most of my images from the first week are of snow. I went out and was attempting to find possible places to do a performance. Tom suggested I check out First Fridays, so I walked around looking for crevaces and corners where this will be possible.

First Issue- This piece consists of me standing outside in a sports bra and people writing on my torso, arms (face-eek), whatever. With the weather the way it has been does anyone have a warmer suggestion? Im willing to brave the cold but not willing to get sick.

Second Issue- What markers to use? I have been testing with a black prismacolor marker..these are like 2 bucks a pop. Should I get something cheaper incase people walk off with them? I'm also gauging how washable they are. The prismacolors seem to mostly wash off with intense scrubbing. I don't care personally if I have things drawn all over me, work may be a little less sensitive to me walking around with profanity on my face.

Observations:

 
potential of marker to bleed



Is it necessary that the reading is legible? Should it all be going in one direction? 

 

Prismacolor marker allows writing to be controlled if needed

 

Thicker side of marker isn't as neat or controllable. (Also harder to wash off)

 



Anyway, that is the extent of what I could do so far. I am going to do a self portrait version of my idea in the studio next Thursday. I'm going to have Kevin Faison help me out, he will be controlling a video representation of the performance. This will be my self portrait and performance for the camera as opposed to a live audience. I think its important for me to do this piece in the vane that I had been doing before to get a feel for it. I will be writing things I identify as in the thin marker and things I believe people think of me in thicker marker.

feedback?

Thursday, January 28, 2010

1/27/10: 1st Visiting Artist/1 Idea: Alec Soth

 Alec Soth "like both"

Alec Soth Photography
Representation
Blog

Alec Soth startles the sleepers along the Mississippi for a brief but profound moment; they open their eyes to his camera just long enough to reveal the immemorial, often dreamless, sometimes hopelessly trashy quality of their sleep, then sink back into the mud of their impecunious marginality. Alec Soth's visual journey has the decency (or affection) to disturb none of his subjects, though he disturbed me, a viewer, plenty.
Andrei Codrescu, poet and NPR contributor 2003


Joshua, Angola State Prison, Lousiana 2002

Venice, Lousiana 2002

Alec Soth was born in Minneapolis, Minnesota (1969) where his work is also based. He has received numerous fellowships and is in the collections of San Francisco Museum of Modern Art. His first work Sleeping by the Mississippi was published in 2004 and since then he has published NIAGARA (2006), Fashion Magazine (2007), Dog Days, Bogata (2007) and The Last Days of W (2008).  
 

I thoroughly enjoyed Alec's lecture last night. It was refreshing for me to see the process behind an artist's work and be able to relate to how one functions. He showed us an image of his steering wheel with a written list of images he strives to make. List making and keeping a journal/sketchbook is very essential. I'm sure there are some that do not function in this manner, but it is very helpful. Soth mentioned Hockney's "paralyzed cyclops" and Eggleston's "Democratic Forest". I thought these were interesting concepts and inspirational launching pads for Soth. He said that to shoot democratically you pick up the camera and photograph anything and everything. Hockney said, "photography is all right if you don't mind looking at the world from the point of view of a paralyzed cyclops -- for a split second." I think that Hockney must have said this at a frustrated part in his career because he continues to break the mold in his own photography.
To the love of my life 2005



Soth had a lot to say before he even showed his own work. He spoke about the idea of doing narrative photography, attempting to tell a story. He pointed out that most attempts at the narrative are actually staged/hollywood-like images. He attempts to photograph actual narratives, traveling from here to there and "connecting dots". He bases his work method on a trip he made in college with his girlfriend. He now travels around with his dog doing different documentarian type projects. Sleeping by the Mississippi is an interesting project where he juxtaposes portraits of people and images of sleeping environments. When he takes their pictures, he asks them what their dreams are. Niagara was a piece about love, romance and sex. He photographed newlyweds primarily and was curious as to why they came to an enormous waterfall. He spoke about how new love is destructive and started collecting love letters.  
Heart 2005

Overall, I enjoyed Soth's honesty and commentary on photography to today. I look forward to researching some of the ideas he mentioned. He was a great speaker and I hope that we have more in the future that are as willing to share as he.

Wednesday, November 18, 2009

11/19-Idea-Sequence

 


se·quence (skwns, -kwns)n.
1. A following of one thing after another; succession.
2. An order of succession; an arrangement.
3. A related or continuous series.

The last piece I did was a performance of painting on black facepaint in the studio. I tried to take multiple shots along the way to document the actual application of the paint. Im interested in this idea of the sequence and the steps along the way to the final product. Researching sequence art was really frustrating. I like the image above but I found it on deviantart. Most of what was coming up was sports or really cliche things that I had no interest in. 







The only actual artist that comes to mind is Muybridge. Im not exactly sure where I am going with this but I think it is really interesting to format the images this way. I meet with Jeff tomorrow so Im going to show him what I have.


Thursday, November 12, 2009

11/12-Idea-Aesthetic

<--copyright Kim Frost

Idea: aesthetic

aes·thet·ic or es·thet·ic (s-thtk)
adj.
1. Relating to the philosophy or theories of aesthetics.
2. Of or concerning the appreciation of beauty or good taste: the aesthetic faculties.
3. Characterized by a heightened sensitivity to beauty.
4. Artistic: The play was an aesthetic success.
5. Informal Conforming to accepted notions of good taste.
n.
1. A guiding principle in matters of artistic beauty and taste; artistic sensibility: "a generous Age of Aquarius aesthetic that said that everything was art" (William Wilson).
2. An underlying principle, a set of principles, or a view often manifested by outward appearances or style of behavior: "What troubled him was the squalor of [the colonel's] aesthetic" (Lewis H. Lapham).

I am struggling with producing as many images as I am expected to. I am afraid of losing the aesthetic in my imagery. I am not happy with producing mediocre imagery. What makes an image aesthetically pleasing? I've been looking through images and saving some that I enjoy looking at. Aside from the concept, what keeps you drawn in? I think that even if you have a strong concept you need something for the viewer to stay interest
ed. Why do I like the first image? Its colorful, sharp, attractive.. Do I care what it is about? No. But there are obviously symbols that could lead to what its about.






I like the image above. Why? I think it is attractive and has a sense of androgyny and fashion. Do I feel any particular conceptual deeper meaning? No. I want my images both to be aesthetically pleasing and conceptually thorough. I need to get more performative and try documenting more so I have more imagery to sift through. Some of my classmates commented that my portraits were more about the lighting than me. They felt it was more theatrical. If I take myself out of the studio will I lose the technical side of the imagery? I don't want to lose the quality. This image doesn't have enough context though.












Thursday, November 5, 2009

11/5-Idea-Multiculturalism


The Topic Is Race; the Art Is Fearless

Published: March 30, 2008


"The concept of race in America — the fraught fictions of whiteness and blackness— is not going away soon. It is still deep in our system. Whether it is or isn’t in our blood, it’s in our laws, our behavior, our institutions, our sensibilities, our dreams."-Cotter

This article was really interesting. Cotter spoke about Barack Obama, "presenting himself as a 21st-century postracial leader, with a vision of a color-blind, or color-embracing, world to come." We are a very long way from being color-blind as a nation though. Cotter explained it perfectly in the above quote. It reminds me of class discussions I have in my Feminist Literary Theory class. There is this idea that once we make big progression that the slate is clean. We had the civil rights movement so everything is good now, right? Wrong. This happens often when rights movements make headway. The same thing happens with the Suffrage movement. People think that everything is okay because women are able to vote now....what about the glass ceiling?

The article also brings up the idea of multiculturalism.
Definition:
n

A philosophy that recognizes ethnic diversity within a society and that encourages others to be enlightened by worthwhile contributions to society by those of diverse ethnic backgrounds.

"The African-American search for dignity has contributed much to this politics, yet, ironically, it has shifted attention from socio-economic disadvantage, arguably where African-Americans' need is greatest... The ideas of cultural difference and cultural group have been central to anthropology and other related disciplines focused on ‘primitive’ and non-European societies. The arrival in the metropolitan centres of peoples studied by scholars from these disciplines has made the latter experts on migrants and their cultural needs. They also enabled critics from previously colonized societies, often themselves immigrants to the ‘North’, to challenge the expert and other representations of the culturally subordinated. These intellectual developments have been influenced by the failure of the economic ‘material base’ explanations of the cultural ‘superstructure’" (Source).

"[Some] perceived a lack of a consistent definition of multiculturalism and felt that culture was being made synonymous with race. In addition, they argued, ethnic cultures were fading in the United States."

"Some people have explored a middle ground. They accepted the multiplicity of heritages and cultures and have seen pluralism as a part of the core culture and values, but they deemphasized contemporary ethnicity and have viewed Americans as possessing flexible and fluid identities because they lived in multiple "worlds." That approach prompted an emphasis on cosmopolitanism and universalism over the particularism of ethnicity. The conflicting visions of the nation's mission ensured that the controversy did not end with the beginning of the twenty-first century."

In the New York Times article Cotter discusses artists responding to this sort of movement. Most interesting to me was Adrian Piper, a light-skinned black woman. She sent calling cards to all-white social events reading:

Dear Friend,

I am black. I am sure you did not realize this when you made/laughed at/agreed with that racist remark. In the past I have attempted to alert white people to my racial identity in advance. Unfortunately, this invariably causes them to react to me as pushy, manipulative or socially inappropriate. Therefore, my policy is to assume that white people do not make these remarks, even when they believe there are not black people present, and to distribute this card when they do.

I regret any discomfort my presence is causing you, just as I am sure you regret the discomfort your racism is causing me.

Sincerely yours,

Adrian Margaret Smith Piper

Cotter discussed artists that used whiteness and blackness as a medium in the 70s and 80s. "Race is treated as a form of performance; an identity that could, within limits, be worn or put aside; and as a diagnostic tool to investigate social values and pathologies."

Thursday, October 29, 2009

10/28-Idea-Biraciality


Biraciality and Nationhood in
Contemporary American Art

by KYMBERLY N. PINDER.
Published in Third Text: Critical
Perspectives on Art and Culture 53,
Winter 2000-01.


I am constantly looking for information/art dealing with being biracial. This article was really interesting and the following is my response to it.

The painting at the left was mentioned in the article I have linked. It is called, Grandma and the Frenchman: Identity Crisis (1991) and was painted by Robert Colescott. Colescott is described as an artist "who has made a career out of confronting racism and racial taboos in his art" (Pinderfull). The woman in this painting has all the colors and features of the different races and is seen as a "tragic mulatto" figure. Colescott says this work is "all about identity — this woman cannot have just a two-faced Picasso head, she must be even more fragmented because her identity is so screwed up. Mixed-race people are all around us, we all are and have been for centuries." I can agree with this quote because people act like the races haven't been mixing forever. Back in slavery times there were light-skinned house slaves, how do you suppose they gained this complexion? Interracial reproduction wasn't allowed but it did happen.

Pinderfull also discusses cultural icons like Tiger Woods and questions whether his success will make it easier for others that are multi-. In my sociology class we were discussing that race identification is somewhat socialized. It must be if the census keeps changing, growing to accommodate everyone. To check off bi-racial or multi-racial can mean anything though. Is this an accurate representation of our population? Also, why should it matter. It makes people compartmentalize themselves, you still have to choose. What does "other" mean? I find myself checking that on applications.

Sunday, October 18, 2009

10/18-idea-apartheid, coloured


Pronunciation: \ə-ˈpär-ˌtāt, -ˌtīt\
Function: noun
Etymology: Afrikaans, from apart apart + -heid -hood
Date: 1947

1 : racial segregation; specifically : a former policy of segregation and political and economic discrimination against non-European groups in the Republic of South Africa
2 : separation, segregation

"Derived from the Afrikaans word for "apartness," apartheid is a term that came into usage in the 1930s and signified the political policy under which the races in South Africa were subject to "separate development." For the purpose of implementing these policies, apartheid recognized four races: Bantu, or black African; Coloured, or mixed race; white, and Asian. Apartheid met with both international condemnation and spurred a resistance movement among black South Africans. Apartheid was defined as a crime in 2002 by the International Criminal Court; the United Nations had declared it a crime against humanity in 1973, though many nations still not have signed on to the convention." About.com



Photo of Cape coloured children in Bonteheuwel township (Cape Town, South Africa) by Henry Trotter in 2000.

The Afrikaans word for "apartness" is Afsonderlik....meaning apart, seperate, isolated, particular. Berni Searle's work got me interested in the idea of Apartheid and being coloured. I suppose that is what I would be in their culture. To be colored in America can mean many different things though. To be "colored" is to be black. A person of color can be anyone that isnt "white". So many interesting terms for something as natural as cross-racial "breeding". A nice historical addition to my search about biraciality.