Black Art: And the Absence of More!!

Black art: in the absence of light. I really enjoyed this film,Not only was it spotlighting and showcasing great creative minds that I admire and I am inspired by every single day I encounter them and their work. But, most of all, I was very intrigued by how this documentary unlike others truly try to get at there heart of our creativity and Our abilities ask black creators to carve out space for ourselves. And also how we thrive in industries that are not built for us and our various aesthetics. 

That being said, I do feel that the documentary was fairly limiting in scope for a couple reasons. There are so many different types of black creatives that they could’ve tapped into and celebrated as black artist. The documentary seems to champion artists that work in fairly analog mediums (Painting, drawing, ceramics, collage, photography, sculpture.)And they did not leave enough room for artists who are working in alternative media’s (digital, video, installation, fibers, folk, projectionist/video mapping, and performance etc.) and even though I don’t work in a lot of alternative mediums, I think if we’re going to start having these drawn out conversations again about celebrating Black art we have to acknowledge our blind spots within our own practice. And the truth is, there is a traditional westernized mindset to making art that is constantly perpetuated within these documentaries. It makes a culture of people believe that art is only certain things, and should be made in certain ways, because they watch documentaries like these. Which then breeds a culture of gatekeeping, and regurgitation of Eurocentric aesthetics within our own community of black artists.  

Also, I feel like it would be great to see a limited series expansion of this documentary to where we can see the full breath of Black Artists out here making their careers happen in different ways. And also spotlighting artists who are in the midst of their come up. And not glamorizing those who have solidified themselves within the zeitgeist of the art world. I know if you watched “She’s got to have It” by Spike Lee and this documentary, You would feel like the only way to make it as an artist will be to get your residency at the studio Museum in Harlem. It is a great residency, and one I have aspired to in one way or another, since I graduated Art school. But what I’ve realized in my years of making and applying for these residencies, is that I am one of thousands who saw them as the only opportunity to make it. But in Reality, most of my successes have had nothing to do with larger institutions and  most to do with how I engaged with my community throughout my time as an artist. 

And please, can we stop Constantly pointing to Basquiat as our God of success in the black arts world. Keep it a buck, Basquiat had a lot of well funded connections during his tenure as a contemporary painter. His friendship with Warhol and other white elite Allowed for him to produce at the rate that he did during his life. But we also have to deal with the fact, that Basquiat died in serious debt, And his paintings we’re not selling during the tail end of his life, but now after the mythos of his story has gone viral his works are going for $400 million. Please stop playing into this fact that we have to be dead and mysterious to be successful as Black artist. Most artist are not seeking to make $400 million off of their art. Especially black artist. Most of us just want to do a craft and be able to have secure lives doing what we love to do.

We also, have to talk about the fact that the Kehinde Wiley’s of the world, do you use a staff of  mini master painters to work for him in China (No Swizz, One man did not make that painting. A few folks help to make that painting. And that’s ok!) we have to lift the veil of what it takes to actually produce at the rate that these artist are making at. When you are selling paintings for millions of dollars, or hundreds of thousands of dollars, it’s easy to maintain a staff for grant writing, applying to residency, and booking art talks. It’s easier to maintain a studio space that is susceptible to making larger work. And, there is a real currency of time most These artists have. The ability to go on residency for a year, or months on hand solely to make work is seriously valuable in the creative community. Most of us don’t make it, not because we don’t have the talents, or the drive, or the network to make things happen. It’s simply we have to stretch ourselves across our regular every day lives which include work, partnerships for some, families, schooling, and much more. 

And to All people, you are the ones that have to change. We have to address the cultural literacy people have in regards to the arts. We have developed a culture where hook ups are the norm, nobody knows what it takes to make a piece of artwork, or how long it takes to conceptualize ideas, or even what the art is speaking to if they are not directly told every detail of what the artist was thinking about when creating it. So there is a new form of seeing that needs to take over within all our own communities. 

We as artist and curators must educate the public on proper ways to approach Artists. Dispel all the misconceptions around making work. Discuss the difference between art making for a commercial aspect, and art for exploration of ideas and concepts. We need to build a Inclusive archive of Black art. That doesn’t include just artworks that have been seen the museums, or within gallery spaces that are adjacent to white institutions. 

Let’s be real, Folks talk about how the White art world says black art is a lowbrow art world. But in reality, there are people within our own industry of the black arts world, that see other Black artists work as low brow. There are still some elders within our own community that won’t acknowledge the new wave of young black artists work. Because the aesthetics doesn’t match what they deem to be art. And because young black artists haven’t acknowledged them as masters of industry. Ask any black artists that you know,We all have a story about an older black artist telling us our work was not good enough, and shunning the types of themes within our work. Because it did not match with what they know to be true. Then folk turn around, and say we don’t appreciate them, and that our industry is dying because they are not involved. I’m tired of being told that the Black art industry needs to be recognized more. I see black artists out here working every single day. We are working together, giving each other awards, flowers, celebrating one another and elders, biggie’ up our young makers, mentoring, sharing knowledge, organizing, building our own standards and tables. We out here! 

I just feel that there is a generational disconnect that always will place success with black artist falling into models created by Eurocentric standards. Because our works are not seen at museums, because our works are not in New York galleries, because our works do not show up at elitist Black Art residencies on farms. Or written about by white arts critics, It’s not valid. 

We need to stop comparing ourselves to our white counterparts. We also have to develop a larger collective of visual arts writers, theorist, critics, scholars, and build our own standards, and name our own movements of art. Beyond Afro futurism, beyond black representation and abstraction. What are we going to name the large collective of black artists who are documenting state sanction violence within their work. The large groupings of black men and women creating artwork via social media platforms, black artists who are creating analog interpretations of black Twitter, and Memes. The large groupings of black queer artists using performance art as a tool to bridge a lot of intersections. What are we going to do to give these artist a voice within our own community? How are we going to celebrate them? When will we deem what they are doing as Black arts history? Because everybody’s out here doing amazing work. And frankly, I’m tired of just talking about a select few. As amazing as they are, we have so much more creativity to celebrate. We are a vast Community of Artists making Blackity Black Ass work from many different angles and intersections. And it’s time folks start to know about it. 

And as great as that the Theaster Gates quote is at the end of the movie. I feel like it goes without saying, yes, we have been creating in the absence of light. Most Black artist, don’t get to see the light come their way within their career. Because we’re too busy looking at the spotlights on a select few. And I think that’s our fault as a People. We need to widen our gaze, and open our minds a little bit more. And hopefully one day the light will shine everyone’s way. 

#ButI StayTrippinTho

-DM

My Thoughts on the "New Black Creative"

Pardon my honesty here, but I really don't know how some of you “New Black” creative brothas and sistas work. Yeah, I am talking to you, the jawn dressing like Basquiat and Lisa Bonet in ‘85 thinking you more enlightened, creative, and different than all us other Black creatives. First and foremost, I love y’all, but we need to talk... Why you always gotta be that one "Anti" when general dope Blackness is happening in the culture!? Or when we checkin’ Black folk doing dumb ‘ish in the media you hesitant...Confused?...

Example, Beyoncé drops Lemonade, and you the first one to tell us that’s “Pipilotti Rist’s Ever Is Over All  piece she is ripping off,”  that’s cool, but  you totally oblivious to the Yoruba Oshun mythos poppin off throughout the whole damn album! And got the nerve to be rocking Sankofa earrings!?....  You were in Brooklyn to see Kara Walker’s Mammy Sphinx, but laughed with your white hipster friends as they took selfies, sticking their tongues out at the ass of the sculpture #sugarmammy….Or how bout you praising New Kanye forbeing the free, worshiping his train-of-thought rants as dogma, and loving him now for being one of the dopest creative minds. But, when we drag him for meeting with Trump post-election looking like Carlton from Fresh Prince dressed as Macaulay Culkin for Halloween, we corny for not letting Black geniuses make mistakes.  You ain’t even start listening to him ‘til 808’s anyway, Tonya!

Just this weekend another favorite, Kendrick Lamar, drops DAMN… It’s not To Pimp a Butterfly,  so now you mad.  “He just rappin’ words other rappers say,”  “ I am not feeling anything from him lately, I’d rather listen to my Gil Scott-Heron Anthology on Vinyl, or Saul Williams’ MartyrLoserKing, (which both are dope too btw). BIH! WHO SAID YOU COULD NOT LISTEN TO IT ALL TYRONE!? That’s all good YOU not feelin' it,  but we vibing to #kungfuKenny right now, I am not sure ifI agree with all he sayin’, or if every record is dope, but what I do know is I am will not rest ‘til my 5-month-old son know all the words to DNA before Juneteenth of 2017!!

 Why you gotta be that person!? Can’t we have anything for lil while before you use your social media as line forum to write a faux-think piece about how you are Anti? You ain’t gotta like all things Black and creative. That’s not the point here, but you always are hesitant to relish in the Blackness of things because you have not accepted, or wrestled with your own Blackness.

Iknow you, you’re an artist, but not a Black artist, and you are a real artist. You went to RISDfor3 semesters, and dropped out because they were not teaching you anything new. You draw, paint, write prose on napkins, play a few chords on the guitar, and only pretend to play your Djembe when camping with pale friends in Montana. You were born in the hood, but were only a baby then. Your parents moved you out to the suburbs when you were ten and that’s where you grew up. You were one of 7 Black kids in the whole school, and everyone confused you with, Darian the star of the football team or Keyana the popular Black cheerleader. You didn’t fit into Black stereotypes your white cohort knew of from watching TV so you assimilated to the school culture as a form of survival, and found solace in art class. You were talented, and Ms. Kramer loved how your work always told such great stories of the struggle of your people, even though you just wanted to draw a portrait of Frederick Douglass' dope parted afro. High School wasn't bad after assimilating, It made you feel good to be known for something other than being Black in a white space. So art is how you got popular, you read Faust by Johann Wolfgang von Goethe,  watched Basquiat’s Radiant child, and became a pescetarian who occasionally eats bacon.  We know you, some of us are you!!  But it still doesn’t make you lessBlack than us, and damn sure don’t make you more creative!

It’s hard enough being Black, but being Black and creative in America is a complex experience. Most of us are the only artists in our own families, and get dragged on the daily simply for living a life that surrounds passion, as opposed to one that surrounds capital. So we all get critiqued and at times need to latch on to Black art and Black artists work to get inspired, survive, and thrive in a world that will always chastise Black creativity, steal it, and colonialize it. So nah G,  that discourse don’t have to be the look for our fellow creatives out her trying to make ends meet and still broaden our creative process. I was a victim of it for a long time, I constantly wanted to separate myself from being a Black artists, and wouldn’t allow myself to be boxed into the lane of folks drawing portraits of Pac and Rihanna, the Instagram model painting faceless Black women with afros,  bruhs putting puffy paint on Tims, or airbrushing tees on the corner.  I was the one screaming to the hills that Tyler Perry is sullying Black film, and avoiding the fact he owns the ONLY Black owned film studio in the country while hiring the most Black actors and actresses in the history of Film and TV.  His work may not call to me but I don’t knock the fact he has a successful lane in the art world even though I am not driving in it constantly.

I praised Michelangelo and never knew of Henry Ossawa Tanner ‘til college. I closed myself off to so much Black excellence that I find myself constantly playing catch up to creative Black genius on the daily. We don’t have to like every Black creative thing because it’s Black. We are allowed to critique all art.  But critique requires an understanding of the standards. And if your standards of all things great, creative, genius, all center on Euro Centric or White American standards as a Black creative, then you my fellow creative have allowed your visual index to be gentrified and colonialized, and you need to be checked! All Black creativity has its lane, and it don’t have to be yours, but allow folks to rock with what they like… Smokin’ hash in the woods out of a Gandalf Longwood pipe with other white artists in a faux indigenous prayer circle while on residency in Minnesota don’t mean you a better artist now. And being the only person of color in your creative circle doesn’t make you unique, it means you’re co-opted and lonely.

Praising the Marina Abramović The Artist is Present doc, and not knowing a damn thing bout Senga Nengudi means you see whiteness as the standard, and you don’t care to know your own peoples creative history… Being awkward, introverted, smart, hipster, and Black ain’t new! You have to start realizing your Black is as Black as everyone else’s Black! And we love you!  More than that we affirm all that makes your form of Black!! We know u listen to Yachty and Radiohead!  We know you read the sonnets of Pablo Neruda and can wax poetic on their connections to Kanye’s Life of Pablo album, We do too!...  Praising Kurt Vonnegut and yawning at James Baldwin, don’t make your mind expanded, it means you are accepting the close-minded white washed view of the world that excludes the Black creative contributions. We have a hand in all this, and its all Black, and we are allowed to relish in every ratchet, trap, silly, scholarly, powerful, flawed, human, sexual, happy, sad, loving, quirky, aakward, emo, and magical Blackexperience we choose.

Stop trying to separate yourself from us, because when the general white creative arts world is done associating with you when you get too Black. We always here for you,  just know we may not rock with you like that when you need us to in that moment.

The Sorealist Manifesto: Create in Reaction to our Realities

In reaction to the recent events. I have decided not to sit in anger. The results proved what we all know. The world is a dark space to exist when you are not part of the dominant culture or viewpoint. I am channeling that anger into my work. I have been released from hesitancy, and I'm excited to see where this space takes me. I challenge you all to do the same.

The Sorealist age is upon us.

-DM

Sorealist Manifesto (Draft One)

Now more than ever the voice of the Intersectional creative is needed. We are not living under the reign of logic, but instead we are living through illogical processes of our time which benefit the status quo of white hetero christian male supremacy, patriarchy, sexuality, and gender binaries. Our lives and problems of oppressed peoples are of no interest. The absolute colonialism, which remains in our society, allows for erasure, and celebrates ignorance to facts relevant to our experience as oppressed peoples. When it comes to the recent election logical conclusions, escape us. Needless to say, boundaries have been assigned, designed, and executed in hopes to keep us obedient to supremacy, and complacent in our experience. We live in a cage where release has become increasingly difficult. The system depends upon our mental, physical, and metaphysical incarcerations, and avoids common sense. Under the guise of liberty, under the pretext of progress, we have succeeded in dismissing identities of anyone who doesn’t stand for white male dominance as the standard. Freedom is in our minds, and now could be regarded as superstition or myth. We have prescribed every way of seeking the truth, justice, and equity, which does not conform to white dominant norms. For this we have been punished.

It would appear by sheer numbers that critical thought about issues which no one was supposed to be concerned of any longer, has forcibly been brought back to light.  For too long we were told to leave our identities aside to be viewed in creative realms as equals, to not call ourselves Black Artists, Queer Writers, Artists of color, or any intersection of the creative. We were told the creative world was an equitable space, but it has proven that it only mirrors the white hetero male dominant society we exist in.  This election was an act of violence performed on all who oppose the dominant norm, and we’re reminded people in power have a plan, and we are not part of it. Credit for this must go to Toni Morrison. She stated:

“Art is dangerous. I want to remind you of the history of artist who have been murdered, slaughtered, imprisoned, chopped up, refused entrance…The history of art has always been bloody, because dictators, people in office, and people who want to control and deceive know exactly the people who will disturb their plans. Those people are artists. They are the ones who tell the truth, and that is something society has to protect. But when you enter that field … it is a dangerous pursuit. Somebody’s out to get you. You have to know it before you start, and do it under those circumstances, because it is one of the most important things that human beings do…that’s what we do. ”

— Toni Morrison

Perhaps the recent actions we experienced means critical creative thought is on the verge of losing its rights. If the depths of our minds conceal expressions capable of augmenting or conquering oppressive forces in our reality, it is in our greatest interest to capture them; first to capture them, reflect on them, and later to submit them, should the occasion arise, for the progression of reason. As intersectional creatives we have a perspective that can inspire substantial change in this world. The gatekeepers of change themselves can only gain by experiencing our expressions, no matter how harsh they can be. But it is not our role to provide methods or solutions to fix the white male enterprise. We merely create the mirrors for them to face the consequences of their actions. So until new order can be considered, we the province of intersectional creatives, scholars, and enthusiast will be the disruptors to tyrannical praxis.

It was only fitting that Morrison shared her prophecy on the creative’s role in social justice. I have always been astounded by the extreme hypocrisies in American notions of freedom and liberty. The lack importance and acknowledgement to oppressive acts in the waking moments are lullabies of privilege that keeps us, the observer, up at night. When white hetero christian man wakes, he is above all the histories of his actions, and he normally delights when he knows there is no actual consequence. He has the reality of continuing something worthwhile. A world where he is in power, and the dreams of the oppressed find themselves relegated to a parenthesis, like the night. This state of affairs will be a harsh reality to deal with, and for some  creatives  find it hard to create in this state. But I am viewing this moment as a time to invite a few reflections, and ways of creating:

1. Observe the Power  that is restricting you from being who you are, and analyze why. Watch closely to those in positions to perpetually keep you and those you care about oppressed. When I speak of observing oppression I am specifically speaking of the racial, sexual, gender, religious, and all intersectional oppressions. But acknowledge the privilege you have in your own identity and vulnerably state where you see your power lies.

2 Internalize how that power affects your state. We are human vessels, and reactions are ordinary as creatives, but before you express your force internally sit with the actions that affect you. Try to get a full sense of how the power affects your vessel, do you feel fatigue, helpless, depressed, are you sick to your stomach. These energies are needed to build a true emotional index to pull inspiration from and execute your reaction.

3 Reflect on your practice. What are you doing within your own practice as a creative to speak on this oppressive power. Does it affect others in your life you have strong allyship? What is the power you hold within your creative work to reach others and bring awareness to the dominant powers. How do you inform perspectives that do not reflect your own?

4 Create something to disrupt and challenge the power, and those who benefit from it.

In reference to Morrison, she stated, “This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.” To disrupt the system we as sorealist creatives must be the mirror to the dominant oppressors. We must show them through our creative processes how white supremacy, acts of systemic oppression, micro-aggressions, patriarchy, subtle nuances of prejudice affect our humanity, and needs to change.  

5  Be real and unapologetic in your execution. As creatives we tend to weave these themes within our work in a fashion that is not blatant or direct. We spoon feed our viewership to save face economically, socially, and to not hurt fragile white emotions of privilege. These acts of oppression are violent especially to people of color. The fragility of our feelings is not taken into consideration when systems progress white supremacist agendas, so as creatives we need to be as unapologetic as our oppressors. We will execute our craft in ways that give people pause, and punch harder to the gut with our creations.

6 When the time comes share and collaborate to create more. During this time of need, there is no room for ego, oppression is a collaborative effort and we need each other to build a strong force against it. We can strike harder in groups than individuals. Extend your vision beyond the four pale walls of the gallery space if needed. Work hard to create the space you need to share your ideas. Lend feedback to one another. Take advantage of the talents we have, and give it back to your community. Educate the new generations on how to create. Build across age ranges like our ancestors before. Banding together is what will help us in this fight and push our creativity to new heights.

I charge creatives to be Sorealists. To not  suppress your creativity or identity out of fear.  Unlike our predecessor, we create in reaction to realities, not dreams. Our reality is being forcibly taken from us, and we are responsible to challenge that force and show those in power that we will not submit to their order. Creativity is our voice and we cannot stay silent.  I challenge you to use your creative process to combat their last efforts of true white hetero male supremacy. We have four to eight years to create. We will not erase our identities to exist in a creative world or this society anymore. We will be who we are, and we will express ourselves by any means we can. We do not need their crisp white walls to thrive. We will not be suppressed anymore. We will destroy their dreams of supremacy by being Soreal.

SOREALISM, noun, Pure creative force that expresses identity to combat white christian hetero male supremacy by either creating visually, verbally, in writing, or any form of making. This is a true function of thought and practice dictated by reacting to our oppressive realities, internalizing these events, reflecting, creating, and collaborating with the sole goal to fight supremacy. All to create the aesthetics that uplift and share perspectives of oppressed peoples, especially people of color. We work to show our realities, disrupt oppression, and combat the status quo of whiteness as a standard. We are Soreal.