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We are well into the month of May, and I thought it was time again for a book promotion party!
I want to offer an opportunity for all writers who follow this blog to share information on their books. It can be very difficult to generate publicity for our writing, so I thought this little effort might help. All books may be mentioned, and there is no restriction on genre. This encompasses fiction, poetry, plays, and non-fiction. If I have neglected to mention a genre, please consider it to be included.
To participate, simply give your name, your book, information about it, and where to purchase it in the comments section. Then please be willing to reblog and/or tweet this post. The more people that see it, the more publicity we can generate for everyone’s books.
Thank you for participating!
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In today’s discourse on race, charged terms like “colorblind” typically elicit a knee-jerk reaction unmediated by critical thinking. Indeed, a call to critical thinking is itself often considered de facto allegiance to white supremacy. For the sake of those who would write me off in knee-jerk fashion, I intend to analyze the meaning and uses of “colorblind” with an eye open to both the good and bad implications, so — trigger warning — write me off now. For others, I recommend you read through, pick and choose what you agree or disagree with based on your own critical thinking and not on what your friends or teachers want you to think, and then feel free to chime in with a comment.
The term attained its modern relevance in the 1960s (Civil Rights and hippies) era, so I will stake out four viewpoints relative to that baseline (and thus relevant to pushing the dialectic forward):
Note: The two 1960s-based angles are not obsolete, as both still have some currency and both could experience future surges – although this is likelier for 1960s progressive ideas, which are more resilient than 1960s conservative ideas – but for our purposes the tags mean not obsolete but merely indicate a position grounded in ideas that reached critical mass in the 60s.
1960s conservatives on colorblindness
1960s conservatives on race rejected the colorblind approach. They were the segregationists fighting against Civil Rights. They thought whites and blacks were fundamentally different, and we need to recognize those fundamental differences. Thus, their slogan was “separate but equal” cultures, schools, neighborhoods, etc.
1960s progressives on colorblindness
1960s progressives from Civil Rights to hippies initiated the modern call for colorblindness. The idea was that legal structures should be immediately made colorblind (no legal segregation, colorblind enforcement of laws, of rights, etc.), and we should work toward (since social mores cannot be changed as immediately as written laws) colorblindness in other social formations, so people can date and marry and live with whom they want without limitations of color, etc. The push was to judge people always and everywhere not “by the color of their skin, but by the content of their character.”
Today’s conservatives on colorblindness
In the wake of the 1960s, racism, although still practiced, rapidly became ideologically taboo. No one, especially no one in public life, wanted to be tagged as a racist. Even supporters of racist policies would often begin with, “I’m not a racist, but….” Thus, it is no surprise that conservatives gradually came on board with Martin Luther King, who is now idolized across the political spectrum. Today’s conservatives by and large do not deny the founding truth that all are created equal, regardless of color, and do not deny racial equality as a valid goal. But they tend to assume that, since equal rights are codified in law, the goal has been reached. Thus, their colorblindness places them a step ahead of the 1960s conservatives, but it also leaves them refusing to acknowledge historical disparities based on race that are very much still with us.
Today’s progressives on colorblindness
Progressives today are most vociferous in rejecting colorblindness, and they include phrases like “I don’t see color when I meet people” as racist microaggressions in written standards at many universities. The advantage of this position is it highlights the continuing inequities experienced by blacks. A disadvantage is that it reifies race into a fixed category with solid walls around it. Race becomes the essential feature of identity. If you are black, you are different than non-blacks. Black culture and black identity are in effect hermetically sealed, one type of experience inside the bubble and another outside. Whites cannot know what it feels like to be black, and thus should not teach or create artworks about black history, adopt cultural trends that begin in black culture, etc.
Summary and recommendations
The 1960s conservative position I dismiss out of hand. I assume that none of my readers share the orientation of those segregationists fighting against Civil Rights.
Today’s conservatives score well in theory for advocating equality for all, but fare less well in practice, as their disregard for continuing disparities leaves their position untenable for me.
The dispute between 1960s and today’s progressives is more interesting to me. Today’s progressives have the advantage over either conservative group in that they acknowledge continuing disparities to be addressed. But they fare poorly in that they reify black and white experience, judge people accordingly, and leave no easy road toward harmony. If white and black experiences are fundamentally different, there is little hope of mutual empathy and heart-to-heart connection and the kind of integration that 1960s Civil Rights advocates had envisioned as the path to a more ideal society.
The 1960s progressive vision has some key advantages in this regard. First, they are more in line with the historical struggle for equality. From Olaudah Equiano and Frederick Douglass to Martin Luther King and James Baldwin, the dominant post-Enlightenment theme of racial struggle has been shared humanness. We need to recognize that “they” love their children, they laugh and cry, they struggle with all the same things “we” struggle with. Although racial identity is a relevant layer of identity – sometimes an intensely relevant layer – it is the recognition of our shared humanness that is the best antidote to the toxins of prejudice and distrust across racial lines. The fallacy of today’s progressives is that they see racial identity not as a supplement to, but as a substitute for, shared humanness. In contrast, the shared humanness line of reasoning, with racial, gender, etc., layers of identity superadded, which was embraced by 1960s progressives as well as their antecessors, seems intuitively correct. The only risk is that an overemphasis on shared humanness might cause one to overlook persistent race-based inequities. I believe this is what drives today’s progressives’ distrust of shared humanness. But they throw the baby out with the bathwater. Yes, there is that risk, and per my sketch above, I find today’s conservatives in the aggregate succumb to that risk. But 1960s progressives had always recognized racial disparities and the unique experience brought to the table by different racial backgrounds. They just thought that the best way to combat inequities was not to put battle lines and walls between races (as today’s progressives arguably do) but to recognize our shared humanness and join together, black and white, male and female, gay and straight, to address continuing inequities, knowing that we CAN see into each other’s hearts across racial lines, we can join together as brothers and sisters.
The second advantage of the 1960s vision, then, is practical applicability. Joining together across racial lines, in a spirit of mutual celebration, and not in a spirit of shaming or leveraging against one another, will get you more cross-cultural alliance, more spirit, and more snowballing social power than the more divisive (indeed one could say the more segregationist) approach of drawing lines between races and having each guard its own turf against exploitation.
The third and final advantage is the endgame vision. I do believe three of my four groups (excluding the 1960s segregationists) would accept a long-term ideal of a society that is open, uninhibited, comfortable with diversity, and rich in human contact. Of the four, though, the 1960s progressive vision is best poised to get us there. Today’s conservative vision has the impediment of failing to acknowledge continuing race-based inequity. Today’s progressive vision has the impediment of reifying (one might even say fetishizing) race, building walls instead of bridges between races, encouraging turf wars and blocking off porosity between races. The 1960s progressive, on the other hand, was unreservedly integrationist in a way that must horrify today’s conservatives and progressives alike. Indeed, the 1960s progressive might favor every form of cultural appropriation in every direction. Break down all the walls, everyone share everyone else’s stuff, willy-nilly, regardless of race or gender, in a frenzy of mutual celebration across all demographic lines. It is colorblind not because it ignores race-based cultural contributions or race-based disparities. It is colorblind because, in a concerted effort to address those disparities, it refuses to judge brother and sister allies based on race, it refuses to say that I cannot know your heart inside and out, and you know mine, because of our different skin color. It is a vision much more radical than any variant we see today coming out of the self-preserving corridors of Left/Right think tanks and university critical race theory departments – more radical than any of these and probably much better suited to grease the flow toward that shared long-term social ideal.
We need to make 1960s colorblindness cool again.
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Table: Strengths (+) and weaknesses (-) of colorblind orientation per ideological grouping
|Reject judgments or battle lines based on race||Acknowledge continuing racial disparity|
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Review of the exhibition, Entre Fusiones, by Celes Orozco, Cuarto Cresciente Galeria (https://www.facebook.com/CuartoCrecienteGaleria/). Guanajuato, Mexico: May 3-June 13, 2019.
Reviewed by Gary Gautier
The relationship between art and reality has percolated through the history of ideas since Plato (well, probably since the cave paintings of Lascaux, but I can’t vouch for anything before Plato). Some bright-eyed theorists identify four angles: (1) mimetic (art imitates reality), (2) affective (art may or may not mimic reality, but the value lies in how it affects its viewers), (3) expressive (art projects the subjective experience of the artist into objective form), and (4) objective (art builds value through its internal design and composition, irrespective of how it may or may not correspond to the minds of artist or audience or to physical reality).
Each of these angles is to some extent at play in Celes Orozco’s exhibition, Entre Fusiones, at Cuarto Cresciente Galeria. The collection strikes immediately, visually, at the question of art’s relationship to reality, but it does so through different styles. The first style I might call “the cosmic flux.” It is abstract, but not in the manner of Joan Miró’s abstract geometrical lines or Mark Rothko’s solid color zones. Miró and Rothko are working with the abstract building blocks of line and color, but Orozco’s works seem more concrete.
Untitled 1 Untitled 2
These paintings, although they do not depict anything in particular, project, more than Miró or Rothko, some concrete, almost totalizing view of reality as a swirling potentiality of form and color. This is the primal flux that undergirds the reality of discrete objects as we know it. The strokes, too, as Orozco variously applies paint to the canvas with finger or hand as well as brush, suggest something concrete and organic, but still in potential form. The only narrowing of potential that I see comes in some of the color choices, as in Untitled 2 the sunburnt coloring conjures up (for me at least) the Mexican roots of the artist, which we see in patches or hints as we move through the exhibition.
The Mexican roots appear more strongly in the second style. If the first style emphasized a primal cosmic flux, the second shades into representations of “primal culture.”
This painting, Chaos, overflows with the fundamentals of nature, with a close-in view of quasi-archetypal figures rather than on the Gestalt or expansiveness of the landscape (as we might see, e.g., in a Romantic-era European landscape). This, the masterpiece of the exhibit in my view, is not about the space of nature and culture from which we came, but about the things that populate that space. And rather than the gradient of space and color, light and shade, that you might get in Renaissance verisimilitude, here the arrangement is relatively flat, with bold colors, each figure presented in its full integrity. The presentation seems fundamentally native American, although my vocabulary is insufficient to expand upon why.
Finally, Orozco throws a few pop culture images onto the canvas – the bottle, the car, the McDonald’s balloon, the casino. It is difficult to say whether this encroachment by the artifacts of modern culture is a corruption of or an extension of the primitive layout. The bottle in the foreground and car at the center seem harmless enough. The casino atop the primitive pyramid seems a little sinister, but Orozco does not highlight the sinister. This is not the hellish 3rd panel of Hieronymous Bosch’s Garden of Earthly Delights. Even the McDonald’s balloon is not accompanied by anything overtly negative. Perhaps Orozco just needed the pop culture items to show that the primitive space is not to be too idealized, not removed from time, is already flowing into the vicissitudes that come after.
Whether the second style, the “primal culture” style, encompasses the paintings below or spawns them as separate styles may be the viewer’s choice.
Protecting the infant is the clearest merging of the “cosmic flux” style with representational forms.
. Protecting the infant
Whereas Chaos had only a hint of the cosmic flux style in the brush strokes of the river, more than half the canvas here is covered in cosmic flux style. The represented images are fragmented, iconographic, not holistic scenarios as in Chaos. If there is a hybrid style in Orozco’s repertoire, this is its clearest expression.
El desierto, on the other hand, is holistic, but doesn’t strike the emotional register the same way as Chaos.
Chaos gave a sense of temporal projection across eons of time, reaching back to some primeval culture in the archetypes of nature. El desierto has more the sense of a contemporary psychedelic experience of space, not unlike the sense of space experienced by your correspondent on some of his hippie-era LSD trips, with the sky thick and close, not thin and distant, with the cacti that seem to sparkle, the long smooth flowing strokes of the land, the stones themselves flowing to show hidden figures that had always been there waiting to be made manifest by the ready viewer. Here, one could almost say it is the subjective effusion into the space and its objects that defines the experience. This to me is a style all its own – I’ll call it the “spatial flux” (or “psychedelic spaces”).
Finally, El niño y la serpiente expands the pop culture idea from the periphery of Chaos, gives it center stage, and takes it in a new direction.
El niño y la serpiente
This is the closest Orozco comes to the traditional surrealism of Salvador Dalí or to pop art collage style, depending on how you look at it. The scene is holistic and quite modern, and we suspect full of political and social symbols, unlike Chaos, in which any symbols with overt political weight were kept to the margins. In fact, there are only the vaguest traces of the cosmic flux or the primal culture here, although the relative flatness of the brush strokes and representation aligns it more with the primal culture style, and also gives it a mural-like effect that keeps Orozco’s eclectic work at least tenuously grounded in the cultural coordinates of Mexican art.
Detail from El niño y la serpiente
It is not for me but for you to determine how much of this response is my own idiosyncrasy and how much intrinsic to the compositional markings on the canvas. Either way, if it provides food for thought about this fine artist and this fine show, that will be enough done.
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Bonus picture (Soñando): a holistic scenario in the true “primal culture” style of Chaos, complete with archetypal Mesoamerican fauna and flora, the close view, the pressed bold color zones, and the sense (enhanced by the title idea, “Dreaming”) that we are moving through the field of what Carl Jung calls “the primitive roots of consciousness.”
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