As of late I’ve been fixated on the term post-blackness primarily for the development of my art; however I am quickly recognizing this as the quintessential element in who I am or at least who I want to become as a physiological being. For the purpose of making my first blog entry short I don’t want to unpacked what post-black means in regards to my artistry – admittedly I am not far enough down the road to even do so. Nonetheless I want to reference Thelma Golden, the discoverer of this term and Eric Michael Dyson to give you a base from which my thoughts derive.

Thelma Golden in her freestyle exhibition catalogue describes post-black as “artists who were adamant about not being labeled as “black” artists, though their work was steeped, in fact deeply interested, in redefining complex notions of blackness (Golden, 14).” She goes into to a more discursive analysis but I believe Dyson gives the most concise definition in the Forward of Touré’s Who’s Afraid Of Post-Blackness: What It Means to Be Black Now when he states, “It clearly doesn’t signify the end of Blackness; it points, instead, to the end of the reign of a narrow, single notion of Blackness. It doesn’t mean we’re over Blackness; it means we’re over our narrow understanding of what Blackness means. Post Blackness has little patience for racial patriotism, racial fundamentalism and racial policing (Touré, XV).”

I intend to use these foundations as a base for where my artwork goes next very directly.

 

Golden, T. (2001). freestyle. Harlem, New York, United States of America: The Studio Museum in Harlem, New York. pg. 14

Touré. (2011). Who’s Afraid Of Post-Blackness? What It Means to Be Black Now. New York, New York, United States of America: A Division of Simon & Schuster, Inc. pg. xv