The Theater of Refusal : Black Art and Mainstream Criticism

the theatersf rrfu*r\lrrk art andmainstream criticism

ARTISTS

JEAN-MICHEL BASQUIAT RENEE GREEN DAVID HAMMONS

BEN PATTERSON

ADRIAN PIPER SANDRA ROWE

GARY SIMMONS LORNA SIMPSON CARRIE MAE WEEMS PAT WARD WILLIAMS FRED WILSON

'CURATOR

CHARLES GAINES

EDITOR

CATHERINE LORD

FinefutsGallery Universityof California,Irvine Tlte Theaterof Refsal: Bkch Art and Maircneam Criticism ms organizedby rhe Fine futs Gallery,Universiry ofCalifornia,Irvine, California 92717 (714)856-8251

The Theaterof Refusal:Bkck Art and MainstreamCiticism qhibition, symposiumdiscussion and cataloguewere made t0(arhol possibleby Benerouscontributions fmm theAndy Foundationfor theVisual Arts, Inc., The PeterNorron Fmily Foundation,the Universiryof CaliforniaHumanities ReseuchInstitute, and the Depanmenrof StudioAn, Universiryof Californiaat lrvine.

EXHIBITION SCHEDULE

Universityof California,Irvine FineAns Gallery April 8-May 12, 1993

Universiryof California,Davis fuchardL. NelsonGailery November7-December 17, 1993

Universiryof California,Riverside University Art Ga.llery Jmuary 9-February27, 1994

Library of CongressCamlogue Numbt:93-086373 ISBN 1-884355-00-5

Cataloguedesign by Suan Silton / SoSLos Argeles Exhibition designby Mara Lonner Photographyby CatherineOpie

Linotronic Output by JT&A, LosArgeles Printedin an edition of I 000 copiesby Delta Graphics, Smta Monica, California the theater of refusal: h!aekart and mainstrearncriticism

CHARLES GAINES

Current critical writing and curatorialpractices evidencefor this is found in the work of black marginalizethe work of minority artistsby artistsand theoristswho claim thar modernism treating the subjectsofdifference and identiry as militatesagainst difference in favor of homogene- variantsfrom a mainstream.One profoundly iry, and that postmodernism,which generally positive result is establishingand giving voice to promotes"difference," in so doing militates difference.On the other hand, the discourseof againstthe idea ofthe self-as-subject.Counter ro marginaliry-be it in critical writing, exhibitions the beliefthat postmodernismprovides a critical or works of art-buttresses the almost implacable languagefor the constructionofidentiry and the edificeof the mainstream.Additionally, it pro- valorizationof diFference,consider this comment posesthat there is no differencebefween aesthetic by Adrian Piper: judgments and political judgments;to put it more i reallythink poststructuralismis a plotl It's precisely,it suggeststhat the idea of the main- theperfect ideology to promoreif youwanr to streamand the idea ofaestheticsare built upon co-optwomen and people ofcolor anddeny the samefoundation of absolute"truth." Mar- themaccess to thepotenr rools ofrationaliry discoursereveals through its complex rela- ginal andobjectiviry. I tionship with the mainstreamthat "truth" can R".;.- ;. i.... ,h",,,".ri....,- mor€ accuratelybe defined by the Nietzschean r...-.., ^F.*.1,,..ti-- and Deleuze/Guattarianterm "power." Power from political and socialpower thosegroups that (maintenance)is the underlying structurerespon- havean ethnic identiry different from that ofthe sible for the mainstream'sfrequent complaint that dominant race.\flith this in mind, it doesnot marginal discourseaddresses only minoriqy seemthat the ameliorationor the obviation of the concerns.Marginaliry, therefore,is political, is subjectis in the political best interesrof the always seen politically by the mainstream. minority. To do so wor-rldleave the minoriry The intent of this exhibition and essayis to either outsiderepresentation, or continue her revealthe strategiesof marginalizationin the subjection.The presenceofa subjecris essential l2+13 critical wricing about a group of contemporary for the implementarionof politicalpower. black artists,and to proposean alternative.The We 6nd supporlflor Pipcr from Abdul citle suggeststhat the critical environment JanMohamedand David Lloyd. In their ir.rtro- surrounding the works of theseartists intention- ductiorr to The Nature and Cantext of Minority ally and unintentionally limits thoseworks, Discoursetheyare critical of postmodernism, crearinga theaterof refusalthat punishesthe without finding solacein modernism, thus taking work of black artistsby making it immune to exceptionto Piper'sreference to "the tools of history and by immunizing history againstit. The rationaliryand objectiviry."\Testern culture has statusof the mainstreamis vigorouslymaintained usedrationalism as a tool ofoppression,and not only by the discourseof the authorial voice- although postmodernismcritiques modernism as m6dslnism-but by a politics that surreptitiously a centralizingtheory that colonizesdifference, it is introducesthe Other through a dialectical essentialnot to confusepostmodernism wich the framework (Self-sameiOther,identiry/difference, minoriqy theoreticalconcerns. l mainstream/marginal). Cornel W'estwarns us of his suspicionsabour Raceproblematizes critical theory. The best postmodernism'srelation to racialoppression: the theater of refusal-, black art and mainstream criticism

rrom my own view point, I remainquite sus_ searchfor something new we go ro whar is piciousof the term"postmodernism',... because now on the margins...Thequestion for me is the precursorturm, "modern', itselfhas not whether it is going to be possible for our simply beenused to devalue rhe cu.lturesof discovery of rhis work to a.lterthe power oppressedand exploiredpeoples, but alsohas srrucrure sufficiently so rhat power gets shared failedto deeplyillumine the internal complexi_ with these individuals, just as it did with the riesof rhesecultures. Underrhese .i..u-- Cubistswhen they were groundbreaking...The stances,there is little reason to hold out hooe test of whether the foregrounding of mar- for rhenew rerm "postmodernism" asapplied ginalized art is merely a fad, or whether it is a to the practicesofoppressed j peoples. new development, will be proved if and when we areaccepted into the calon...5 In spite of a postmodern critique that priv_ ilegesdifference over universaliry, the work of Also, consider this comment on Fred black artists conrinues to be marginalized. Nancy \Tilson's work: Hartsock, in fact, arguesthat postmodern theory 'Wilson, [Fred] an African-American is antithetical to minority discoursebecause of its artist, necessarilyreferenced his own relatively critique ofthe authorial voice and cenrraiized mar- a ginalized position as a cultural producer "of knowledge. For a minority discourse,however, color," suggestingthat criticaliry could be the searchfor a voice, a voice that is heard, is construcred at [the] marqins...of the equivalenr to a "will ro power." The marginalized cultural sphere.6 voice takes form in its searchfor power and in sci doing introducesa dilemma. \Zill gaining this If we consider these statements as a manifesta- voice make the minoriry compiicit in a morally tion of a "wiil to power," this suggests at rhe very specioustheoretical posrure?Can this voice be least a utopian vision of rhe future, where power maintained only ar the expenseof other voices, in shifts can occur within the mainstream even in precisely the same manner that mainstream the face of an intractable and systemic racism. It is culture presendy does, through the colonization essentia.lro rhis argumenr rhar rhe bio/organic and oppression of the Other? The only way to structure of race be subsumed by the systemic i!, maneuve.ris either ro accepr the "will to power,', operationofdialectics. In other words, a social to take solacein the marginal as a necessaryparr environmenr that is constituted by both a ofthe archeologyofpower whoselandscape is dominant culture and a minoriry culture can be formed and informed by the dialectics of influenced by a theoretical binarism which would mainstream/marginaliry, or to reject this posture then give the hope of assuagingsocial tensions. for a new framework that does nor condemn However, it is at the least quesdonable thar a ":rl marginality to compliciqy with power. social pathoiogy such as racism would follow the Both solutions valorize marginaliry, which exigenciesofa theoretical operation like dialectics: even seemsto be an essentialstep for those who oc- though it is structurally possible to mediate !. cupy the margins. However, this attitude is difference in dialectics, it may not follow that fraught with difficulty. Both Adrian piper and racialdifference could alsobe mediated. Fred Wilson seemarginaliry as a discoursethat Nancy Hartsock explains that the social l participares in the mechanismsof power, position of minorities as rhe marginalized Other tr something like the European avant-garde.In provides them an oppoftuniry ro arriculate a new responsero a question regarding the long overdue discoursethat avoids appropriarion either by attention that sheand other artisrsofcolor have modernist totalizing theory or the poststruc- received,Adrian Piper remarks: turalist decenteredsubject, T an imperative for her since she believesthat the history of minorities It isclear...that rhe most exciring, mosr makes them especiallysensitive ro roralizing innovativework is madeby thoseon the theories.Although Hartsock fails to provide a marglns,so it is not surprisingthat in the cogent afgument for her thesis, and so becomes GAINES

another victim ofdiaiectics' abiliry to serrhe definedby this relation is the mainstream: terms for any discourse,I am nevertheless marginaliryserves ro delineatethe contour of the convinced that it has grearerporenrial than rhe mainstream,and in fact has no critical voice that form/content synthesisthat would be required for could realizean independent discourse. the shift of power from the majoriry to an If meaning,according to JacquesDerrida, is a oppressedminoriry. (Dialecticalopposition asthe product ofthe forcesofdialectics, then the fi-rture structure that realizesracism as one instanceofits of Hartsock'stheory seemsdismal. However, were cultural expression.) it possibleto move beyond dialectics,a discourse The impact of the dialecticstrucrure on a might be possiblethat could challengeconven- term like marginaliry needscloser scruriny. In tional notions. Rather than surrenderingto the dialectics a notion such as Being is placed together hegeliansysrem and its penchantfor uni- with its negation,Non-Being. Being cannot be versalizing,we mighr look toward Deleuzeand consideredan autonomousidea, but an idea "in- Cuattari's ideasof the deterritorializedminor, relation." Being and Non-Being are now spoken itarian subject, and the heterogeneoussubject I ,f in the terms of a selfsame/otheror presence/ proposedin the writings of Mikhail Bakhtin, i{e absencerelation. The negative term f' defines the Jean-FrangoisLyotard and Julia Kristeva. I I positive; without the negative the positive could A lascinatingcritique ofhegelian discourse I I not exist.The "other" relation is what Derrida t and the manner in which it constructspolarities is l, t: caiis alteriry; the construction of the selfsameis found in Deleuzeand Guattari'sA Thousand J dependedon rhis alteriry. Plateaus,which providesa lesslimited consrruc- This hegelian structure suggestsa hererogene- tion of marginalirythan thoseinformed by iry of meaning,because of the conflicting dialecticsor its deconstruction.'We may say nor expropriation ofeach term by its "other." Alteriry only that raceproblematizes discourse but that and difference become privileged. However, in a race is also problematized Dydiscourse becauseit "cunning" fashion,the other-relationis turned is interwoveninto a nerwork of hegelianidentiqy into a self-identiryof the concept.Being, assertionsthat are themselvescaughr in layersof constituted by the terms of the other-relations, paradoxical ambiguity. This locates race as a rrope becomesthe defined and concreteprinciple. of deterritorialization.The radicalizingeffecr of Michael Ryan explainsthis. raceremains unrecognized in most critical writings on the subiecrbecause ofa fear that rhe This "cunning" is perhapswhy a thinkersuch recognitionwould prevent or make moot a asDerrida finds the hegeliandialectic to be at desiredhypostatization of identiry. Instead,race oncefascinating and pernicious.It recognizes the mediatednature of all supposedlyproper itself is taken to be a discreteattribute that may t4+t5 entiries,their constiturive expropriation modify the universal subject. Dererritorialization, (nothing is self-sufficient),but it ordersthis on the other hand, strategicallyand adventurously potentially heterogeneousdifferential into a eschewsidenriqy construcrion s. systemof simple binary opposirionsor Deleuzeand Guattari add to the srrucrureof contradictory negations(Being/Non-Being, minoriry/majoriry the condition of becoming- Cause/Effect) and suppressesthe heterogeneiry minoriry. In this senseminoritarian is a processof in favor of alteriry and difference of a theology becoming whereasmajoritarian is defined as oftruth as self-identiry or "propriation," which having the dominant position. The inrracabiliry arisesfrom the processofmediation-rhat is, the of the majoritarianstate is weakenedonly by return oFthe other-relationinto the self- deterritorialization,i.e., change.The minoriry identiry of the entiry, concept, or subject. 8 (minoritarian) is a function of this movement and Most theories of marginality are infiuenced by is thus informed by majoritarian conditions. The a dialectic structure that positions the margin in processof becomingis then a processof deter- relation to a mainstream. The only term actually ritorialization.This differs from positioning the the theaterof refusaL. llack art and mainstream criticism

minoriry (e.g.,the black) asa discretesubject. A theory ofheterogeneity also provides an The black is in rhe processof becoming (a minor- interestingcritique of hegeliandialectics.'With itarian posture),and becoming is a deterri- the help of Bakhtin and P.N. Medvedev, torialization of the stateof being (majoritarian). R. Radhakrishnan suggestsin his essay"Ethnic Consider Deleuzeand Guattari'scomments: Identity and Post Structurdist Dififerance" that an ethniciry defined by a heterogeneousreading has a It is importantnot to confuse"minoritarian," as greater relevanceto lived experiencethan a uni- a becomingor process,with a "minoriry," asan fied notion ofethniciry, and suggestsa discourse aggregateor a state.Jews, Gypsies, etc., may that does not aliow a "theory of mastery, but constituteminorities under certain conditions, but that in itselfdoesnot makethem be- enablesan articulation of historically determinate comings.One reterritorializes,or allows oneself and intentional, but non-authoritarian,attitudes to be reterritorialized,on a minoriryas a srare; to 'realiry' and 'knowledge.""' Radhakrishnan but in a becoming,one is deterritorialized.Even engagesthe problem of unified ethnicity by blacks,as the BlackPanthers said, must become- asking whether it is possible to realize identiry black.Even women musl become-woman. Even within the reality of the marginalized. Jewsmust become-Jewish....Bur if rhis is the case,then becoming-Jewislinecessarily affects ...ethnicrealiry realizes that it hasa "hame,"but the non-Jewas much asthe Jew..,Becoming- thisname is forcedon it by *re oppressor...[I]t Jewish,becoming-woman, [becoming-black] givesitself a name...fromwithin its own point etc.,therefore imply rwo simultaneousmove- of view;and it pondershow bestto legitimate ments,one by whicha term (thesubject) is and empowerthis new name.[This] bringsup withdrawnfrom the majoriry,and anotherby a complexproblem...I cali it theproblem of "in ::it: which a term (the mediumor agent)rises up the nameof." In whosename is the new name beingauthorized, authenticated, empowered? rr from the minoriry. Thereis an asymmetrical l.:': : andindissociable block of becoming,...the Radhakrishnan articulates the conditions for [black]and the [non-black]...enterinto a e what he calls the monologic ideology-a Ibecoming-black]... ii.i' problematic notion becauseit falsifies the dialectic lir : Deleuze and Guattari firrther explain that of real life. Identiry (or the marginalized subject) there is no subjectof the becomingexcept as a must be lessmonologic, i.e., lesscentralized, and #lil deterritorialized variable of the majoriry, and there more dialogic if it is to conform to lived experi- i{-:ir,i is no medium of becoming exceptas a deterri- ences.As Trinh T. Minh-ha writes: torializedvariable of a minority.'o This not only functionsin isolation.No First explainsthe interdependenceof minoriry and No system tVorld existsindependently from the Third majoriry subjects,but alsothe reasonwhy change tVorld; thereis a Third $7orldin everyFirst is possibleonly from the standpointof the ma- World and vlce-vetsa. '' joriry: the majoriry changesbur it is not in rhe processof change; the minoriry, on the other Monologism occurs in the absenceof a hand, is always in the processof change.This is continuousprocess of self criticism. Discourse true not just of race but of various malorityl must remain skeptical in order to know whose minority distinctions. However, the conditions interestsare being servedby each articulation. of race deterritorialize critical theory when that The marginalized subject is constituted by the theory constitutes a mainstream subjeciviry. presenceof many voices, some in complete Race destabilizesmainstream subjectiviry, but in opposition to others. so doing does not make politics irrelevant, for Marginalizationand the mainstreamare the destabilization is itselfan act ofpolitics: related in exacdy the same way that Trinh T. "Becoming-minoritarianis a political affair and Minh-ha suggests.There is marginalized rePresen- necessitatesa labor of power (puissance),an tation in the mainstream,and vice versa,Produc- activemicroDolitics." tt ing a text of sometimes conflicting and sometimes GAINES

unifring ideologies. (I am not suggestingthat photography of Lorna Simpson and Carrie representation is so open-ended that one cannot Mae Weems.'!7hat was once marginalized in distinguish the mainstreamfrom the marginal.)'5 art-the work of black women-is now being Unlike the system of mediation in hegelian mainstreamed as part of the larger episte- dialectics, which results in a suppressionofalterity melogical examination of the Other." Does this development signal a genuine in favor ofthe "theology oftruth and self- change in artitudesroward raceand gender,or is ir identiry,"'6 identity that is deterritorialized merely a benevolent token ofan otherwise produces a dynamic marginaliry that consmntly oppressiveculture? r8 seeksto define itself.i7This dynamic statereflects one's real experiences,for who is absent of [David Hammons] has created an art of conf ict and contradiction? marginality. Ie

Marginaliry is also valorized in the fol- il lowing comments.

Before reading the reviews and catalogue fHammons] is not exactly a total unknown, but essaysrelated to the artists in this exhibition, I neither has he found a way to addressmargin- anticipated finding languagethat would overtly or ality without demonstrating it in his own life. covertly marginalize the work. In fact, I found The cultural drift finally seemsin his favor. rwo rypes of discourse. One viewed the marginal This summer he ended up at the grandest "alternative" as having a potentially positive effect on art and space,the Venice Biennale.20 history. The other utilized the stereotype,and Being both black and Female,[Lorna] tended to have a more coercive, negative and Simpson'sall tno awareof her marginaliry lVriting limiting effect on the work. by both and vulnerabiliry;this is largely the subject critics and artists showed marginaliry to be the ofher work.2r central theme. tVhether the critical writing was Distinguishedby raceand cu.lture,these racist,or relied on stereorype,or whether the photographers are also marginalized as women writing attempted to construct a positive identiry in a male-dominated society.22 on the margin,.thecommon ground was a battlefield: both sidesat war. Marginalization Simpson is a young photographer who has is a sword with two edges:as we use it to attack begun to receiveconsiderable attention for racism, we wound our villain with each down- her photo-and-text works drawn from her stroke, but each time we raise the sword for own experiencesas a black woman in a white world.23 another blow, we wound ourselves.It is virtually 16+17 the discourseof marginaliry impossible to invoke These... [exhibitions]...inwitably (raise)the without buttressing the impiacable edifice of the questionofwhether the mainstreamitselfhas artist engagedin a battie mainstream. The black is become receptive to fFred -Wilson's] ideas or to for her identiry, and there is no possiblevictory, simply inured to them. for to be marginal is to be in the battle. A more negative type of critical writing is The 6rst seriesof cirationsaftempt to view exemplified in the following examples: marginaliry as an historical force (like the avant- garde) that in time will change the face of main- Talk like Adrian Piper's is refined and 'W'e stream culture. can hear the overtones of polite...but it's about as racistas anlthing you rhis position in Elizabeth HaJ't-Atkins' question can expect to hear these days...Imagine to Adrian Piper, as well as in descriptions of someone with one Chinese ancestor, say, like David Hammons. Piper's, a great grandfather (maybe in the 1850stea trade).imagine this person ln the UniredStates, there is growing interest proclaiming her Chinese identity...come offit in your work aswell asin the conceptual honey, you're as "white" as I am... Piper the thaater of' '-----llackrefusaL. art and mainstreamcriticism

projects her own obsessionwith race onto the Out of the Corner challenses the manner in which environment, The "nightmare" is her own. whites identi$' blacks as the Other by pointing The people I know...would be, at worst, en- out that we are a.ll"black." Welish concerns her- chanted to discover a friend or acquaintance self only with the issueof biracialism, when for had a linle something exotic [iralics mine] in Piper biraciaiism is only a means to addressthe her background. " subject of stereorFping.As Piper says,"If some-

Marjorie l7elish has problems with Piper's one can look and sound like me and still be black, installation and videotape work, Out ofthe who is safelywhite?" " Corner, because it employs certain rhetorical Doesthe acceptanceof beingblack call for techniques to trick the viewer into beiieving thar collapsingspecifics into generalities?Does the he is uncomfortable about blackness.'Welish acceptanceof beingblack furthermore, believes that ifthe viewer is disturbed or frus- forecloseon criticaliry?2e trated by the accusatory language of the work, it By ar.alyzingmy work solelyin termsof my is not a sign ofracism (as suggested in rhe text of racialidentiry, and evaluatingit in termsof Piper's work), but instead the frustration caused its shockvalue, [Elizabeth Hess] portrap me by an irritating rhetorical structure. asthe raciststereor'?e much of my work The logic of "Out of the Cornbr" consistsof targets:the aggressive,dienating, sexualized ro asserting the premise as though it were a black[artist]. conclusion, meanwhile elaborating it rhetori- Adam Gopnik limits the complexiry of cally, yet in a way suggestive ofpartial logical Basquiat'swork by considering it structures("iI rhen"), sertingup expecrarions Jean-Michel within the about his "real" or of logic that then go unfulfilled. The mater- only debate "false" ialiry ofthe beliefshows itselfnot in logic but primitivism. in logic camouflaged through rhetoric. Frus- ...Thebig Basquiatquestion-is it art or tration over such tacdcs and the provoked vandalism?3l resentment they causecannot then be attri- 26 buted to distressover the issueof race. The African Masks, the coarse,zappy line, the 'Welish scar.ifications,the scribbling intensiry: thse are compares Piper's text with a news not just the primitive clichCsof 1984. They are report she heard by repofter Vertamae Grosvenor the primitive clichis of 1948--or, for that in which she discusses the issue of biracialism. She matter, of 1918.32 lauds Grosvenor's report for being empirical and experimental, in stark contrast to Pipdr's ideologi Gopnik goes on to put us in a damned-if-you- cal approach. Finally, \Telish comments: do-and-damned iFyou-don't position.

Piper's mode is first and last rationalist, and The pictures are crowded tighdy together, three ideologically driven, in the beliefthat concil- or four to a wall, and no senseof development, iatory patterns of the liberai intellect may lead change, or variation is allowed to intrude on to empathy but not to substantive practical the show's attempt to force on,them an air of 'sauage" 33 change. \frith her oppositional stance she falls uitaliry fitalics mine]. into stereorypy herself, however, insoFaras bi- tJfhat about the work of so.me of the "bad racial means black. 27 boy" artists: why not call those ciuttered installa- This comment, of course, ignores Piper's tions "savage"? stated position in relation to breaking down For severalmonths after leaving Nosei's gallery, stereoqrpes.She has said that it is her intent to Basquiatrepresented himself, working and eliminate racism and prejudice by attacking the sellingout ofa new loft on CrosbyStreet in Other as a tool of the stereotype.Piper's work is lowerManhattan.,.According to Suzanne about how stereotypingsets up expectations. Mallouk, "Jean-Michelthought [sellingdirectly GAINES

to rich collectors] was a joke at first. Then, aestheticsand in'so doing unintentionally when he got sick of it-he sensedthe racial parriciparesin the mainstream'sacr of exclusion. thing, that [collectors] saw him as a cute little black boy-he'd lock himse.lf in the bathroom The troublewith GarySimmons's mixed media and make me deal with them.3a work on racism--.isthat it seesthe world in blackand white. Metaphorically, that is;look at Vill [Basquiat] be the story of the black wild rhe Us/Themrol:es-plush and white, hang-ing child exploited by the greedy art world? The sideby side,compelling the viewerto line up raw, animalistic talent caged in heartless on oneor the otherside of the divide. But dealers' basemenc, fed canvas,paint, and literaily,too; no colorshere, no messinessor drugs...Collectorseagerly lining up to sample fuss,just cleanlines and minimal forms.Of this exotic viriliry..? 35 course,the problemwith Minimalism wasrhat Norman Mailer, an early and sworn supponer, it tidied thingsup a little too much, eliminating wrote in his 1974 book, The Faith of Graffti, interiorityto explorethe exterior,shoving out that the phenomenon was a tribal rebellion thesubjective to pursu€a dreamofpure objec- againstan evil industrial civilization.36 tiviry. This seemsto be Simmons'sdream, as well.But at whatcost? 3e Maurice Berger and Lorna Simpson show how the mainstream censors and excludes marginaliry. SusanKandel likes neither Simmons' position on race nor.his aesrheticjudgments. \(ork, she The exhibition "Strange Attractors: Signs of suggests,should be mulrivocal (revealing,I Chaos," [was] what the curator called an ex- suppose,the true complexiry of any particular ploration of "some of the most compelling subject).She is suggestingrhar ifthe'subject of issuesraised by the new scienceofchaos as they racism is treated in a work of aft as a multivocal relate to recent worls ofan." ...The catalogue text, then racismshould be representedcom- reverberateswith the jargon of"the new chaos plexly. But Simmons doesnot choosero rrearrhe science"... As one reads through the catalogue, subject way. one recognizesthe names of white, male this I imagine that to treat racism academics.Ard while curator Laura Trippi with a nuancedcomplexiry instead of in the in- maintains that "the discourse of postmod- your-face manner that it is experimcedbyblacks ernism sets up within the aesthetic a situation would causeKandel lessgrief: after all, this would of extreme urgency and indeterminary," no- 'mean that everyoneis nor a racist. where are the systemic,instituiionally defined Kandel suggeststhat social ideas in works of conditions o[racism discussed.!7'ithout the art are expressedthrough an aesthericianguage, Hammons piece fMabolmX the only work by and that ther€ should be conformiry berween a black artist in the show] the sensibiliry of ideasand language.That is why she believesthat t8+tg "Strange Attractors" would have been very Simmons' "simple" view (of race)is expressed different, more typical ofthe splashy group through the aestheticlanguage of minimalism, show of contemporary art that simply ignores thus establishingthe prioriry of aestheticjudg- the issue of race. That one image threw the ments. Is it true, however, that aestheticjudg- entire show into question and [exposed] the racialbias ofits institutional context.3T ments are different from social/political ones?Can she separateher feelings about racism from her Trevor Fairbrother: Have you noticed a dif- aesthedcjudgments, particularly aestheric ference between the way black people and judgments about a work whose subject is race? white people respond to Gestures/Reenactments? The list passage,questioning Rende Green's Lorna Simpson: One white critic wrote that I aesthetics,could be usedro quesrionthe method- was very involved with a secret semiotics, that ologicai approach of this entire exhibition. I deliberately cre ated a prnzle in a secret language.3s The dangerin this showis that in exposingthe wayblacks have been considered out oFcontext, Susan Kandel tries to distinguish politics from Ms. Greenhas taken remarks and information the tlieater of refusaL. llack art and mainstream criticism

out ofcontextherself. Her showmakes no \forks of art are complex events; rheir true distinctionberween the unknowinglyolfensive complexiry is revealedin criticism and its arrempr remarksabout race made by criticsand to circumscribethe boundariesof art. Criticism ethnologists and the oFfensiveremarks abour idealizesrepresentation and consequently racein "The GreatGatsby" that areintended distancesthe viewer from actuality. This is by F. ScotrFitzgerald ro exposethe insulariry evident in the way marginalized discoursehas andbritrleness ofTom Buchanan,rhe characrer been used to reduce complex experiencesto over makingthem. Rummagingthrough cultural arching themes of artifactsro find offensivestatements rhar that reiieve us the responsibiliry immediatelystigmatize their authors politica.lly of having to deal with the works themselves.For hasa nasqyhistory. Ir shouldbe done with example,Peter Plagens' review of the I 993 extremecare.'o \W4ritneyBiennial focused on the "overarching" theme that the works selectedfor the exhibition Now, the insistenceon distinguishing representedthe "artist-as-victim [which is] berweenintended and unintended racismusually increasingly demanded by the contemporary art allows the perpetrarorto blame the victim. scene."4t This is clearlyan attempt further to Green'sapproach, if viewed from a structuralist/ marginalize an exhibition akeady marginalized by post-structuralist critique, acruallyexposes rhe the curators and to simpli$' and essentializeall of racismin the tVhether structureoflanguage. or the work in the show. not an individual is racist,whether or nor an Although Plagensmay be guilry of negative individual hasgood intentions, is secondaryto idealizations (negativeidealizations are often whether or not the ideological framework within calledstereoryping), positive idealizationsare just which an individual functions is racist.Rende asproblematic. This is the double edgedsword of Green is attackingsystems, not individuals:the marginal discourse,producing the paradox of complaint that she shouid take into accounr identiry and stereorype.This, however, is a fact whites who are not rac.istisnores this. of the deterritolalized position. Marginaliry is then not an essentia.listdiscourse, but a complex ilI co-presenceof textual spaces.Critical writing and curatorial practice must addressthis paradox Marginaliry is not a simple theory, but a complex so that we can all realizethat the concerns of the construction of overlappingsocial, philosophical, minoriry artist concern us all. Let me end with biological and historicalideas. Much wriring on this comment from Henry Louis Gates,Jr. the subjectis reductionistand essentialistbecause the politics of the subjectalmost requiressim- In onesense, there really is not much difference plification. It almost begsa simpler form, a berweennegative and positiveidealization; they areequally Far lrom rea.liry,except in opposite diagram, perhaps, that will give shapeto an ways.It makeslittle differenceif a blackperson impossiblycomplex machine,a coding that will is representedas a King or god on the one hand make the difficult choicesfor us, to relieveus of or asa deviland a forceofevil on the other. the annoying spectacleof its insurmountabiliry. Both setsof imagesserve equa.lly to createan As I have tried to a show, theory of marginal- unrealiryin thelife ofa blackperson. It doesn't iry is part of the lexicon of ideasthat frame our matterif a white personencounters an actual world view, It is an old theory, reaching as far blackhuman being though a positiveor into the past and acrossas many culures asits negativestereotype: the actualiryis still parent, dualism. But it is a complextheory, a removed.I don't think that enoughof uswho theory whose purpose is to idealize its subjects. try to criticallyanallze black images have taken a2 And sinceidealizations can be either positiveor accountof this paradox. negative, any particular theory of marginality can function as well to liberate as to enslave. [, f: $ i-l !i fi

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l. Maurice Berger, "The Cririque of Pure Racism:Aa Interyiew 16. Michael Ryaa, op. cit. p.67 with Adrian Piper," Afierimage,l8:3 (October 1990) p.4. 17. GiflesDcleuze and Fdlix Guattari,op. cit. pp.142-145. 2. Abdul R. JanMohamed and David Lloyd, "Toward a Theory of 18- Eliabeth Hayt-Atkins, "The Indexical Present:Conversation Minority Discourse," in JanMohamed and Lloyd, ed.s.,Nanre and with Adrian Piper," Arts Magazinr (March l99l), p. 50. Contextof Minority Discoune(NewYork: Oxford University Press, 1990),pp. I 5-l 6. JanMohamedand Lloyd arguethat I 9. Kay Larson, "Dirt fuch," Neu Yorh lf,znuary 14, l99l), p. 68. postsrrucruralismarremprs to deconstructthe norion ofidentiry. 20. Ibid. Minoriry discourse,on the other hand, actemptsto cririque the notion ofrhe bourgeoissubject. The differencelies in the fact that 21. lrnore Malen, "The Real Politics of Lorna Simpson," Vomen the deconstrucrion of identiry constitutesfor minorities a trope of Arti:x News(Fall 1988), p. 4. is not their invisibiliry. This the deconstrucrionof the subjectbur a 22. Muine \flalker, "Trading Places,Transatlantic Traditions at descriprionofa powerlessand oppressedsubject. Camerawork,London," CreatiueCamer4 No. l0 (1988),p.36. "Black 3. Cornel Vest, Culture and Postmodcrnism,"in Barbara 23. Eleanor Heartney, "Lorna Simpson atloshBaer," Art in (Searde Kruger and Phil Mariani, eds.,Remahing H*tory, Bay Press, Anqicd.77:11 (November1989), p. 18. 1989),p.91. 24. Debra Bricker Balken, review o[exhibitions at Gracie Mansion 4. SeeNancy Hartsock, "Rethinking Modernism: Minoriry vs. md Metro Picrves, Art in America Qtly 1991), p. 114- Majoriry Theories," in JanMohammed end Lloyd, op. cit. 25. BarbaraBarr, "ReplyTo Pipes" lYomenArtist News(luae "The Indexicai Present: with 5. ElisabethA*ins, Conversation 1987), p. 6. Barr's exmple of rhe personwith one Chinese mcesror (March Adrim Piper," lrrr Magazine 1991), p. 50. indicatesrhat she thinls Piper is either biracial or white. However, Piper hasstated that her family wr "one very 6. Joshua Decter, "New York in R*iew," Arts Magazine,65:lO ofthe lasr middle (Summer l99l), p. 92. The referenceto Fred Wilson and the pre- classlighrskinned black hmilies left in Harlem." Adrian Piper, vious referenceto Adrian Piper suggct that the margins ofsociety "Pming for \Mrite, Passingfor Black," Transition,58 (1992), p.6. are similar to the margins describedby avant-gardepractices. But 26. Marjorie Welish, "ln This Corner," Art Magazine,6J:7 this comparison hasproblems. The societalmargin is a construct of (March I 1, t99l), p. 47. the dominanr culure itsell not ofthe peoplewho occupy that 27. Ibid. margin. Cm a minoriry culture that createsitselfdue to the forc€s rhar excludesir from dre mainstreamcounterpart ultimately position 28. Adrian Piper, "Who Is SafelyVhlrel," Vomn Artists News (through itself revolution or slow social chmge) so that it is different Qune1987), p.6. from but equal ro that counterpart?Can the terms mainstrem md 29. Velish, op.cit., p.46. muginal be equivalent ud still maintain difference? 30. Adrian Piper, "lCs Nor All Black and White" (lettersro the 7. Hansock,op. cit , p,35. Hartsockcomments: "It may be ediror) Vilkge Voicc(lune 9,1987), pps.4, 6. objecred rhar I am calling for the construcrion ofatrorher roralizing and falselyuniversal discourse. But that is to be imprisoned by the 31. Adm Gopnik, "L4adisonAvenue Primirive," Tbe New Yorker alternativesposed by Enlightenment thought md postmodernism: (Nov.9, 19!2), p. 137. either one must adopt the pe$pecriveofthe transcendentalmd 32. Ibid.,p.r38. disembodiedvoice ofReroon, or one must abmdon the goal of accurateand systematicknowledge ofthe world. Other possibilities 33. Ibid. exist and mut be...developedby hitherto marginalizedvoices." 34. Andrew Decker, "The Price of Fame," comment by Swne 8. Michael Ryan, Marcism and Drorcmraion (Biltimore: Johns Mallork, Art News$anuary 1989), p. 100. Hopkins UniversiryPies, 1982),p. 67. 35. Allan Schwartzman,"Banking on Basgtiat," Art Magazine 9. Gilles Deleuzeand FClix Guamari,I ThousandPkteau: (November1988), p.26. Capitalitm and Schinphrenia (Minneapolis: Universiry of 36- Suzi Gablik, "Report from New York The Graffiti Question," Minnesora Press,1987), pp. 29 1-292. 2B+21 Art in America(Oaober 1982), p. 34. t0. Ibid., p.292. 37. Maurice Berger,"Are Art Museums Racist?"An in Anerica |t. Ibid. (September1990), p. 69.

t2. R. Radhakrishnan,"Ethnic Identiry md Post-Structuralist 38. Trevor Fairbrother, interview with Lorna Simpson, I/r Difference," it The Nanre and Connxt of Minorirl' Discourse,op. Binational:Ameican Art of the Late 80'g Geman Art of the Late 80i cit.,p. 51. (Boston:The Institute ofConremporary Art and the Museum of Fineturs, 1988),p. 176. 13. Ibid,p59. 39. SusanKandel, "L.A. In Review: Gary Simmons," r{la Mdgazine 14. Trinh T. Minh-ha, "Of Other Peopla: Beyond the'Salvage' (Octoberl99l), p. 103. Puadigm," in Hal Foster, ed., Disresions in ContemporaryCalnre: Number One, (Seattle:Bay Press,1987), p. 138. 40. MichaelBrenson,'Rende Green: "Anatomies of Escape,"Zc New York Timet (May 25, 1990) p.C 19. 1,6: Ve should consider the mainstreu to be similar to Deleuze --j and Guattui's idea of majoritarim. Ve should also considerthe 41. Peter Plagens,"Fade From li(hire ," Newsaeeh(March 15, relationship beveen the mainstreamand rhe margin to be similar to 1993),p.72. the deterritorialized minoritarim subject and the reterritorialized 42. Henry Louis Gata, Jr., in Maurice Berger,"Speaking Out: majoriruim subject.Minor does not designatea specificrace bur Some Distmce To Go..," Art in America (September1990), p. 81. the rwolutionary conditions that loqte a minority in relarioo to a majoriry. See,Gills Deleue and Felix Guattari, KaJha:Touard a Minor Literanre, trms,, Dm Polan (Minneapolis: University of MinnesoraPress, 1986), esp. chapter 3.