Construction of Identity

On my very first trip to the Montclair Art Museum, I was able to discover and dissect the deeper meanings of identity, culture, and the art of self through a variety of different exhibitions showcased. The major themes I noticed presented in each art piece consisted of the construction of personal identity, power, culture and, race. With each piece of work, a story was being told to convey an idea or to just really make you think deeper than the surfaces presented. 

            When it comes to the identity of self, there are two major things that come to my mind. How you see yourself and how you want the world to perceive you. For some, those two things are one and the same. Meaning, the person that you “see” in the mirror is a direct reflection of what you “show” the world. For others, those two things may be polar opposites. Meaning, the person you “see” in the mirror is different from the person you showcase to the world. And this could be for a variety of reasons. For example, a person may alter their identity or what they identify with to fit into societal norms or a social construct. Joanne Finkelstein touches on this concept in her book, “The Art of Self Invention.” It states, “... being socially acceptable requires a capacity to imagine oneself to be someone else.” It can be interpreted, that not only does how you see yourself play a role in identity but also how the world sees you plays an even bigger role. This can be broken down even further leading to the first exhibit that caught my attention.

            For the first exhibit to discuss, I chose Bisa Washington’s piece entitled Never Forget, 1999. On the surface, it is print and paper constructed into a circular web. Within the web, there are four profiles of an African head and within that a continuous phrase that reads, “the power of love in the face of senseless cruelty and violence.” If you move even closer, the center contains a square image of an African-American man being burned and lynched. This piece immediately drew my attention, being an African- American myself. It can be interpreted that Washington uses race and power to allow the audience to see how it directly affects identity. The concept of how you are looked at by society no matter what you put out or no matter how you see yourself. For generations, the identity of a black person was seen as the lesser regardless of the truth. Our culture, how we talk, and simply to the color of our skin have become a direct reflection of our identity in society. I think Bisa Washington was using the injustice, violence, and cruelty of black people to reclaim the power that was taken from us.

The next exhibit I chose goes hand in hand with Bisa Washington’s work. It is the piece entitled Matar Mbaye (Study 1), 2007 by Kehinde Wiley. The image is of a man whom Wiley met on his journey to South Africa to discover his culture and background. It is a headshot of the model surrounded by colorful elements that imitate African cloth. I thought it was interesting how Kinde Wiley used his roots and a person from where he is from to portray the identities and characteristics of himself. It is a self-portrait without Wiley actually being in it. The image also is Kehinde Wiley’s way of reclaiming power. For years, art was seen and reflected from a white man’s point of view. For example, John Berger says in his book Ways Of Seeing, “The art of any period tends to serve the ideological interest of the ruling class (page 86).” So there was never a time in art history where there were black models, black people, or black portraits being displayed. Matar Mbaye was Kehinde Wiley’s way of reclaiming that while also showcasing his identity.

The third exhibit I will discuss is Lorna Simpson’s Coiffure, 1991. The piece has similar concepts of the construction of identity when compared to Matar Mbaye and Never Forget. However, Simpson showcases this through hair. I was drawn to this notion because I know how big hair is in African-American culture and identity. Our hair represents strength, life, and love. The braiding of our hair has even more significance because it is a direct representation of our roots. In the slavery era, slaves used braids to create maps to lead to freedom. Rice was also hidden within the braids of some slaves for food on the journey to freedom. The exhibit shows three images of her subjects from a bird’s eye view of a head, inside a mask, and behind. It can be interpreted that Simpson is using an unconventional way to showcase her roots and how she identifies with them.

Fourthly, I chose Cindy Sherman’s Untitled #402, 2000. On the surface, it is a self-portrait of Cindy Sherman role-playing. She wears a shirt that imitates an American flag, a straw hat, and pale face makeup. Sherman’s work is often known to grab the attention of her audience. The over-exaggeration of patriotism in the image can be interpreted as Sherman almost mocking “traditional” historical paintings, shoots, and stills. The image reminded me of a quote by Joanne Finkelstein. “Every society has rules that are in essence guides to prevailing assumptions and values (86).” I think Cindy Sherman uses this specific portrait to challenge those rules in society.

Lastly, and one of my favorites in the museum, was Joyce J. Scott’s Harriet Tubman as Buddha. On the surface, the sculpture displays exactly what the title says. It is Harriet Tubman as Buddha formed by bead weaving. The depth of the piece is the reoccurring theme of reclaiming black identity and power. To place Harriet Tubman as a religious figure shows the strength of a black woman. It also shows respect and homage to our ancestors before us.

All in all, there are many aspects that contribute to the construction and creation of personal identity. Some contributions are formed through external sources (ie society, the world, appearance) and others through internal sources (ie personal history, culture, roots). 

Never Forget, 1999

Matar Mbaye (Study 1), 2007

Coiffure, 1991

Untitled #402, 2000

Harriet Tubman as Buddha, 2017

Me :)