Montclair Art Museum Paper

It wasn't until I read the Finkelstein quote "to participate in society we cultivate a public persona, a manner of being in the world that works to sustain our engagement with others," that I questioned myself, as well as those around me. Have we all created a persona? Does that mean we're all pretending? I've come to realize, however, that, in some way, we all have to "construct" an identity.

From the beginning, we've all had to choose; good or bad? conform or rebel? It was through these choices that we chose who we wanted to become; we constructed an identity. Finkelstein said, “we are coherent, self-determining beings who can make life whatever we want- and the opposite, we are deficient beings who need to compensate for a lack of character, sentiment and skill, which we can do with the easy purchase of a new car, cosmetic dentistry or a total makeover.” On one hand, we subconsciously choose who we will be and what we present, whilst on the other hand the construction is forced. If one realizes that who they are isn’t socially acceptable or celebrated, they consciously choose to fabricate their image, becoming who society says they should be. In both ways, an identity is formed that the person now must live and identify with.

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                           However, the theory of "the Spectacle," from Guy Debord's Society of the spectacle, has shown that that forced construction can be persuaded or influenced. For many, the images constructed come from what is advertised. Debord said, "Considered in its own terms, the spectacle is an affirmation of appearances and an identification of all human social life with appearances.” In other words, it has everything to do with show. It’s so evident today; everyone is occupied with their outward appearances or how the world perceives them, whether by the car they drive, who designed their clothing, the types of phone they own, etc. Many of that comes from what is being televised as cool, or what will instantly grant you happiness, etc.” Whether it’s through social media pages, billboards, or celebrity figures, we are constantly being bombarded with images or lifestyles that are seemingly perfect or how life should be.

This concept, along with that of power, race, identity, and gaze are illustrated in many artworks. Many such examples were showcased in the Montclair Art museum’s ‘Constructing identity in America’ exhibit. One artwork that amplified the concept of race and identify would have to be ‘Matar Mbaye’ by Kehinde Wiley, done in 2007. If one is to construct an identity, then they should be proud of it. This painting celebrates this young man’s identity; it celebrates his blackness. The African American male is shown form his shoulders up in what seems to be an everyday attire, surrounded by birds and leaves. His gaze is quite compelling, as he stares into the viewers’ eyes, and it isn’t by coincidence. According to an article by Bell Hooks, the oppositional gaze, “the politics of slavery, of racialized power relations, were such that slaves were denied their right to gaze.” This simple power was taken from black people for a long time and Kehinde is making a statement with the gaze in this painting, as if to say, “here I am. Acknowledge me.” The birds also seem to be symbolic, possibly of freedom; the freedom to unapologetically be who he is and possibly even to gaze.

Another painting that stood out and shed light on the issues of identity and race was that by Lorna Simpson, called Coiffure, done in 1991.The artwork consists of three black and white photographs, all seen from behind, one a woman’s hair, one of a braided style by itself, and one of the insides of a mask. It also featured rectangular board at the bottom with words, giving instructions on how to braid. The choice of subjects in this matter is symbolic, especially for a woman of African descent. In the book ‘Ways of seeing’, John Berger said, “The photographer’s way of seeing is reflected in his choice of subject.” I believe that Simpson wanted to address an issue that is relatable among black women, their hair, as well as school non-black women about a black woman’s hair. I believe she wanted to show the diversity she saw in it, that you can go from natural to braids. Not only that but that it isn’t something to hide, hence the mask. Berger continues, “Yet, although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our way of seeing.” The angle of these images is also quite significant. Simpson, maybe, showed us the subjects from behind because she didn’t want us to judge it based on face value.

Thirdly, one that was not only aesthetically pleasing, but also tackled the issue of power, class, was by Ben Jones, Juxtapositions #11, done in 1989.The art piece consists of four panels: one addressing the issue with power, a portrait of the artist’s face, a triangle which may be to represent the hierarchy, and an abstract piece. Although all four panels are symbolic, I would just like to focus on the two panels that addressed the idea of power. One panel has the words, “You need power, what kind?” and lists some powers below; spiritual, sexual, economic, etc. This aligns with the idea of constructing an idea and the power you choose to possess. The triangle, which represents class, may be blank, so the viewer could construct their own hierarchy in the order they wish because as Berger says, ‘when we ‘see’ a landscape, we situate ourselves in it.” In that same way, I believed the artist wanted people to situate themselves into his art.

The fourth art piece, ‘Rock. Well: radiant, pop, champ’ done by Fahamu Pecou in 2010, addressed the issue of identity. A black male sits on a stool looking in a mirror as he paints himself. Above his canvas are pictures of Ali, Warhol, and Basquiat. Finkelstein addressed the importance of cultural influence in his book when he said, “Popular culture is not simply diversionary: it circulates ideas and brings complex questions to our attention.” I believe one of those questions would be, “who do I want to be like?” The artist may have included those important figures not because they were important to him but because they have influenced so many artists’ and their identities.

Lastly, is the artwork I believed address the issue of the spectacle, as well as identity; Untitled (seeing through you) by Barbara Kruger, done in 2004-05. The art work featured the face of a woman gazing up with the words ‘seeing through you’ plastered across her face in bold green letters. I believe that Kruger could be addressing the issue of a false identity, or more so, an identity centered around a lie. Debord said, “In a world that has really been turned upside down, the true is a moment of the false.” In the moment one realizes that they’re being largely influenced by certain mediums, advertisements, and images, is the moment they realize how much who they are might not be who they really are. Instead, it was because of ‘the spectacle’ that they really constructed that identity.