IndexAbstract IntroductionConclusionWorks Cited Abstract In this essay on art criticism, it is highlighted that the interpretation of art, particularly black narrative, is crucial and should be placed with deep consideration as it plays a significant role in the perceived reality of non-Black individuals. White critics and artists' unfamiliarity with the intellectual, conceptual, and artistic ideas that underpin the work of artists of color creates a space of contempt, leading to a devaluation of art. The representation of black figures should be sensitive and correctly placed to avoid the emergence of a stereotypical narrative harmful to the global platforms of art and art criticism. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Introduction "The artist is the creator of beautiful things. The critic is the one who knows how to translate his impression of beautiful things into another way or into a new material. For the artist, thought and language are tools of an art. It is the viewer, and not life, that art truly reflects. The diversity of opinions on a work of art shows that the work is new, complex and vital. agreement the artist agrees with himself. “ -OSCAR WILDE (preface) An excerpt from “The Picture of Dorian Gray” by Oscar Wilde, published in 1890, is still extremely relevant today talks about criticism, especially of black fiction. Connotations are attributed to the impressions that critics receive based on their understanding of artists or the dynamics of their lives. “The critic is one who knows how to translate into another way or into new material his impression of beautiful things.” The translation of a work of art has a diverse visual language that varies between cultures, it is essential for artistic creation and art criticism that is based on perception 'art really reflects.' The thought and language that comes from a work of art comes from that viewer's perception, and human experience on an individual level is on a diverse spectrum 'aestheticism, artistic philosophies about the notions of thought, emotion and beauty. So the positioning of the black narrative from the black experience and its interpretation in the thought and emotion of art is important to the spaces of which they are a part. an African American artist, said, “As artists, it is our job to document the times and display them as we choose In 100 or more years our art forms will provide future generations with insight into how we have creatively captured our times, in the. good or bad. And it might not always be pretty. We as people have the gift ingrained in our DNA to be able to face our trauma and transform it into poetry and beautiful things. The creative impact of Black art and artists defines the Black community. This definition needs proper placement, it should not be posed frivolously or carelessly, as widespread interpretations of black culture could generate a harmful stereotypical narrative, across the globe and within the platforms of art and criticism. 'art. Art changes, but history doesn't. That history is documented and reaffirmed through the hands that pass it down the most, the voices most listened to. From one of the extrinsically underrepresented communities, art is one of the most important forms of self-expression for the Black community. Through a community that is mostly overlooked and misunderstood. Art that uses black figures created outside of black culturecould be the subject of deeper consideration, although it remains dependent on the representation of individuals in the artwork. This doesn't mean that black figures should be depicted exclusively by black culture, it just means that black art and the representation of black figures are sensitive. It plays a role in the perceived reality of non-Black individuals. This portrayal should take deep consideration of how they are portrayed. It functions as a way to hear, see, and interpret Black voices. Most of the black narrative that is taught has been dictated by white figures for hundreds of years. White fiction has overwritten black history, while black fiction, written from many perspectives, does not give enough credit to the perspectives of black culture. Many times this white narrative has been used to exploit and profit from black culture. Similar to the "Confessions of Nat Turner" by the controversial American author William Styron, who wrote a slave narrative from the point of view of Nat Turner, a slave who was about to be executed. When white culture confronts black culture, they take on a narrative of white saviors or portray themselves as oppressed and at the same time are the most oppressive towards black individuals. So how can white critics, artists, and intellectuals pass judgment on works of art made by black artists when they have never experienced black fiction firsthand? Elizabeth Méndez Berry and Chi-hui Yang address this topic in their essay, “The Dominance of the White Male Critic.” Where critics described the film as “Green Book” and said it wasn't radical enough. Simone Leigh, an artist, suggested that critics could not identify radicalism in her work because they are unfamiliar with the art, artists and themes from which she found inspiration. Art critic Aruna D'Souza stated, "The problem is not that these critics lack an essential connection to the work of artists of color, it's that many of them are simply unfamiliar with the intellectual, conceptual, and artistic ideas which are the basis of the work". .” Unfamiliarity creates a space for contempt, as people dismiss what they don't understand. While they are not entirely to blame, people learn and understand through human experience. An artist or critic cannot fully grasp what they have never experienced. The dynamics of those experiences can only be understood through emotion. Those who are outside of that emotion, do not fully understand the impact of their lack of that emotion. It shows in the language they choose to use in topics that trigger a level of pain they have simply never felt. White artists cannot represent black pain. Many will describe a black emotion or pain as excessive sensitivity, but we cannot deny that emotion is one of the strongest factors that is the force that drives the experience of art and the way art is deciphered. When a critic imposes their opinions on thoughts without feeling, there is an opportunity for devaluation, because there is no emotion attached. As well as the interpretation of blackness through white artists. Artists such as Dana Shultz and Victor Arnautoff have attracted controversy due to their works and the spaces in which they have been presented. These works may not be intended to harm, but Black representation in all aspects of creativity is vital to Black culture, a community that has long been represented by their failures. They often express themselves in positions of pain, slavery and many other forms of discrimination. Robertha Smith hasinterpreted the slaves in Victor Arnautoff's murals as "pure" because of the symbolism in their "white" clothing. In a certain sense it is almost as if he suggests that the presence of white removes the problem of the situation. Would the same message remain in Arnautoff's murals if the slaves were not dressed in white or if George Washington had been removed? Just as the Native American perceives himself to be in a “peaceful” sleep, when he is clearly face down, on the earth, in a universally uncomfortable position. There could be more representation of black figures and people of color showing their strength, their strength in their history and talents. The meaning of Dewey Crumpler's response murals in the same space as Victor Arautoff have this meaning. If the black figure is going to exist in a space that dehumanizes them, there should at least be another form that shows their strength and community and also symbolizes their historical struggles. Works like this were especially significant in the Harlem Renaissance, where black figures are seen in portraits, in dance, coexisting together in their community. Black artists in the Harlem Renaissance spanned the literary, musical, theatrical, and visual arts. They redefined “Negro” as the term that defines the standard of white culture for African Americans for their heritage and each other. They also sought to free themselves from the racist beliefs of Victorian and bourgeois moral values ​​that dictated the degradation of the lives of African Americans. The Harlem Renaissance movement had a significant impact on black literature and consciousness around the world. It consisted of noteworthy intellect and talent and served greatly as symbolic cultural enlightenment. Even if it goes unnoticed, in conversations with other students about the Harlem Renaissance they ask, "What is it?" The Harlem Renaissance should be taught more in schools. The importance of understanding the history of black fiction is vital, but it's not just about discrimination and controversy. This shouldn't be what draws the attention of critics and the art world. The interpretation of black figures does not necessarily have to be in cultivated fields like in Victor Arnautoff's murals, or in a battered-faced coffin like Dana Shultz, and they certainly do not have to be portrayed as sexualized women with toothpaste all over their bodies. like Kelley Walker, or in an article about the controversy each of these artists has created. Black figures and artists are more than the controversy that comes with them. These controversies provoke the narrative of discrimination, which offers less to the fact that that is not all that black culture is. It's important that we talk about the controversies, but let's also give the same opportunity to black artists themselves, not how their bodies are portrayed in offensive ways. Although not controversial, Vernon Ellis painted a beautiful painting (donated by his sister George Cubberly to the Chrysler museum), but it is tainted by the title “Negress”. The title may have been innocuous, but it is an offensive term to refer to a black woman and demonstrates how black people are seen through white eyes. This is why more black artists portraying black artists should be exhibited more often. It is important to talk about black artists to present black figures in art that arise from black culture, but also allow them to exist without racial connotations. Toni Morrison, an African American writer, said in an interview in response to the question of how black writers write in a world dominated and informed by their relationship to white culture. Morrison responded thus: “trying to alter language, simply to liberate it, not to repress or confine it, but to open it up. Make fun of him. Blow up his straitjacketracist. I wrote a story called 'Recitatif:' in which there are two little girls in an orphanage, one white and one black. But the reader does not know which is white and which is black. I use class codes, but not racial codes. as Morrison further said, without the use of racial codes he "had to be forced as a writer not to be lazy and rely on obvious codes". as soon as I say, black woman... I can build on or provoke predictable responses, but if I leave that out then I have to talk about her in a complicated way - as a person.' (Toni Morrison, The Art of Fiction, Paris magazine, Autumn 1993). This leads to great appreciation from critics such as John Yau who broke down Kerry James Marshall's work as the artwork itself, although he acknowledged the racial overtones, Yau described the symbolism of the work as well as the techniques behind it. At the same time, however, he mentioned the absence of white figures in Marshall's work, which was an unnecessary statement. Where the eye is so accustomed to the display of white figures in art that their absence is noticed, but the absence of black figures in art is never taken into consideration. In the future, we look forward to a time when Black art and people, as well as other art forms by people of color, exist in space as they are, for their beauty and expertise, and not for racial connotations associated with it. Just like the impact and meaning of African American artist Nick Cave's sound suits wear “alternative skins” as if they were armor. Protect them from racial and gender connotations. Which are completely masked and prejudicial bias is eliminated. Where the black narrative is finally defined without constant controversy. Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay Conclusion In conclusion, the interpretation of art, especially Black fiction, plays a vital role in how non-Black individuals perceive reality. White critics and artists' unfamiliarity with the intellectual, conceptual, and artistic ideas that underlie the work of artists of color leads to disdain and can result in the devaluation of art. The representation of black figures in art should be given proper consideration and placement to avoid generating harmful stereotypical narratives. The creative impact of Black art and artists defines the Black community, and their voices should be heard, seen, and interpreted with care. White narratives have often overwritten black history, and it is critical to give credence to black cultural perspectives. Unfamiliarity creates a space for contempt, and it is important for white critics and artists to educate themselves on the intellectual, conceptual, and artistic ideas that underpin the work of artists of color. Art changes, but history does not, and the representation of Black narrative plays a significant role in the platforms of art and art criticism. Works Cited Aron, Nina Renata. “When a white author wrote a narrative novel about slaves in 1967, black writers were outraged.” Medium​, Timeline, July 2, 2017, timeline.com/confessions-nat-turner-styron-a5b8afc31076. Berry, Elizabeth Méndez and Chi-hui Yang. “The Dominance of the White Male Critic.” ​The New York Times​, The New York Times, July 5, 2019, ​www.nytimes.com/2019/07/05/opinion/we-need-more-critics-of-color.html​. Davis, Ben. “This artist painted the black radical response to George Washington's slaver murals. This is why he is against their destruction." ​Artnet News​, October 9, 2019, news.artnet.com/art-world/san-francisco-mural-victor-arnautoff-dewey-crumpler-1596409. Hutchinson, George. “Harlem Renaissance.” ​Encyclopædia,