Hues of Blackness: The Redefining of Skin Tones Within Black Art
Historically, Black Art has relied heavily on "accurate'
representation of black people. This can range from
occupation, to emotion, and even down to physical
appearance, however a new wave of creativity in relation
to skin tone within Black Art has taken over which ditches
the traditional for the non-conventional. Through the use of
vibrant colors, artists have been challenging traditional
descriptive tones for Black people by replacing traditional
color schemes with more broader color palettes. Which
allows viewers to engage in new ways because it allows a
wider artistic and cultural context. This gives rise to
questions about redefining racial identity and the meaning
of blackness.
By: Liza Montgomery and Connor Joseph
What is black? Black isn’t a primary, secondary, or tertiary color. Throughout this article as we take a magnifying glass to brown and black faces in contemporary art, we challenge readers to reflect on the revealed conversations between the artists, their work, and messages they are communicating to viewers. Analyzing art and challenging various notions and limitations of blackness defies histories of marginalization and gives light to the reinvention of people of color in American art history.
In February 2018, the Smithsonian National Portrait Gallery presented former President and First Lady Barack and Michelle Obama each with a portrait. President Barack was presented with a traditional, grandiose, and vibrant painting of him sitting in what seems like a flower field painted by Kehinde Wiley. On the other hand, up-and-coming artist Amy Sherald took a different approach to painting Michelle Obama, giving her what some would call a subdue grayscale portrait. Both portraits are trailblazing in their own right, with Obama being portrayed as delicate and beautiful, the opposite of the normal traits given to black men. However, it is Michelle Obama’s portrait that captured national attention, particularly within the black community. Michelle Obama, the first black first lady, was painted with gray skin.
While most praised Wiley for his work, Sherald, a black woman herself, was heavily critiqued for painting the first dark-skinned first lady with skin other than her natural hue. Many people thought it was not a good representation of black women and would hurt the historical context of the moment. However, when diving deeper into Sherald’s work you would begin to understand the meaning behind Mrs. Obama’s grayish hue. In an interview with the National Portrait Gallery, Sherald states that her use of gray tones is to draw reference to traditional photographic techniques that were used by free Black Americans. To young black women like ourselves, presentation heavily relies on the physical. However, Sherald’s portrait relies more on the black experience than the physicalities that come with it. A sense of empowerment was invoked as to say that Mrs. Obama spoke to what is at the core of black womanhood rather than what is simply shown to us. Sherald’s work, while it was shocking to the masses, actually gave way to a new wave of black artists depicting blackness with abstract hues.
Recognizing that Black art plays a monumental role in examining race, ethnicity, and identity throughout history, it is important to note that within the last two decades, the development of art has undergone substantial changes. Artists have been challenging conventional notions of skin color by incorporating a broader spectrum of hues, which has expanded the understanding and meaning of race. This separation from stereotypical representations signifies a notable shift in mainstream American art, redefining and affirming Black identity.
By utilizing a variety of colors, like blues, purples, reds, oranges, and the entire color spectrum, artists transcend racial complexity and perception. This approach disrupts monolithic portrayals of blackness and recognizes the rich diversity in the experiences, backgrounds, and complexities within the black community, going beyond the recognition of skin color. Soji Adesina, a talented Nigerian Post War and Contemporary multidisciplinary artist, uses a variety of bold and intense colors to address the issues of race and the effects of being a certain race. Artists like Adesina, welcome a fresh perspective on Black art and place cultural issues at the forefront of conversation by breaking traditional patterns of representation in art. Though Sherald and Adesina come from two different backgrounds, both cultural and geographic, it is impossible to not credit Sherald for breaking down the barrier of making abstract hues within Black Art more palatable to the masses, particularly with the American Art world.
The future of Black art continues to confront racial identity and offers new artistic directions. Artists provoke thought and explore different perspectives, challenging societal norms and provide a platform for dialogue. While we can share insight based on recent trends and discussions, it is important to state that in the end art is shaped by the artists themselves and the socio-cultural atmosphere in which they create. As viewers we can see a shift in the way the black humanity is portrayed. For the first time ever, we are viewed and are created as more than our skin tone, this, for us, makes art more relatable to the future that we are currently moving towards.
The development of Black art within the past two decades has witnessed a departure from conventional representations, embracing a broader spectrum of hues to challenge ideas of race and redefine Black identity. This evolution of Black art disrupts monolithic portrayals, recognizes diversity, and introduces thought-provoking and refreshing artistic conversations and new directions in the future.
Sources:
Félix, Doreen St. “The Mystery of Amy Sherald’s Portrait of Michelle Obama.” The New Yorker, 13 Feb. 2018, www.newyorker.com/culture/annals-of-appearances/the-mystery-of-amy-sheralds-portrait-of-michelle-obama. Accessed 06 June 2023.
Kahn, Mattie. “Amy Sherald’s Painting of Michelle Obama Went Viral. but She’s No Overnight Success.” ELLE, 29 Nov. 2021, www.elle.com/culture/art-design/a20066557/amy-sherald-interview-june/.
SisumD. “Michelle Obama.” National Portrait Gallery, 12 Sept. 2019, npg.si.edu/learn/classroom-resource/michelle-obama. Accessed 06 June 2023.
Malcolm, Kim. “‘It’s Time to Broaden What the Definition of Black Art Means.’” KUOW, KUOW Public Radio, 25 Oct. 2018, www.kuow.org/stories/its-time-broaden-what-definition-black-art-means.
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