Post-Soul Aesthetics in Contemporary African American Art

By Schur, Richard | African American Review, Winter 2007 | Go to article overview

Post-Soul Aesthetics in Contemporary African American Art

Schur, Richard, African American Review

In 1926, W. E. B. Du Bois announced to a meeting of the National Association for the Advancement of Colored People (NAACP) that all art must be propaganda to help improve the condition of the race (22). Du Bois's own foray into visual culture certainly follows this prescription.

For the 1900 Paris Exposition, he collected a series of images to describe the progress of African Americans since the Civil War. Du Bois carefully selected images that portrayed the successful integration of African Americans into capitalism and demonstrated that African Americans shared core middle class American values (D. L. Lewis 30). Despite his articulation of double consciousness just a few years earlier, these images do not reflect conflicted psyches, but achievement and social worth. Alain Locke followed a less political, but similarly idealistic perspective on the role of art within African American cultures. Opposed to Du Bois's emphasis on the politics of art, Locke attempted to demonstrate how aesthetic values and forms followed from cultural experience (49-50). Art, for Locke, served as a barometer to determine the growth and development of a people or culture.

The Civil Rights era and its aftermath challenged both the Du Boisian and the Lockean approaches to African American art. Black Power not only deployed visual culture for political purposes, but demanded that artists and audiences alike re-think the definition of beauty and thus art itself. Neither images of respectability (like Du Bois's images in Paris) nor the African-derived aesthetics of Aaron Douglas or Jacob Lawrence challenged power relations sufficiently. Civil Rights era artists, such as Charles White, created images that demonstrated the humanity of African Americans to break down the barriers of segregation. White relied on tragic modes to narrate or visualize African American experiences, to lift up the race, and to challenge white supremacy. The next generation rebelled against bourgeois appeals in African American art. Defiant and angry, the Civil Rights era work, especially at the height of the Black Power movement, implicitly assumed that visual imagery could alter social relations and the world. It emphasized the struggles of romantic heroes against a racist society, knowing what needs to be done and demanding immediate change.

From Jean-Michel Basquiat and the graffiti writers to a new generation of African American artists, post-soul aesthetics have shifted the tone and content of recent art from Civil Rights and Black Power strategies. This essay explores how and why irony--rather than tragedy or romance--has come to dominate contemporary African American art. Specifically, I explore how Alison Saar and Michael Ray Charles have depicted post-soul black bodies. Infused with humor and irony, the work of these artists question realism (exemplified by artists such as Henry Tanner, Charles White, and Gordon Parks), Afrocentric imagery (typified by Aaron Douglas, Jacob Lawrence, and Romare Bearden), and protest art (illustrated by Betye Saar and Faith Ringgold) as useful strategies in the contemporary era. Instead, they demonstrate how previous generations relied on overdetermined poses or models to create their art and question how traditional notions of art and beauty have perpetuated racial inequality. This ironic mode of representing black bodies has been popular with white collectors and thus has been problematic for African Americans because it frequently invokes stereotypes to de-bunk them, and such images have been a bit too popular with white audiences. This essay concludes that post-soul aesthetics have liberated artists to question the social construction of race, but invites a re-examination of ways that African American art is or should be connected to African American communities, and it predicts that the contemporary scene's emphasis on irony will most likely revert to a reinvigorated form of realism.

Irony Incorporated

Traditional analyses of irony, such as literary Northrop Frye's, define the practice as giving "form to the shifting ambiguities and complexities of unidealized existence" (Frye 223). …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Cite this article

Cited article

Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited article

Post-Soul Aesthetics in Contemporary African American Art


Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

    New feature

    It is estimated that 1 in 10 people have dyslexia, and in an effort to make Questia easier to use for those people, we have added a new choice of font to the Reader. That font is called OpenDyslexic, and has been designed to help with some of the symptoms of dyslexia. For more information on this font, please visit

    To use OpenDyslexic, choose it from the Typeface list in Font settings.

    OK, got it!

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search


    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.