Table of ContentsSummary IntroductionConclusionWorks Cited Summary In this essay on art criticism, it is emphasized that the interpretation of art, particularly narrative black, is crucial and must be placed deep. consideration because it plays an important role in the reality perceived by 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 disdain, leading to a depreciation of art. The representation of black characters must be sensitive and placed appropriately to avoid the reproduction of a stereotypical narrative that would be detrimental to global art and art criticism platforms. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essayIntroduction“The artist is the creator of beautiful things. The critic is the one who can translate his impression of beautiful things in another way or with new material. Thought and language are for artists the instruments of an art. It is the viewer, not life, that art truly reflects. Diversity of opinion on a work of art shows that the work is new, complex and vital. When critics disagree, 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. Interpretation is key when it comes to criticism, especially when it comes to the black narrative. Connotations are attached to the impressions that critics receive based on their understanding of the artists or the dynamics of their lives. “The critic is the one who knows how to translate his impression of beautiful things in another way or with new material.” The translation of a work of art has a diverse visual language that varies across cultures, it is essential to artistic creation and perception-based art criticism. “It is the viewer, not life, that art truly reflects.” The thought and language that emanate from a work of art comes from the perception of that viewer, and the human experience on an individual level spans a diverse spectrum. It comes from experience and apprehension. In aesthetics, philosophies of art on the notions of thought, emotion and beauty. Thus, the placement of the Black narrative from within the Black experience and its interpretation within the thought and emotion of art is important to the spaces of which they are a part. Chuck Styles, an African-American artist said, “As artists, our job is to document the times and display them the way we want. In 100 years or more, our art forms will give future generations a glimpse of how we creatively captured our times, good and bad. And it may not always be pretty.​ As people, we have a gift embedded in our DNA to be able to take our trauma and turn it into poetry and beautiful things. The creative impact of Black art and artists defines the Black community. This definition must be placed correctly, it must not be placed in a frivolous or careless manner, as widespread interpretations of black culture could result in a harmful stereotypical narrative, globally and within art and media platforms. art criticism. Art changes, but history does not. This story is documented and reiterated by the hands that transmit it most, the voices most heard. Coming from one of the extrinsically underrepresented communities, art is one of the most important forms of self-expression for the Black community. Thanks to alargely neglected and misunderstood community. Art that uses black figures created outside of black culture could be examined more thoroughly, although it remains dependent on the representation of individuals in the artwork. This doesn't mean that black figures should be exclusively represented by black culture, it just means that black art and the representation of black figures is tricky. It plays a role in the reality perceived by non-black individuals. This representation must be the subject of deep reflection as to the way in which they are represented. It is a way for black voices to be heard, seen and interpreted. The majority of the black narrative taught has been dictated by white figures for hundreds of years. The white narrative has overwritten black history, while the black narrative, written from many perspectives, does not give enough credit to the perspectives of black culture. This white narrative has often been used to exploit and profit from black culture. Similar to "Confessions of Nat Turner" by controversial American author William Styron, who wrote a slave narrative from the perspective of Nat Turner, a slave who was facing execution. When white culture attacks black culture, they adopt a white savior narrative or present themselves as the oppressed while being the most oppressive towards black individuals. So how can white critics, artists, and intellectuals pass judgment on artwork made by black artists when they have never personally experienced the black narrative? Elizabeth Méndez Berry and Chi-hui Yang discuss this in their essay “The Dominance of the White Male Critic.” Where critics called the film a "Green Book" and claimed it wasn't radical enough. Simone Leigh, an artist, suggested that critics could not identify the radicalism of her work because they were unfamiliar with the art, artists and themes she drew inspiration from. Art critic Aruna D'Souza said: "The problem isn't that these critics lack an essential connection to the work of artists of color, it's that many of them simply aren't familiar with the intellectual, conceptual and artistic ideas underlying the work. .” Lack of familiarity creates space for disdain, as people reject what they don't understand. Although not entirely responsible, people learn and understand through human experience. An artist or a critic cannot fully grasp what he or she has never experienced. The dynamics of these experiences can only be understood through emotion. Those outside of this emotion do not fully understand the impact of their lack of emotion. This is seen in the language they choose to use on topics that trigger a level of pain they have simply never felt. White artists cannot represent black pain. Many will describe dark emotion or pain as oversensitivity, but we cannot deny that emotion is one of the most powerful factors that drives the experience of art and the way art is deciphered. When a critic imposes his opinions on thoughts without feeling, there is a possibility of depreciation, because there is no emotion attached to it. As well as the interpretation of blackness through white artists. Artists like Dana Shultz and Victor Arnautoff have sparked controversy over their works and the spaces in which they have been presented. These works may not have intended harm, but black representation in all aspects of creativity is vital to black culture. a community that has long been represented by its setbacks. Theyare often expressed in positions of pain, slavery and many other forms of discrimination. Robertha Smith interpreted the slaves in Victor Arnautoff's murals as "pure" because of the symbolism of their "white" clothing. In a way, it's almost as if she's implying that the presence of whiteness removes the problem from the situation. Would the same message remain in Arnautoff's murals if slaves were not dressed in white or if George Washington was deposed? Just like the Native American perceived as sleeping “peacefully”, when he is clearly face down, on the earth, in a universally uncomfortable position. There could be more representations of black figures and people of color who display their strength, their strength in their history and their talents. The significance of Dewey Crumpler's response murals in the same space as Victor Arautoff have this significance. If the black figure is to exist in a space that dehumanizes them, there should at least be another form that displays their strength and community and also symbolizes their historical struggles. Works of art like this were particularly significant in the Harlem Renaissance, where we see black figures in portraits, in dances, cohabiting with each other in their community. Black artists of the Harlem Renaissance gravitated toward literary, musical, theatrical, and visual arts. They redefined “Negro,” the term that set white culture’s standard for African Americans regarding their heritage and each other. They also sought freedom from the racist beliefs of Victorian and bourgeois moral values ​​that imposed 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 remarkable intelligence and talent and served remarkably as a symbolic cultural enlightenment. Although it goes unnoticed, in conversations with fellow students about the Harlem Renaissance, they ask "What is it?" ". The Harlem Renaissance should be taught more in schools. It's vital to understand the history of the Black narrative, but it's not all about discrimination and controversy. This is not just what attracts the attention of critics and the art world. The interpretation of black characters does not have to be in cultivated fields like in the murals of Victor Arnautoff, or in a coffin with a bruised face like Dana Shultz, and they certainly should not be depicted as sexualized women with toothpaste all over your body. like Kelley Walker, or in an article about the controversy created by each of these artists. Black figures and artists represent much more than the controversy that accompanies them. These controversies spark a discourse of discrimination, which doesn't really take into account that black culture is not all that it is. It's important that controversies are talked about, but let's also give the same opportunity to more black artists themselves, and not how their bodies are portrayed in an offensive way. Although not controversial, Vernon Ellis painted a magnificent painting (donated by his sister, Mr. George Cubberly, to the Chrysler Museum), but it is tainted with the title "Negress." The title may have been harmless, but it is an offensive term for a black woman, and it shows how black people are seen through white eyes. This is why more black artists representing black artists should be exhibited more often. It is important to talk about black artists to presentblack figures in art who come from black culture, but also to make them 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 with white culture. Morrison responded: “trying to change the language, just to liberate it, not to repress it or confine it, but to open it up. Tease him. Blow up his racist straitjacket. I wrote a story called “Recitatif” in which there are two little girls in an orphanage, one white and one black. But the reader doesn't know which is white and which is black. I use class codes, but not racial codes. as Morrison further put it, without the use of racial codes, "one 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 rely on or provoke predictable responses, but if I leave that aside, I have to talk about her in a complicated way - as a person. (Toni Morrison, The Art of Fiction, Paris Review, fall 1993). This led to great appreciation from critics like John Yau who broke down the work of Kerry James Marshall like the artwork itself, although he recognized the racial tones, Yau described the symbolism of the work as well as the techniques behind it. But at the same time, he mentioned the absence of white characters 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 considered. In the future, we look forward to a time when black art and people and other forms of art by people of color will exist in space as they are, for their beauty and craftsmanship , and not for the racial connotations associated with it. Much like the impact and significance of African-American artist Nick Cave's sound suits, they wear "alternate skins" as if they were armor. Protect them from racial and gender connotations. Which are completely disguised and prejudicial prejudices are eliminated. Where the black narrative is finally defined without constant controversy. Keep in mind: This is just a sample.Get a custom paper from our expert writers now.Get a custom essayConclusionIn conclusion, the interpretation of art, especially the black narrative, plays a role essential in the way non-black individuals perceive reality. White critics' and artists' ignorance of the intellectual, conceptual, and artistic ideas underlying the work of artists of color leads to disdain and can result in a depreciation of the art. The depiction of black figures in art must be considered and placed appropriately to avoid the reproduction of harmful stereotypical narratives. The creative impact of Black art and artists defines the Black community, and their voices must be heard, seen, and interpreted with care. The white narrative has often overwritten Black history, and it is crucial to recognize the perspectives of Black culture. The lack of familiarity creates a space for disdain, and it is important for white critics and artists to educate themselves about the intellectual, conceptual, and artistic ideas that underpin the work of artists of color. Art changes, but history does not, and the representation of the black narrative plays an important role on the platforms of art and art criticism. Works Cited Aron, Nina Renata. "When a white author wrote a narrative novel,