Don't put Barack in a box

Members of the artistic set--whether actors or sculptors or musicians or authors--like pretending they know more about politics than politicians. Because of course there's no better way to understand politics than spending your working hours in a studio.

Just as most non-artists have no idea how hard it is to create good art, so most non-politicians have no idea how complicated politics is.

Journalists, though, should know better. Which is why Holland Cotter's an idiot for suggesting that Barack Obama is lagging behind behind artists when it comes to talking about race.

His article sounds good, but let's be serious--Obama has done more to bring topics of race into the national discussion, and has better ideas about addressing problems related to race, than any artist you might catch in a gallery near you.

To play it any other way is just being silly.

The Topic Is Race; the Art Is Fearless: Recently a new kind of Mythic Being arrived on the scene, the very opposite of the one Ms. Piper introduced some 30 years ago. He doesn’t mutter; he wears business suits; he smiles. He is by descent half black African, half white American. His name is Barack Obama.

On the rancorous subject of the country’s racial history he isn’t antagonistic; he speaks of reconciliation, of laying down arms, of moving on, of closure. He is presenting himself as a 21st-century postracial leader, with a vision of a color-blind, or color-embracing, world to come.

Campaigning politicians talk solutions; artists talk problems. Politics deals in goals and initiatives; art, or at least interesting art, in a language of doubt and nuance. This has always been true when the subject is race. And when it is, art is often ahead of the political news curve, and heading in a contrary direction. ...

Today, as Mr. Obama pitches the hugely attractive prospect of a postracial society, artists have, as usual, already been there, surveyed the terrain and sent back skeptical, though hope-tinged, reports. And you can read those reports in art all around New York this spring, in retrospective surveys like “Wack! Art and the Feminist Revolution” currently at the P.S 1 Contemporary Art Center in Queens, in the up-to-the-minute sampler that is the 2008 Whitney Biennial, in gallery shows in Chelsea and beyond, and in the plethora of art fairs clinging like barnacles to the Armory Show on Pier 94 this weekend. ...

In a 1980 performance video, “Free, White and 21,” Ms. Pindell wore whiteface to deliver a scathing rebuke of art-world racism. In the same year Ms. O’Grady introduced an alter ego named “Mlle Bourgeoise Noire” who, dressed in a beauty-queen gown sewn from white formal gloves, crashed museum openings to protest all-white shows. A few years later Ms. Piper, who is light skinned, began to selectively distribute a printed calling card at similar social events. It read:

Dear Friend,

I am black. I am sure you did not realize this when you made/laughed at/agreed with that racist remark. In the past I have attempted to alert white people to my racial identity in advance. Unfortunately, this invariably causes them to react to me as pushy, manipulative or socially inappropriate. Therefore, my policy is to assume that white people do not make these remarks, even when they believe there are not black people present, and to distribute this card when they do.

I regret any discomfort my presence is causing you, just as I am sure you regret the discomfort your racism is causing me.

Sincerely yours,

Adrian Margaret Smith Piper...

In a television interview a few weeks ago, before he formed plans to deliver his speech on race, Mr. Obama defended his practice of backing off from discussion of race in his campaign. He said it was no longer a useful subject in the national dialogue; we’re over it, or should be.

Cotter gets it exactly backwards--Obama has never said we're over race in this country. To think that an intelligent black man could believe that is every white person's dream, their 'I told you so' silver bullet.

What Obama's been trying to do is get people to look beyond his race when judging his fitness to be president, which, as far as we know, is not a job that requires scruity of someone's race. To get to a point where every discussion of him doesn't mention his race.

It's too bad that Cotter seems to only value and assess the works of these black artists in terms of their contribution or lack thereof to the discussion of race in this country.

Lucky for us, Obama's candidacy is about so much more.