A quick introduction post since while @kukkurovaca is sort of driving this blog, part of the point here is that @kalli and I will be going in whatever direction we feel like as well. For my part, I tend to try and write about photography by referencing how it fits in with history in general as well as non-photographic art media.
I love seeing museum exhibitions where photography, paintings, sculpture, etc. are in the same room, in conversation with each other. I can probably count on one hand the number of times I’ve actually seen this. Which means I’m always on the lookout to post anything which can do this—e.g. comparing Duchamp’s Fountain to Weston’s Excusado and realizing how much they had in common (beyond just subject matter) in exploring the forms and textures of the mechanical age.
The same goes with history. @kukkurovaca and I are both constantly annoyed by how so many of the same arguments about photography come up over and over again without any awareness of how similar things have been written decades or centuries ago. We’ll both be trying to add some of that historical perspective here., even if it means referencing Baldessari’s Wrong over and over and over again.
Most of my big posts here will be crossposts from NJWV and, as a result, contain a number of links to previous material I’ve written there. I will have smaller Hairy Beast-specific posts. I may also have more personal photography posts on NJWV—plus all the other random non-photography stuff I write about—which will not appear here.
National Geographic is not a magazine I expect to see caricatures in. Nor is race something I enjoy seeing caricatured. It takes me into uncomfortable territory, especially when the race in question is mine.
In addition to the Martin Schoeller all-look-same effect, another part of why I wanted to stay away is because the photos felt a lot like the continued fascination with how strikingly beautiful mixed-race people are supposed to look. There’s an odd fascination here with physical appearance that all-too-often strays into exoticism if not straight-up racism as mixed-race people are used as a way of being both acceptably foreign and white-assimilated.
It all gives me hives. Especially when PolicyMic framed the photos by claiming the cure for racism is miscegenation.
Chang’s post points out the history of racial-type photographs; the kind of ethnographic, white-centered values they promote; and puts the Schoeller photographs in this context along with much of the rest of National Geographic’s (undeniably excellent) photography. To read National Geographic, or at least to look at the photos and maps, is to see otherness and “explore” the world from the safety of your home.
First, this kind of racial-type imagery existed well before photography. Second, we’ve had multiracial societies in the past and there was never anything post-racial about them.
The way National Geographic displays the Schoeller photos in a grid creates an obvious Casta painting connection. And it’s not just the grid layout but the way we’re invited to compare and guess who looks part Asian or Black or Indian or White and in what quantities. Focusing on looks. And focusing on parentage. And comparing proximity to whiteness.
It’s important to remember that we’ve gone down this road in the past and only succeeded in creating dozens of racial divisions all ranked by how close to whiteness and reason they are. Yes, you could breed your way up the ladder. But that the ladder exists is the problem.
Merely showing a multiracial society is not enough. Casta paintings show. Schoeller’s photos show. What are we being provoked to do or think about instead? Especially regarding how we address race, and how we’ll address it in the future.
I wish the critiques had gone into photographic work which is actively critiquing the concept of racial boxes. One example of this is Angélica Dass’sHumanæ* which matches the people’s skin color to a specific Pantone number.** Dass has managed to create a project which, despite being only about one feature (skin color), manages to both show a multicultural society and actually critique racial values.
*Note: Dass is from Brazil but what she’s doing is completely relevant to the multiracial discussion in the US.
**The purist in me is bothered by the fact that she’s not sticking to a single Pantone swatch book but that’s me being a print nerd. This in no way detracts from the actual point she’s making.
Where Schoeller’s work results in a number of images which all feels the same. Dass emphasizes the point that we’re all different. Everyone. Looking at her work doesn’t result in comparing mixes or trying to figure out who looks like what. Instead we’re realizing how unique everyone’s skin tone is—and how stupid colourism really is.
Dass isn’t making a claim about how things will be. She’s provoking us to think about how things are and asking us to think about alternatives. What she shows us is designed to break the existing racial checkboxes and even if all it accomplishes is laying bare how ridiculous the way we call clothing or makeup “flesh-colored,” we’ll have made some improvements.
Fulbeck’s Hapa Project is about himself and finding his own community. It’s a necessary project of self-representation but indeed doesn’t go beyond and ask anything provocative. I like it. But then I’m hapa. And I have it on my shelf as evidence of my community and a reminder of how many different stories people who share backgrounds similar to mine have.
And it’s a completely necessary project to get out of the way as a stepping stone to Mixed Kids. The Hapa Project is about coming to grips with our identities and how we grew up and who we are now. Most of the book features adults and their stories—whereas Mixed Kids is only kids. Our kids.
Mixed Kids is about their potential. And about ourselves as parents. And how we want to raise them.
America in 2050 is a theoretical entity. Our kids are not. My kids are not. Fulbeck’s provocation is simple but huge. What am I going to teach them? About race. About themselves. About their world. About each other. It’s not about what percentages of what races they are. Or how they look. It’s about raising a generation which is smarter about race and privilege than their parents.
My parents had to fight the “but what about your kids” battle. I didn’t need to. Instead I get to look though Mixed Kids and rather than thinking, “what are you?” I think, “what will you become.”