Discuss the Minority Presence in Contemporary British Art Essay

Minority Presence in Contemporary British Art "Highly visible yet evasively mute." Art critic Kobena Mercer, comments on the current position of African and Asian artists in Contemporary British Art, when he suggests that minority artists are seen and not heard. This oxymoronic position derives from a long historical legacy of European colonization and the emphasis on 'racial inferiority' and 'otherness.' On the one hand, British art is progressive, allowing some minority art in the general art world. Yet on the other hand minority art is still marginalized by the preferential treatment given to white artists. There is a strong degree of accuracy in Mercer's statement because while minority art can now be 'seen,' the 'voice' is suppressed when the 'ethnic element' is too strong. Subordination comes in many forms. Not only do minority artists have a limited gallery presence in major galleries, but finding information on them can be utterly impossible when the current focus of British art revolves around what it means to be British. The only minority artists that are visible are artists who either play up white stereotypes or allude to a Western artistic tradition. An examination of these artists and the current art climate, indicate that the visible presence of minority artists is controlled by preconceived traditions and perceptions. The difficulties facing minority artists in Britain today relate to the current climate of the art world. A quiet tug-o-war exists between the effort to globalize the British art and return to white dominance. Multiculturalism is everywhere; however, it often plays an artificial role in that its purpose is to fulfill a quota. The predominately white yBa movement defines the current art worl... ...the boat' too much. African/Asian artists must allude to either white stereotypes or traditions, to survive in an art world that continues to be dominated by the majority. Works Cited Chambers, Eddie interview with Petrine Archer Straw. From Annotations 5: Run through the jungle selected writings by Eddie Chambers. Edited by GilaneTawdrows and Victoria Clarke. London: inIva, 1999, pp 21-31 King, Catherine. Views of Difference: Different Views of Art. Yale University Press: London, 1999. Mercer, Kobena, 'Ethnicity and Internationality: New British Art and Diaspora-Based Blackness', Third Text, Winter 1999-2000, p 55 Robinson, Hilary. Visibly Female. 1986 from an interview with Yasmin Kureshi. Reworking Myths: Sutapa Biswas Stallabrass, Julian. High Art Light. Verso: London, 1999. from Ofili, interview with Marco Spinelli, 'Brilliant' pg. 7