Colorism: The Spectrum of Internalized Bias by Root Division

colorism colorism colorism colorism colorism colorism colorism colorism

colorism:

the spectrum of internalized bias CURATED BY DARYL STENVOLL-WELLS

exhibition dates JULY 11 - AUGUST 10, 2019

exhibiting artists ASHLEY ADAMS PILAR AGÃ&#x153;ERO-ESPARZA ONYINYE ALHERI NATALIA ANCISO CHAITRA BANGALORE MARCIA BARROW TAYLOR CYNTHIA BRANNVALL BETH CONSETTA RUBEL CARMINA ELIASON CHUVA FEATHERSTONE ERIKA GOMEZ HENAO JARED HENDLER SUSAN MAH ALICIA MCDANIEL RON MOULTRIE SAUNDERS KARINA SERAPIO RENDON RACHEL MARYAM SMITH DARYL STENVOLL-WELLS JUAN CAMILO VERGARA NAFIS WHITE

Image: Alicia McDaniel, The Brown Paper Bag Test, 2019, Brown paper bags and mixed media, 94 x 228 in., Duration: 6 minutes

additional programming PANEL DISCUSSION | JULY 18, 2019 MODERATOR:

DARYL STENVOLL-WELLS

Curator, Colorism: The Spectrum of Internalized Bias Artist Co-Founder, Art Responders

PANELISTS:

MARGARET HUNTER

Fletcher Jones Professor of Sociology Mills College

JOANNE L. RONDILLA, PH.D.

Assistant Professor of Sociology & Interdisciplinary Social Sciences San José State University

PILAR AGÜERO-ESPARZA

Exhibiting Artist & Educator

SHORT FILMS SCREENING | JULY 24, 2019 Dark Girls (Bill Duke and D. Channsin Berry, 2011) Imitation of Life (John M. Stahl, 1934) Black Star: Rebirth Is Necessary (Jenn Nkiru, 2017) Swimming in Your Skin Again (Terence Nance, 2014) The Dig: You and I and You (Terence Nance, 2015) The Tao of the Black Plastic Comb (Irving Hillman, 2016) Who Plays Othello (David Fratini, 2015)

Image: Detail of Pilar Agüero-Esparza, Dance Positions & Color Conversations, Toe Rise: Burnt sienna, peach, Parallel: Mahogany, sepia, 2018, Castings of artist’s daughter’s feet at age 17 in mixtures of Crayola Multicultural Crayons, skin tone set, acrylic on pedestals, Dimensions variable 5

we have to start somewhere DARYL STENVOLL-WELLS Curator, Colorism: The Spectrum of Internalized Bias Artist Co-Founder, Art Responders

My reason for establishing Art Responders in 2014 was simple: I hoped to corral the power of art to resist police brutality and state-sanctioned racial violence. As our first exhibition, VIRAL: 25 Years from Rodney King (2016) unfolded, however, my research brought more questions than answers. One of the most nagging arose from sociologist Joshua Correllâ&#x20AC;&#x2122;s First Person Shooter Task computer game, which found that black and brown people, in addition to whites, are more likely to shoot an unarmed black person. Why? As Art Responders segued from VIRAL:RK25 to the event series ANTIVIRAL (2017), broader issues of restorative racial justice came to the surface. Holding space through poetry performances, RJ circles, public vigils, art workshops and film screenings, we delved into the many ways that societal manifestations of racism traumatize individuals and communities of color. Learning about the importance of healing from within induced me to concentrate more on the causes and symptoms of implicit bias, and how we as people of color can combat both. By the last day of the series, the idea for Colorism: The Spectrum of Internalized Bias had been born. Overshadowed by the imperative of joining together to eradicate white supremacy, black and brown people have often been discouraged from bringing this issue to the fore. Though it may seem justified to concentrate our efforts on that gargantuan task, the lessons of the restorative justice framework require us to interrogate our own participation in, and contributions to, racist systems of control. White conversations about privilege have produced some necessary self-searching among allies, but even more painful conversations about light skin privilege, dark skin discrimination, and an entire skin tone hierarchy between these extremes have emerged. Why is it so important to delve into this complex, hidden, and often painful issue? While dismantling racism may seem a more

urgent task, those of us raised within communities of color know how hurtful colorism can be. Its impact is multiplied by the fact that our introduction to colorist attitudes so often comes from a close family member. It might be shrouded in humor, ‘You’ve gotta admit…’ asides, or a grandparent’s apparent concern about one’s choice of a mate. It goes a long way towards explaining sometimes baffling behaviors and beliefs, including a general blindness to dark-skinned beauty. It is sometimes subtle but so pervasive that it permeates our everyday existence through a perpetuation of light skinned European beauty in the media. Even as contemporary statistics-- by adhering to essentialist racial categorizations-- show an increase in non-whites elevated

relied on the artists to tell the story of what the phenomenon of colorism has meant in their own artistic practice and lived experience. I wasn’t disappointed. From Nafis White’s gorgeous triptych deconstructing the styles and significance of black hair styles, to Chuva Featherstone’s poignant illustrations for the Guardian newspaper’s Shades of Black series, to Jared Hendler’s portraits of non-binary social media influencers and their stories of colorism within their communities - these and other selected works, alongside our film screening, panel and this publication, tell the story of colorism better than any individual effort could.

to positions of power, closer scrutiny reveals a consistent

No art exhibition can dismantle a practice as widespread as

adherence to the old adage, immortalized by Big Bill Broonzy in

colorism. But just as the #MeToo movement has trickled down

his 1938 song “Black, Brown & White”:

into our everyday lives, making all of us think twice before repeating misogynistic beliefs or practices, I believe the message of this collection of work has enormous potential to

They says if you was white, should be all right If you was brown, stick around

provoke meaningful reflection and long term change, even if only for a small segment of the population. After all, we have to start somewhere.

But as you’s black, m-mm brother, git back git back git back

How to tackle this troublesome issue without pointing fingers or villainizing those who have themselves been on the receiving end of racist shame and injustice? In the end, I relied on the same simple approach that has informed Art Responders since the start. I gathered the best art I could find on the topic, whatever the medium or technique. I found a willing community

Curator’s note: I would like to thank my husband, Thomas,

arts venue that was committed to the arts of social justice. I

and son, Sebastian; my mother, Barbara, and father, Everett;

worked with excellent partners who cared about the issue

Samantha Reynolds at Root Division; and Art Responders

while developing a program of free public events. I considered

partners Elena Mencarelli and Julia Zeuli, for all your

scholarly research while writing the exhibition text to add

contributions and support. Without you this exhibition would not

richness and depth to the work on display. But most of all, I

have been possible.

As this beautifully curated show illustrates, pain is just a small part of the colorism story. Each artists’ piece highlights the contours of colorism. Juan Camilo Vergara’s piece COLORS

the road to healing JOANNE L. RONDILLA, PH.D. Assistant Professor Sociology & Interdisciplinary Social Sciences, San José State University

was inspired by conversations about colorism within his family. What started as a discussion between siblings evolved into a larger piece about history, colonization, and national identity. Beth Consetta Rubel’s Paper Bag Test series challenges social constructions of skin tone by juxtaposing images of pop culture icons and everyday people against the backdrop of a paper bag. These vibrant illustrations rupture the significance of the paper bag as a measurement of one’s social standing. Pilar AgüeroEsparza’s Dance Positions & Color Conversations embodies the productive messages that can happen in intimate spaces. Producing sculptures of her daughter’s feet at age ten and later at seventeen, emphasize the growth between mother and daughter, as they engage in an ongoing dialogue regarding race and skin tone. It is a piece that lives beyond the gallery. These are, among many of the exquisite pieces in the collection. In the 2011 documentary film Dark Girls, which focuses on

Colorism impacts every community in virtually every corner

colorism in African American communities, directors D.

of the world. Skin tone discrimination – interracially and

Channsin Berry and Bill Duke conclude with the hope that

intraracially – is a byproduct of colonial legacies that persist in

women challenge the beauty standards that are placed before

our everyday lives. Across cultures and communities, notions

them and move towards a process of healing. Healing is an

of civility are noted by lightness, while ideas of savagery are

essential, but often forgotten part of the colorism conversation.

marked by darkness. Colonial processes exacerbated looks-

While there is no guidebook to healing, I can offer a few

based inequalities that would eventually create an acute divide

considerations. An honest acknowledgement of skin tone

within our own respective societies. My research focuses on

discrimination – especially in intimate spaces – is an excellent

Filipino women and the complexities of skin tone discrimination

start. Understanding what these messages are rooted in and

within my community. In particular, I continue to explore the

why such assumptions are often taken for granted, provide a

ways in which color-coded messages are shared within spaces

rich base for exploration. As a scholar, my research is rooted in

of intimacy and unconditional love, such as among families

my own relationship with my mother and other family members.

and friends. When one is told to stay out of the sun to avoid

Having spent a lot of time with the subject, I know that healing is

becoming dark or is gifted a jar of skin lightening cream to make

not a singular destination. Instead, it is an ongoing process that

them pretty, these messages become a source of pain from the

is made possible by continuous substantive engagement and

intimate spaces that generated them.

profound reflection.

history

The development of the non-scientific concept of race is closely tied to the spread of Christianity in Western Europe. Fearful of the growing economic success of converted Jews during the Spanish Inquisition, ‘New Christians’ - those with Jewish ancestors in the previous five generations - were distinguished from others and subjected to extensive social and legal restrictions, while Christians of five or more generations were issued with ‘purity of blood’ certificates. Gypsies and converted Muslims were also consigned to the status of ‘conversos’. As the inquisition moved to Asia and the Americas, indigenous people were placed in the same category. For the first time, conquered peoples had no means of assimilating or changing their identities. Although the ‘converso’ label relegated many to lower status for life, there was no established rationalization for the genocide of indigenous peoples during Spain and Portugal’s colonization of the Americas starting in the 15th century. A new explanation was required to justify the exploitation, abuse, and murder of native peoples, and the ‘Pre-Adamite’ theory provided this. This held that indigenous peoples were not biblical descendants of Adam and Eve, and had a separate origin. Being sub-human, conversion was not possible, and subjugation was not only possible but necessary as they were incapable of self-rule. The rapidly shrinking Native American population soon necessitated importing a new workforce, and African slavery was the result. Rationalizing slavery through the explanation that non-whites were subhuman, American slaveholders’ rape of female slaves produced many gradations of skin tone between slaves of mixed European and African ancestry. Mixed-race slaves were considered more valuable and were more likely to become house slaves, while darker field slaves were consigned to hard labor in the fields. Biracial descendents of white slave owners were more frequently freed by their masters, and were more able to develop skills that would produce employment opportunities after emancipation. By the time slavery ended, lighter-skinned blacks were already overrepresented among the free population, and were primed for the greater economic success and social acceptance that continue to this day.

- DARYL STENVOLL-WELLS, CURATOR

Onyinye Alheri Untitled, 2019 Ink on paper 17 x 11 in. each

ONYINYE ALHERI 13

Carmina Eliason White passing, 2017-2018 Embroidered text on white handkerchiefs 4 x 4 in. each

CARMINA ELIASON 15

Daryl Stenvoll-Wells Faulty Medallions, 2019 Ceramic medallions, paint and fabric 4 x 3 in. each

DARYL STENVOLL-WELLS 17

world

While the effects of colorism among African-Americans have begun to receive more attention, these effects stretch far beyond the United States. Skin tone privilege has made an indelible psychological mark on post-colonial societies across the globe. Asian, Latin American, African and even European societies all show the tell-tale signs of ranking systems based on lighter skin tone and other assorted Nordic/Aryan physical traits. In Latin America, ‘guerito’ is a slang term for a fair-skinned person, which is used as a compliment; ‘negrita’ denotes a darker-skinned person, and is used as an insult. Argentinians are often vocally proud of their Italian ancestry, while lighter Puerto Ricans may brag about their ‘pure Castilian blood’ and indigenous Mexicans are derided as ‘naco’. The regional categories of color in Brazil are so intricate and pervasive that it has been dubbed a ‘pigmentocracy’. In ancient China, light skin was a sign of freedom to remain inside during daylight hours; thus white skin has traditionally signaled membership in the aristocracy. A young Chinese woman’s suntan risks provoking the comment, ‘You look like an Indonesian maid.’ One of the most deep-seated obsessions with skin tone occurs in South Asia. In India, a coded skin tone vocabulary describes ‘fair’, ‘wheatish’, and ‘dusky’ skin, and lighter tones translate directly to beauty, professional opportunities and social status. Parents of darker-skinned girls are prone to accept less desirable proposals from prospective grooms due to their daughters’ diminished marriage prospects. Customers in the Asia-Pacific region support the world’s most extensive market for skin whitening products, including lightening facial ointments, deodorants, nipple and penis creams. In Africa, the post-colonial hangover of colorism is alive and well. In Ghana, ‘half-caste’ (biracial) women receive far more attention from the opposite sex than their darkerskinned peers. Although the Nigerian film industry (‘Nollywood’) idealizes curvy women over the slender body type of mainstream Western media, lighter skin is still the preferred norm. Paler Moroccans frequently distance themselves from the continent itself, denying that they are African and openly disparaging their darker countrymen. Within Europe, localised forms of colorism range from denigration of indigenous heritage in Scandinavians to mockery of Southern Italians as ‘Africans’. Non-European travelers referring to Mediterraneans’ ‘olive’ skin may provoke offended denials alongside claims that they share the same pale shade as northern Europeans, despite visible evidence to the contrary.

- DARYL STENVOLL-WELLS, CURATOR 19

Erika Gomez Henao Are you happy now? Am I white enough?, 2018 Acrylic on canvas 40 x 30 in.

ERIKA GOMEZ HENAO 21

Rachel Maryam Smith Dislimn #2, 2019 Wood, doll forms, and very black paint 11 x 48 x 4 Â˝ in.

RACHEL MARYAM SMITH 23

Juan Camilo Vergara COLO·N·RS, 2019 Inkjet prints 166 x 100 in.

JUAN CAMILO VERGARA 25

iden ty

Although there is broad awareness of colorism among communities of color, it is accompanied by a long-standing silence and failure to combat it in any systematic, coordinated way. For light-skinned members of the African diaspora, this may derive from a sense of complicity in benefiting from and perpetuating racial oppression. For darker-skinned blacks, internalized feelings of inferiority may produce a hopeless acceptance of the status quo, or alternatively a defiant sense of pride. In either case, this ‘double consciousness’ plays a crucial role in maintaining silence around skin-tone stratification. Colorist identities are closely tied to economic class. Lighter skin has been historically associated with higher class status, while a darker appearance has been linked to economic disadvantage. In the post-emancipation era, African-American social groups based on skin tone admitted only the lightest blacks for membership. Blue Vein Societies were exclusive groups solely comprised of members whose skin was pale enough for blue veins to be visible. The more recognized “Brown Paper Bag Test” was used by black churches, sororities and fraternities who rejected those with skin darker than a typical grocery bag. Other elite clubs employed “The Door Test” using entryways of a medium tan shade to determine admission. In the post-slavery period, the practice of passing - defying the ‘one-drop rule’ and presenting oneself as white - was sometimes embraced by light-skinned individuals who hid their racial identity to avoid racist oppression. On occasion, family members or adoptive parents pushed white identity onto selected lighter-skinned children, only for them to discover their ancestry as adults. The contemporary theory of ‘transracialism’ - the idea that one’s racial identity can be a choice rather than an objective categorization - carries echoes of passing, but adheres to the notion to ignore the externally imposed realities of historical oppression and shared culture. However, in the modern neoliberal language of selfdetermination, shunning personal limitations is often seen as the key to realizing one’s dreams, and rejecting one’s darker-skinned heritage may be interpreted as a necessary step towards greater economic or professional opportunity.

- DARYL STENVOLL-WELLS, CURATOR

Ashley Adams Maidâ&#x20AC;&#x2122;s Daughter, 2017 Ink on paper - hand bound book 5 x 7 x 2 in.

ASHLEY ADAMS 29

Pilar Agüero-Esparza Skin Tone 1: Apricot, peach, burnt sienna, mahogany, 2017 Crayon, color pencil, paper on mixed media board 26 x 22 in. Skin Tone Chart: White, apricot, peach, tan, burnt sienna, mahogany, sepia, black, 2017 Crayon, color pencil, paper on mixed media board 22 x 25.5 in. Dance Positions & Color Conversations Toe Rise: Burnt sienna, peach Parallel: Mahogany, sepia, 2018 Castings of artist’s daughter’s feet at age 17 in mixtures of Crayola Multicultural Crayons, skin tone set, acrylic on pedestals Dimensions variable Forced Arch: Tan, apricot Pointe: Sepia, peach, 2018 Castings of artist’s daughter’s feet at age 17 in mixtures of Crayola Multicultural Crayons, skin tone set, acrylic on pedestals Dimensions variable Back Pointe: Apricot, burnt sienna, mahogany, white, 2018 Castings of artist’s daughter’s feet at age 17 in mixtures of Crayola Multicultural Crayons, skin tone set, acrylic on pedestals Dimensions variable

PILAR AGÜERO-ESPARZA 31

Cynthia Brannvall 23 and Me DNA Data Translations in Color, 2019 Pigment on rice paper, slip cast molds, and nail polish 120 x 25 Âź x 2 in.

CYNTHIA BRANNVALL 33

Susan Mah Howard, 2019 Digital photograph on metal 12 x 12 in. Sagal, 2019 Digital photograph on metal 12 x 12 in. Dale, 2019 Digital photograph on metal 12 x 12 in. Rosie, 2019 Digital photograph on metal 12 x 12 in.

SUSAN MAH 35

culture

Popular culture provides extensive documentation of colorism in post-emancipation America. Artists from the African-American community have frequently and poignantly depicted the phenomenon since emancipation. The brilliant work of Zora Neale Hurston delves deeply into colorism in early 20th century America, illustrating African-Americans’ obsession with skin tone stratification through in-depth anthropological research, novels, and plays. In Their Eyes Were Watching God, one character intones, “It’s too many black folks already. We ought to lighten up the race.’’ Wallace Thurman’s The Blacker the Berry (1929) also investigates colorism through a dark-skinned protagonist, Emma Lou, who is both victim and perpetrator of colorist bias. The early Hollywood studio system elevated few black actresses to stardom, but those that broke through usually landed on opposite poles of the colorist spectrum. ‘Tragic mulatto’ characters played by light-skinned actors like Dorothy Dandridge and Lena Horne were contrasted by maid and mammy roles portrayed by darkerskinned actors. The current film industry skews heavily towards light-skinned and biracial actors, especially when casting female leading roles. Perhaps the most prevalent symbol of contemporary colorism in pop culture is mega-celebrity Beyoncé. While her biggest fans idolize her as an icon of black female empowerment, many see her appearance, lyrics, and public persona as a reinforcement of colorist norms. While Beyoncé vocally espouses a pro-black message and repeatedly highlights black political and cultural history in her performances, she also carelessly preserves and exploits light skinned privilege in multiple ways. On one hand, she claims to celebrate blackness and loves her ‘Jackson Five nostrils’; on the other, she refers to herself as “Yellow Bone” (a loaded term referring to light skin) and “creole” (a Louisiana descendant of European settlers). Thus, despite her attempts at uplifting African-American culture, Beyoncé’s success is a study in the persistence of colorism.

- DARYL STENVOLL-WELLS, CURATOR

Jared Hendler #covergurls, 2018 Oil and oil pastel on board 58 x 48 in. I do beauty campaign now, 2019 Charcoal and gouache on paper 16 ½ x 14 in. Praise Break, 2019 Gouache, pastel and charcoal on paper 28 ½ x 23 ½ in.

JARED HENDLER 39

Karina Serapio Rendon La NiÃ±a Descalza, 2018 Woodblock print 47 x 34 in.

KARINA SERAPIO RENDON 41

From left to right: Beth Consetta Rubel Paper Bag Test: Jamal, 2017 Mixed media on paper bag 32 x 22 in. Paper Bag Test: Nina Simone, 2016 Mixed media on paper bag 25 x 18 in. Paper Bag Test: President Obama, 2015 Print 11 x 8 in.

BETH CONSETTA RUBEL 43

beauty

The rising predominance of European powers in the 18th and 19th century was followed by parallel theories of race, which proliferated a Nordic/Aryan beauty standard worldwide. Pseudo-scientific attempts to define an objective beauty ideal such as the ‘golden ratio’ invariably suggest facial and bodily proportions that are rare among people of non-European descent. The Northern European/ Scandinavian beauty standard elevates genetically recessive traits, promising to put them within reach via goods and services that decrease the appearance of non-Aryan features. The beauty industry’s elevation of whiteness forms the backbone of its $500 billion annual sales. Skin lightening creams are a fundamental part of the beauty routine for women across the world, despite significant side effects including scarring and kidney damage. In India, over 60% of dermatological products are used for skin bleaching, while in Nigeria, over three quarters of women use them. Straight, blow-dried hair has become so much the norm that black students are regularly banned from schools for wearing their hair in dreadlocks or afros. School administrators insist these styles are ‘distracting’ or make students look ‘unprofessional’. The U.S. Army has enforced similar standards on women recruits’ hair; and an editor of Glamour magazine publicly criticized ‘political’ afro hair styles as ‘unprofessional’ and a fashion ‘don’t’. Optimists hope that an increasingly multiracial population will eventually nullify colorist beauty standards, but the growing practice of cosmetic surgery continues to reinforce Eurocentric beauty norms, making it possible for patients to erase their non-white features. Available deracinating procedures known as ‘ethnic plastic surgery’ include eye crease surgery to deepen eyelid folds, rhinoplasty to change the size of the nose and bridge, and facial contouring - breaking and shaving bones to create a more European face structure. The steep cost of such procedures forges a link between beauty and economic class, making it possible for patients of means to erase the undesired, non-white elements of their appearance.

- DARYL STENVOLL-WELLS, CURATOR

Chaitra Bangalore Real Beauty, 2017 Pen and ink

CHAITRA BANGALORE 47

Chuva Featherstone Stephanie: Toxic love affair, 2019 Mixed media: pencil, watercolor, digital 12 x 18 in. Aurielle: the politics of desirability, 2019 Mixed media: pencil, watercolor, digital 12 x 18 in. Clarissa: letting go of the barricade, 2019 Mixed media: pencil, gouache, digital 12 x 18 in. Dyana: to disrobe, 2019 Mixed media: pencil, watercolor, digital 12 x 18 in. Nishta: reconstructing the reflection, 2019 Mixed media: oil pastel, pencil, charcoal, digital 12 x 18 in. Vanessa: the perception threshold, 2019 Mixed media: pencil, watercolor, digital 12 x 18 in. Relinquishing the order of difficulty, 2018 Mixed media: gouache, oil pastel, watercolor, pencil 12 x 18 in.

CHUVA FEATHERSTONE 49

From left to right: Nafis White Untitled (High-Yellow), 2019 Fiber, goldleaf, synthetic hair bags from the beauty store, felt, and calyx 12 x 12 x 4 in. Untitled (Redbone), 2019 Fiber, cowrie shells, cyclical repetition of namecalling in a garden of good and evil, remembrance of magnolia and honeysuckle, and African Christmas beads 60 x 12 x 3 in. Untitled (Oreo), 2019 Fiber, cotton bolls, and calyx 22 x 12 x 4 in.

NAFIS WHITE 51

effects

Existing research shows that the difference between black and white Americans’ socioeconomic status, income, and education is equal to the disparity between that of light and dark-skinned African Americans. Preferential treatment towards ‘good minorities’ such as those of a more European appearance, is reflected in hiring practices, health outcomes, and within the criminal justice system. Contemporary employers are required to follow federal guidelines discouraging racial discrimination towards blacks and racial or ethnic minorities, but bias can also be covertly channeled through colorist hiring practices. Studies indicate that the more ‘prototypically’ African an applicant’s skin tone or hair texture, the less likely they are to be seen as appealing candidates, invited for interview, or hired. Racial essentialism - the adherence to existing ‘white/ black’ racial categories - means it is more difficult to prove legal discrimination based on colorist bias, making litigation more difficult. Studies of the judicial system reveal skin tone stratification and light-skinned preference among police, juries and judges. Within the same family, darker skinned members are more likely to be arrested; lighter skinned offenders are more likely to receive light sentences at trial. Since women are shown to be appraised on their physical appearance more than men, they may also be more affected by skin tone discrimination. Data from internet dating sites show that dark-skinned black women are the least sought-after category. Some sites go beyond filtering by racial category, allowing users to select colorist filters such as “no weaves” or “lighter skin tones”. Across cultures, men prefer women of a Eurocentric appearance over all other types. The impact of colorism on health outcomes within ethno-racial categories is significant. Light-skinned blacks are 11 times less likely to experience racial discrimination than dark-skinned blacks. Discrimination is known to be a ‘chronic stressor’ - an ongoing, lifelong cause of stress - which are associated with adverse health effects such as cardiovascular disease and mental illness. Interestingly, experiences of discrimination are centered on both sides of the colorist spectrum; the darkest and lightest ‘outliers’ within the black community reported experiencing discrimination more than medium-skinned blacks.

- DARYL STENVOLL-WELLS, CURATOR

Natalia Anciso All About Me, 2019 Pen and pencil on paper bag 9 Â½ x 5 x 3 in. each

NATALIA ANCISO 55

Marcia Barrow Taylor Topography 19 (Ode Cycle), 2017 Hand-painted paper on canvas 60 x 48 in.

MARCIA BARROW TAYLOR 57

Alicia McDaniel The Brown Paper Bag Test, 2018 Brown paper bags and mixed media 94 x 228 in. Duration: 6 minutes

ALICIA MCDANIEL 59

From left to right: Ron Moultrie Saunders When i was a little girlâ&#x20AC;Ś, 2010-2019 Photogram, selenium and sepia toned gelatin silver print 16 x 20 in. (Re)Blending 1, 2018 Photogram, selenium toned gelatin silver print 20 x 16 in. Splatter 2, 2019 Archival pigment print 20 x 16 in. Sssh! Brown Sugar, 2019 Archival pigment print 16 x 20 in.

RON MOULTRIE SAUNDERS 61

Image: Research and resource table compiled by curator, Daryl Stenvoll-Wells.

the line-up

LEILA WEEFUR Artist Audio/Video Editor In Chief, Art Practical Member, The Black Aesthetic

Whenever I try to envision what it might’ve been like to experience the paper bag test, the image of a police line-up reveals itself. How much of a coincidence is it that British English refers to a police line-up as an identity parade? Identity Parade. I imagine a performance of turning over a line-up of hands, palm face-up, displaying the soft side of your forearm in hopes to reveal evidence of blue veins. A revelation enforcing systems of belonging. Sometimes revelations manifest in poetry. And where figures are concerned, poetry can always be found. Of course, poetry assumes the presence of language, a string of characters fitted to transform meaning into lyric. There’s poetry in exposing the myths of race. Distilling essentialist views of cultural and community standards of behavior. There’s poetry in the revelatory moment of receiving the results of ancestry and how, in an instant, one must be able to adapt and internalize hybridity. Results resulting in the suspended self. The way the blue veined-paper bag calibration has transmogrified into data visualizations through DNA. Genetic mapping is producing new modalities for understanding one’s own positionality. Results attempting to situate pigment in multiplicity perhaps unwittingly produce a graduated system of corresponding cultural behavior. Does biometric data point to gesture and language? How can we quantify being, without the pressure to qualify belonging? I imagine the digital line-up to look rather distinct from the paper bag parade. The evidence and certification of identity is processed in an arch of colors, rainbowlike. However, Blackness and Brownness, valuated through lived experience, is not machine readable. I now find poetry in the line-up, as it is comprised of the suspended self. Suspended in a parade of hybridity, an individual consciousness spread across genetic numeration, a consciousness doubling and dividing itself into thirds and fourths. The line-up, the parade, the divided. 65

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