Gazing at black bodies: historically entrenched race relations in the interpretation of Brett Bailey's Exhibit B.

Abstract

Race has played a significant role in how art in and from South Africa has been experienced, especially in light of the recent history of segregation and oppression that South African history holds. In light of this, many South African artists explore themes of identity and classification, symbolism and interpretation, and the issues of agency around the black voice. This dissertation explores how South African Art is received in different contexts, both locally and internationally, using the installation Exhibit B (2010-2016) by the South African artist, Brett Bailey, as a case study. I consider the role that the intention of the artist might play when confronting problematic subject matter and how this impacts the politics of representation, specifically with regard to who has the right to speak on specific topics. In particular, I will consider how issues of race have the power to shift the dynamics of how South African art is interpreted. To do this, I take a qualitative approach using arts-based methods that understand art as objects of inquiry as well as modes of investigation . I use Critical Race theory and Performance Theory to examine the notion of the White Gaze and representation of the ‘other’ through Laura Mulvey’s conceptualization of the Gaze, as well as Postcolonial Theory as it applies to Exhibit B. Exhibit B (2010-2016) is an art installation that explores the historical abuse of black bodies by literally placing the bodies of black actors on display as a form of art. Bailey’s intention with the creation of this installation was to tackle themes of racism, objectification of black people and colonialisation by producing a critique of a repressed memory of racism. In this dissertation I argue that he instead manages to insert himself as a victim and becomes an instigator by perpetuating the very notions he is attempting to speak against. The findings of this research indicate a need to further investigate and problematise ideological whiteness as the standard against which the black body and the black voice are examined, and the extent to which these are used by white artists to further their own agendas. I argue that when engaging with controversial subject matter, such as that presented in Exhibit B, artists have a duty of care to prevent the reification of stereotypes and narratives that affect marginalized groups of people, many of whom still experience the lingering effects of racism, representation and colonial repression.