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"In this critique of aesthetics and the politics of representation, Taylor demonstrates astonishing breadth and depth in arguing for 'breaking the aesthetic contract' that excludes anything that does not conform to Eurocentric notions of beauty.... it brings to black studies and cultural critique an internationalism that emphasizes the richness of forms of creative expression outside the norms set by European aesthetics. Highly recommended..." ―Choice
Cultural critic Clyde Taylor exposes the concept of "art" as a tool of ethnocentricity and racial ideology. By examining various texts including The Birth of a Nation and The Cotton Club, Taylor demonstrates how rationales of "art" are used to mask personal, class, and cultural biases. Other works such as those by Toni Morrison, Chinua Achebe, and Spike Lee are scrutinized in terms of resistance to the dominant system of aesthetics.
- Sales Rank: #745961 in Books
- Published on: 1998-11-22
- Released on: 1998-11-22
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x .94" w x 6.12" l, 1.13 pounds
- Binding: Paperback
- 360 pages
Review
"In this critique of aesthetics and the politics of representation, Taylor demonstrates astonishing breadth and depth in arguing for 'breaking the aesthetic contract' that excludes anything that does not conform to Eurocentric notions of beauty... it brings to black studies and cultural critique an internationalism that emphasizes the richness of forms of creative expression outside the norms set by European aesthetics. Highly recommended ..." --Choice
About the Author
Clyde R. Taylor, film scholar and literary/cultural essayist, is Professor at the Gallatin School and in Africana Studies, New York University. His publications include Vietnam and Black America and the script for Midnight Ramble, a documentary about early Black independent cinema.
Most helpful customer reviews
4 of 5 people found the following review helpful.
An exhaustive, elegant investigation of race and the western aesthetic
By Michelle Lamb Discher
I've now used Taylor's book for two years in my class. The seminar explores race and the western literary aesthetic. Thanks to Clyde Taylor's deft analysis of how, why and where race is reified in American literature and film, I can spend less time detailing it in class.
Well-written and informative, the writings make for excellent discussions.
Michelle Lamb Discher
1 of 2 people found the following review helpful.
A Superb Repository of Scholarship
By drlarryross
Clyde R. Taylor's The Mask of Art is one of my all-time favorite books, and anyone who plans on studying, or discussing, Aesthetics should certainly ready this scholarly masterpiece.
What is the origin of Aesthetics, and what was the motivation behind it? How does the Aesthetic operate, and what does it influence? Most people think that Aesthetics is an ancient branch of philosophy, but they are mistaken: it is associated with modern imperialism, and it now has a global reach. You will be stunned by what you learn from The Mask of Art, and I highly recommend it for all academic fields of study.
Dr. Larry Ross
Professor of Anthropology
2 of 6 people found the following review helpful.
Bankrupt philosophy that's well intentioned
By aschenbach
While a laudable purpose hangs over this book like a fog, the argument itself is more of the same anaesthetic and anhedonic twaddle we've been getting for years. The book's strength is in delineating cultural exploitation of the idea of "art" for racist or propogandistic purposes. There is a wealth of bad "art" poisonously filled with negative stereotypes and messages; however, there's no clear link between the negative message and any larger construction. His argument, like Naomi Wolff's equally insipid "The Beauty Myth," posit a conspiracy against all people by some abstract thing that attempts to control culture through manipulating image and value. This makes no sense. History--culture--is governed by beauty. Our biology is hard wired to the aesthetic in one sense or another. Trying to politicize beauty or art beyond those works where it is obviously made as political leaves us with nothing. When all art, all beauty, is a conspiracy, what's left? The big joke of the book is that he even claims Marxist theory can't go far enough. If the Marxists can't ruin art for us adequately, who can?
In the end, we're left with only works that can broaden us socially. That's great. But, sometimes I want beauty, subversion, the ambiguous, and even the mean spirited. Such things can be art, too. And, if I don't act on the messages of bad "art," has it done any harm? Or, are even the "educated" supposed to be kept from the influence of representations? Are we at least left with Shakespeare? No, part of the evil Western canon. Another big joke--for all of his whining about the dominant culture's effort to shape history and culture--and even rewrite history--using the idea of "aesthetics," he sprinkles his book with quotes of Zora Neale Hurston and Toni Morrison (apparently, the message is art is fine if it's the 'right kind of art'). I'd be thankful not to be told what qualifies as the appropriate aesthetic or the appriate message. Ultimately, for all of his well meaning earnestness (as a liberal, I WANT to agree with him), he's just another kind of propogandist.
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