Diversity Reading List

Comment (from this Blueprint): In this selection, Du Bois discusses the nature of aesthetic value, how black artists have been historically excluded from creating it for false and racist reasons, and what role black artists actually have to play in creating beauty. Firstly, he establishes an expansive conception of aesthetic value. Secondly, he sets out various examples of how black artists have been historically excluded from producing art in general and art which portrays "blackness" more specifically. And lastly, he sets out a vision for the arts which not only includes black artists, but also recognizes the aesthetic and political value of their work for creating fair and equal societies where beauty is ever present and sought. It will help readers to understand the costs and wrongs that come with exclusionary practices in the production of aesthetic objects.

Comment (from this Blueprint): Starr highlights in this selection that art and the entirety of humanity go hand-in-hand. Firstly, she notes that art (at least, the best art) has always been, in great part, an expression of humanity's "common life" and not just an expression of its elite's interests. But, secondly and more importantly, she also argues that humans, regardless of their social status or class, cannot live without beauty in their lives. Striving for art has always been essential to joy in humanity's productive capacities, and those products have always been essential to the retention of humanity's hope in itself through our consumption of it. This selection, in conjunction with Du Bois's, makes salient that, although things are often produced by many of us without art in mind and art is often consumed by relatively few of us, such a state of affairs is ultimately not amenable to producing good societies and happy peoples. Art, as she claims, can and must be by all for all, regardless of social status or class.

Comment (from this Blueprint): This news item discusses the controversy surrounding a 2021 advert for the high-end jewelry brand Tiffany, featuring Beyoncé and Jay-Z, and, in the background, a rarely seen painting by Basquiat owned by Tiffany. This controversy serves to illustrate both the disappointment that hooks and others feel in how Basquiat's work has been consumed in a emotionally superficial and Eurocentric manner, as well as how his work has come to be a luxury object to be conspicuously consumed primarily by the elite and used for the sake of propagating such consumption of other luxury items to the elite (in this particular instance, a 128.54-carat yellow diamond previously worn by Audrey Hepburn and Lady Gaga). The aesthetic appreciation of the painting, when used as a prop for elite interests, is under scrutiny - and, equally, whether Basquiat's intentions and what he is trying to express through his work are respected in such use and whether should be. Moreover, many of Basquiat's works are privately owned and are not displayed to the public, only to elites. So, using this ad as a case study, we should note that aspects of specific class and status affiliations and interests can affect how appropriately or inappropriately an aesthetic object is consumed, if at all.

Comment (from this Blueprint): Olliz Boyd’s work brings forward the third root of Latin America: the relevance of the African diaspora for the constitution of Latin American identities. An adequate understanding of the complexity of race in Latin America involves not just understanding the erasure of Afro-Latin communities, but the erasure of the contributions of African cultures to mestizo culture. It might be that the latter erasure partly explains the former.

Comment (from this Blueprint): This is a persuasive article arguing for a somewhat counter-intutive conclusion. The fictionalist approach, that what we honour is not the historical figure, but some idealised version of them, seems to capture what we actually do in the real world, even if we think we are not doing this. Do compare the position on eliminativism with Frowe's paper.

Comment (from this Blueprint): Many scholars in this debate have been too charitable to racists, colonialists, oppressors, and their sympathisers. While admirable, I think it is important to expose the flaws of preservationism: there is simply not much value in preservation.

Comment (from this Blueprint): Two things should be noted in this paper. First, many have discussed the importance of stopping or blocking the harm of objectionable commemorations. This paper goes a step further and discusses the importance of “answering” the wrong done by these monuments. Second, the paper engages with a “negative” emotion, namely, contempt, that is present at both racist monuments and the effort to confront them. It allows us to see the legitimate role this negative emotion may play in the struggle for equality: contempt can be apt towards inapt contempt expressed through racist monuments. It also nicely spells out the potential practical implications of taking this negative emotion seriously.

Comment (from this Blueprint): This paper highlights the role monuments can play as groups attempt to speak to itself to solidify its own commitment. As a form of art, it can publicly reinforce the commitments, especially through carrying the emotions, attitudes that cannot be easily expressed in propositions, towards certain individuals or ideals. The commitments can be something great, evil, or mediocre. Also consider the fact that art engages with our emotions rather than our rational capacity.

Comment (from this Blueprint): This paper brings out nicely doubts on the objectivity of history as it is presented to us. The pretence of objective history can be used as an oppressive tool to delegitimise the critical reflection of the history of the marginalised. A particular point of interest is objecting to the standards of "greatness," which could be found very plausible. It seems that we have indeed been honouring people who have done great (from a certain point of view) but terrible things.

Comment (from this Blueprint): This paper highlights several important things. First, statues are blunt tools and express pro-attitudes to the persons they represent as a whole. Second, it sets out a clear standard for removal, and defends the conclusion that we should remove many or even most existing statues. Third, to the question “what if removal incites violence?” this paper provides a good answer. Fourth, a legitimate question is what we should do about statues of wrongdoers of the distant past? The discussion on this here is insightful.