Abstract

This dissertation evaluates the claims of a body of writings on African American art designated "the black aesthetic." The black aesthetic era covers the late 1960's to the mid-1970's and is characterized by the evaluation of the relationship between art and politics. These critics exhibit the influence of modernist thought in their analysis of the production and reception of African American art, noting that changes in political economy and the development of technology influence both the definition of art and the enterprise of the artist. Similar thoughts on culture from the Frankfurt School for Social Research and other 20th century aesthetics schools will be considered. ;The paper presents a history of the black aesthetic era by considering the influences, debates and journals within which the dialogue took place. Several methods used to promote a materialist art critique are identified in the writings of the black aesthetic critics. Among them is the attempt to construct cultural references valorizing the experiences and productions of the African American working class. The black aesthetic emerged as a critique of art as an industry which evaluated the socioeconomic conditions in which African American artists work. As an extension of this concept, the conditions under which African American artists work is put forth as a critique of art as an industry in conjunction with other socioeconomic forces. Further, some black aesthetic critics posited a connection between the arts and progressive politics, insisting that either artists or their art be overtly political. Overall, the encouragement of a decidedly popular discussion about the social and material aspects of black culture allowed opinions to be heard across educational strata in national publications and conferences. The plurality of the discourse parallels its advancement of working class culture.