homeplace a site of resistance
The black aesthetic movement was a self-conscious articulation by many of a deep fear that the power of art resides in its potential to transgress boundaries. Black artists concerned with producing work that embodies and reflects a liberatory politic know that an important part of any decolonization process is critical intervention and interrogation of existing repressive and dominating structures. Conscious articulation of a 'black aesthetic' as it was constructed by African-American artists and critics in the sixties and early seventies was an effort to forge an unbreakable link between artistic production and revolutionary politics. Retrospective examination of the repressive impact a prescriptive black aesthetic had on black cultural production should serve as a cautionary model for African-Americans. Many African-American artists retreated from black cultural nationalism into a retrogressive posture where they suggested there were no links between art and politics, evoking outmoded notions of art as transcendent and pure to defend their position.