Constructing Identity

Jahi Lendor

Colloquium in ACM

Re: Constructing American Identity

In Judith Howard’s Social Psychology of Identities abstract she almost immediately quotes 2 sources that resonate with me and the concept of identity. “Identity ... is a concept that neither imprisons (as does much in sociology) nor detaches (as does much in philosophy and psychology) persons from their social and symbolic universes, [so] it has over the years retained a generic force that few concepts in our field have.” And “[I]dentity is never a priori, nor a finished product; it is only ever the problematic process of access to an image of totality.” Based off of the stated quotes constructing an identity is exactly that, a construction. Constructing an identity is our own identity mixed in with the predetermined identity given to specific groups of people. Will live in a world where we believe we can be anything we want to be. But the truth is we grew up in world that told us who we are before we can get a driver’s license. Initial identities seem to steer towards stereotypes. One definition of identity is the qualities, beliefs, personality, looks and/or expressions that make a person or group. One definition for stereotype is a widely held but fixed and oversimplified image or idea of a particular type of person or thing. Both definitions have their distinct differences but have a simple similarity I believe. An idea of how a person should be. Particularly idea. I believe Identity is an idea we manifest on a daily basis for the outside world or anything outside of ourselves. Then we have our own identity that’s with us at every moment that everybody doesn’t see. Identity is a tool. 

In a Stanford University study by James D. Fearson he states “As we use it now, an “identity” refer to either (a) a social category, defined by membership rules and (alleged) characteristic attributes or expected behaviors, or (b) socially distinguishing features that a person takes a special pride in or views as unchangeable but socially consequential (or (a) and (b) at once). In the latter sense, “identity” is modern formulation of dignity, pride, or honor that implicitly links these to social categories.” Identity is whatever we need it to be in the current moment. With someone’s core values and morals staying pretty consistent and creating the steady and strong core identity, I believe our identity is fluid. We add and subtract when needed to our identity. Howard goes on to say “At the most basic level, the point is simply that people actively produce identity through their talk. Many studies (generally ethnographic) analyze identity work through everyday interaction. Identity talk is organized around two sets of norms, one concerning respect for situated identities and a commitment to basic moral precepts, and the second concerning ways in which people deal with failure to endorse these basic moral precepts, through denials of responsibility and other attributional tactics (Hunt et al 1994). Identity work is a micro-level performance of social (dis)order.”

The Constructing Identity in America exhibition at Montclair Museum which featured 90 paintings sculptures and works on paper encompassed a broad range of definitions of personal identity throughout American history and culture to quote the given text. This already is a very well stated piece of information that conveys how identity is portrayed in each of the works.  I painstakingly went over most of the work at around three times paying close attention to key moments in each piece trying to figure out each artist’s own sense and understanding of identity. What I noticed particularly was not every piece featured or highlighted a person. Some were mere objects, locations, words, or a collection of items that the artist believe to represent identity. This harkens back to Howard’s Reading again. Specifically, her thoughts on interactionism. “The basic premise of symbolic interaction is that people attach symbolic meaning to objects, behaviors, themselves, and other people, and they develop and transmit these meanings through interaction. People behave toward objects on the basis not of their concrete properties, but of the meanings these objects have for them. Because meanings develop through interaction, language plays a central part. Identities locate a person in social space by virtue of the relationships that these identities imply, and are, themselves, symbols whose meanings vary across actors and situations.”

            A couple pieces that captured my attention and drew me in and had distinct difference in identity. The first one being Alice Neel’s 1974 Isabel Bishop. Neel was known for painting her family, friends, artist friends, and colleagues in a unflinchingly honest way. Neel is at times brutally honest in portraits by creating clear emphasis and certain areas and leaving other areas bare or not as developed on the canvas. In Isabel Bishop, who was a painter-printmaker herself Neel keyed in on Bishop’s powerful arthritic hands and eyes. Those parts of the body are clear cut focal points in the painting. Neel’s honest portrayal of people tells me she believed that identity must be true to one’s self. You can’t hide. Your identity must be authentic and painstakingly honest.

Leonard Baskin’s 1974 Crazy Horse stopped me in my tracks. Baskin portrayed Lakota Sioux leader Crazy Horse. Baskin takes a simplistic but not simple approach but also still honest. A subtler and calculated touch. Each gesture, line, and stroke serves a purpose. For me the identity of Crazy Hoarse rest in his eyes and shadows. Baskin’s use of black captures a dignity and tragic tone. I feel the pain. Baskin shows Identity doesn’t have to be loud or overly expressive and outward. It can be introverted yet still be outwardly telling.

Wardell Milan’s 2008 One could still dream to devise an optimistic antidote against the defeatist and cynical claims of the Return to Order brings back up the idea of interactionism and connections to objects. Milan himself creates large, montage-style photographs that at first appear digitally edited, but are shot directly from tabletop dioramas that he assembles in the studio. In this particular piece Milan presents detritus left from an unknown disaster. The featured items seem to be leftover artifacts from a family. This piece speaks to the items that we have that play a role in our construction of identity. At times items come to represent us. Intimate family photos are repeatedly found in this piece this makes the work very personal but an unknown one.

Andrew Moore’s 2009 United Artists, Organ Screen, Detroit, MI sheds light on identity and sense of place. Moore’s work usually features photographs of detailing remnants of society in transition through the formal vocabularies of architectural and landscape photography and the narrative approaches of documentary photography and journalism. This piece spoke to me because even in deconstruction or decay there still is a story being told. The past, the present, and future. This piece leaves you fantasying what this theater use to look like in its former glory but then that quickly turns to despair when come back to the now. Location also plays a significant role in identity making. I can personally say my place of birth has molded my identity.

Kehinde Wiley’s 2007 Matar Mbaye(Study1) captures ethnic and cultural identity. Wiley paints his subject in a light is usually never seen. One of sensuality, dignity and gravity. This is a conscious decision to counter the absence of black bodies in museum spaces. The identity displayed is one of internal worth and regalness.