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8 - Seeing the Story: Visual Art and the Racialization of Crime

Published online by Cambridge University Press:  23 December 2021

Martin Glynn
Affiliation:
Birmingham City University
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Summary

Chapter summary

This chapter examines a little-known area of black arts in relation to the so-called mainstream arts landscape, that of black visual art. In spite of their historical presence in the United Kingdom, black people still push towards greater representation and racial parity as expressed through the movements discussed in this book. Indigenous people worldwide are still struggling to gain full and equal status within countries that were colonized, while black people are still viewed as outsiders. Derogatory and negative depictions of the black visual presence are actively promoted in advertising and, when they are sensitively drawn, they are seldom driven by black people themselves.

The need to reframe who we are

Webster (2007) argues that black offenders, who end up in the criminal justice system and prison, are disproportionately represented compared to their numbers in the population. Patel and Tyrer (2011) express the view that when race enters the ‘othering’ process, particularly within the context of crime and deviancy, it is important to consider the roots of racially charged concepts that disproportionately target minority groups such as black people. Similarly, Gabbidon and Taylor-Greene (2012) argue that the disenfranchisement of black people involved in crime is ideologically driven as a way of bolstering the carceral estate. Tonry (2011) proposes that these ‘racial disparities’ are unjustifiable and are more about the maintenance of political dominance over blacks. Tonry concludes by arguing that the visualization of black people through the media, film, and TV has created a culture that views black people as criminals and as being predisposed to anti-social behaviour. Marable (1995) also suggests that inequality for black people involved in crime is based on black male stereotypes that white society imposes via institutions, and says the wider social structure generates the type of inequality that produces subordination for black people within the criminal justice system. If the picture painted of black criminality as aggressive, nihilistic, and purely criminal enterprise embeds itself in the consciousness of society and constructs racialized typographies of people as ‘criminal’, what are the consequences for the way black offenders achieve parity?

Type
Chapter
Information
Reimagining Black Art and Criminology
A New Criminological Imagination
, pp. 115 - 124
Publisher: Bristol University Press
Print publication year: 2021

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