A few years ago, Gucci created controversy with its black balaclava jumper. The jumper could be pulled up to cover a person’s mouth and featured big red lips that echoed blackface. The designer refuted this, claiming he was inspired by the works of a performance artist Leigh Bowery. Katy Perry, no stranger to accusations of cultural appropriation, was also accused of having blackface shoes in her line of shoes. Her defenders noted that these shoes come in many colors and all have the same face. Unlike cases when a person wears blackface, cases such as the Gucci and Perry incidents admit of ambiguity and allow room for plausible denial. While the United States had a brief phase in which Black Lives Mattered, the pushback efforts have yielded fruit, and it seems reasonable to re-consider topics such as black face.
One approach to determining whether an object, like a shoe, is a form of black face is to consider the creator’s likely intentions. If a designer did not intend to create a blackface object, then it would seem reasonable to infer that the object is not a work of blackface. This is because being a blackface object is more than how an object looks; it must be created (or used) for that purpose.
In support of this view, it can be argued that since an object of blackface is racist, it requires racist intent to create it. A person who creates an object that looks like a blackface object without racist intent cannot be justly accused of racism. To use an analogy, suppose a designer created something in which some see pornographic images. If the designer did not intend this, they should not be considered pornographers, and the work should not be considered pornography.
As a practical matter, the challenge is determining intent. While this can be difficult, the sensible approach is to consider the person’s history and their explanation of their inspiration and goals. If they have no history of racism and deny that they intended to create a blackface object, then it would be reasonable to believe them.
It could be objected that the creators cannot plead ignorance. While they might not have intended the works to be blackface objects, they should have realized how they would be seen. After all, anyone familiar with American culture and history should recognize such objects and they should be aware of the consequences of selling them. To use an analogy, a designer who unintentionally creates a work that would obviously be seen as pornographic, should be aware of this. If they put it on sale while denying awareness, then they would be selling pornographic images.
It could be replied that a creator might be unaware of the history of blackface or that they do not see the objects as blackface objects. Using the pornography example, a designer might be unable to see what other people think they see. If a designer has no knowledge of the history of blackface or cannot see that their work would be seen as blackface, then they could be excused. Some might insist that they should be aware of history and that they cannot honestly say that they did not see a problem before it was pointed out by others. But perhaps an object being blackface is not a matter of what is in the mind of the creator, but what is in the eye of the beholder.
Behind the saying “beauty is in the eye of the beholder” is the aesthetic theory that beauty is a subjective quality dependent on the judgment (or feelings) of the perceiver. This saying could be modified for perceptions of racism: “blackface is in the eye of the beholder.” The underlying principle would be that whether an object is blackface depends on the judgment (or feelings) of the perceiver.
If blackface is in the eye of the beholder, then it is up to the beholder to determine whether an object is blackface. This could also apply to racism or sexism in general. This might be a matter of judgment or a matter of feeling, depending on the broader aesthetic theory in play. One possible problem with this principle is that whether an object is blackface would seem to be subjective. As such, those who do not see an object as blackface would be as right (or wrong) as those who see it as blackface. However, there is a way to grant some people a privileged right to judge (or feel).
A way to argue for this is to draw an analogy to insult. Whether something is an insult, it could be argued, depends on the target. If the target does not judge or feel that the alleged insult is an insult, then it is not. If the target judges or feels the alleged insult is an insult, then it is. In the case of objects alleged to be blackface, there is the question of who has a privileged position of judgment.
The easy and obvious answer is that target of any potential blackface object would be black people. As such, whether an object is a blackface object would be decided by the judgment or feeling of black people. While one could get bogged down in the problem of group consensus, there are two approaches here. One is to accept the majority opinion. The other would be to judge at the individual level so an object could be blackface for one person but not another. While messy and inexact, this does seem to reflect the messy and inexact reality of such judgments (or feelings). Thus, an object would be blackface if most black people judged (or felt) that it was. Alternatively, it could be done at an individual level: an object would be blackface for an individual if they judged (or felt) it was blackface.
It could be objected that by this definition, anything could be blackface and anything could be racism. Alternatively, one could argue that if blackface or racism is subjective, then this could be used to avoid accusations of racism. That is, any accusation could be met with “that is just how you feel.”
The solution is a messy one: as with disputes over beauty or insults, there would need to be philosophical arguments and the better arguments should settle things. Even if blackface is in the eye of the beholder, better and worse cases can be made that a judgment is reasonable. That no perfect resolution is possible should be expected.
But some might object that being accused of racism has consequences. A person’s career could be ended and their life ruined and surely this should not be left up to subjective judgments or feelings. Turning back to the analogy of insults, there is the question of whether the person making the alleged insult intended to be insulting or not. This can be investigated by considering their history, character and the context of the situation. Likewise, if a work is judged (or felt) to be a blackface object, there is still the question of the intent of the creator. While one cannot know the true heart and mind of another, the creator’s history and character as well as the context can be assessed to reach a plausible conclusion. As such, a person could create a blackface object without intent and without being a racist, just as a person could insult another without intending it. In such cases, the object should be condemned but the creator should be held innocent. Naturally, if the creator’s history and character and the context provide evidence of racism, then that is another matter.