The Gikandi reading made me deeply aware of the fact that in fighting for a new kind of art that would rival their predecessors, Modernist artists necessarily have deny and subjugate another marginal group so as to assert some kind of individual power/strength. Despite the various meditations, to me, Picasso’s “avant-garde” technique is really just an extraction of what he chose to see and appropriate from the African artifacts. Not only is this really an arbitrary standard, more importantly it does not acknowledge or recognize the Africans who crafted those artifacts as “producers of culture” themselves (Gikandi 456).
By insisting that the African works have a “perceptual” rather than “conceptual” influence on his work, Picasso is necessarily exiling the African subject from the space, which he had appropriated for his own exercise of individuality, and I see this a refusal to give credit to the African “Other” as indicative of a deeper anxiety on Picasso’s part. I think Picasso’s methodology really highlights a deep-seated struggle for power and self-assertion: by exiling the African subject and reclaiming the African space for himself, he manages to maintain power and control over his appropriated “object/empire”. But perhaps what motivates such a self-congratulatory position is really the fear that if he should admit that African culture had a constitutive affect on his work, he would also necessarily admit that the artwork is not completely a product of his own personal artistic genius; and that the silenced African subject was actually more poignant/important than he had (arbitrarily) allowed it to be.