Critics Say 'Identity Politics' Ruined Art. Here's A Better Argument

“Identity politics” is among the most contentious terms in recent debates about art. And now, the most powerful people in the United States are blaming just about everything on “DEI” and “wokeness.” The very concept of diversity as a positive ideal seems to be under threat.

At the same time, so far there has been nowhere near the protest you would expect. Civil society feels stunned. At least part of this seems to be confusion about what has gone wrong to bring us here, with sections of the population now seeming to reject or just tune out progressive ideas that were all but dominant in mainstream culture just a few short years ago.

Maybe backlash was always inevitable. But how do we find a way forward? How do you talk about real criticisms of what may have made the social justice culture of the recent past confusing or alienating—without adopting the terms of a truly destructive culture war that is now all around?

A few weeks ago, we had the art critic Dean Kissick on the podcast to talk about his December cover story for Harper’s magazine, which argued that identity politics had, in his words, “ruined contemporary art.” In Ben Davis' essay for Artnet responding to him, called “Will the Art World Go Post-Woke in 2025?”, Davis concluded by saying that those looking for a constructive way forward should read the theorist Olúfẹ́mi O. Táíwò book Elite Capture: How the Powerful Took Over Identity Politics (And Everything Else).

Táíwò teaches philosophy at Georgetown University and has written pieces for outlets including Foreign Policy, The Nation, and The New Yorker. He’s written two books of political theory, Reconsidering Reparations and Elite Capture. Davis has found the concepts that he’s developed, which include “elite capture,” “deference politics,” and “being-in-the-room privilege” very useful in thinking about some of these problems, which are some of the most important problems of the day—so Davis brought him on to discuss.