This thesis explores the relationship between cultural hegemony and visual culture, illuminating
how art can simultaneously reflect and obscure social realities shaped by imperialism, colonial-
ism, and White Supremacy. It critically examines the prevalence of the White gaze in the pro-
duction and reception of contemporary visual art and introduces the concept of “White Melan-
cholia” as a framework for analyzing the author’s own visual work. “White Melancholia” seeks
to address the oversights inherent in discussions of “White privilege”, “White guilt” and “White
fragility,” particularly the nuanced experiences of disorientation and sadness when Whiteness is
confronted. This framework offers another perspective for theoretically and visually critiquing
the aesthetics of Whiteness in modern art. Through a blend of visual art analysis, and critical
theory, this thesis delves into the efforts within White artistic communities to engage in racial
discourse. It emphasizes the necessity of self-awareness and critical introspection regarding one’s
own role in the production and interpretation of art. The conclusion of this work includes a dis-
cussion of the author’s Visual Studies Thesis, titled “…If Things Go South” (2024), which centers
on an exploration of racial power dynamics through the use of domestic and gendered objects.
This artistic endeavor navigates the tensions between comfort and discomfort associated with the
concept of home, particularly within the context of Southern White nostalgia. Through material,
symbolic and sensory engagement, the artwork captures subtle nuances within the intersections
of Southern identity.