This dissertation examines artistic responses to the prevailing racial discourse of the early
21st century United States, i.e. post-racialism. Each chapter explores the work of artists in
various media—film, portraiture, television, and music—with an emphasis on the ways
that their practices of ironic substitution and recontextualization—e.g. parody, pastiche,
satire—work to simultaneously revise previous aesthetic works and modes and to engage
with a hegemonic US post-racial narrative that has at its core the maintenance of white
supremacy and the suppression of race as an avenue through which to formulate
grievance against oppressive state and institutional structures. This project is in dialogue
not only with contemporary critical race theory but also negative valuations of irony’s
political efficacy inherited from the late-20th century academic discourse of
postmodernism. Reading the work of artists across various media and engaging with
discourses of race, masculinity, fashion, and ontological dualism, I argue for the
progressive potential of irony and humor, and look critically at the de facto privileging of
sincerity in contemporary socio-political discourse.