Wednesday, October 30, 2024

GALLERY RESPONSE ESSAY - Veronica Gomez

Part 1 - Curatorial Activism defined


In “This Is What I Know About Art”, Kimberly Drew explores how art and curatorial practices can challenge social issues like racism and sexism. Alongside her, Maura Reilly in “Towards Curatorial Activism” emphasizes that art spaces aren't neutral, they can either uphold societal biases or challenge them. Both Drew and Reilly highlight how artists, curators, and art historians can act as activists, using their platforms to advocate for inclusion and equity. Their works suggest that art can be a medium for social transformation, amplifying diverse perspectives and confronting cultural stereotypes.


In her book, Drew recalls a moment that changed her perception of the art world: the realization that major art institutions often overlook Black artists. This awakening led her to create “Black Contemporary Art”, a Tumblr blog dedicated to showcasing Black artists who are frequently underrepresented in mainstream art. Drew asserts, “Art has the power to disrupt” (Drew, 18), illustrating her belief that art transcends aesthetics; it can be a powerful tool for social change. Her blog, which began as a small initiative, quickly evolved into a significant platform for marginalized artists. This journey reflects Reilly's concept of “curatorial activism,” where curators take an active role in creating spaces for underrepresented voices, challenging mainstream galleries to rethink their collections.


Reilly’s essay calls for a broader inclusion of women, people of color, and LGBTQ+ artists in exhibitions. Breaking away from the historic dominance of white male narratives. She writes, “Curatorial activism is about providing a platform for those historically marginalized by the mainstream art world” (Reilly, 2), She argues that by breaking away from the traditional dominance of white, heterosexual male narratives, curators can help reshape art spaces that promote inclusivity. This idea resonates with Bell Hooks’ thoughts in “Understanding Patriarchy”, where she highlights how societal structures often restrict women to conventional roles, advocating for a redefinition of these expectations. The combined efforts of Drew and Reilly aim to make the art world a place where all voices can be heard, demonstrating that art is not just a reflection of society but also a powerful tool for reshaping it.


Part II: Activism in Lente Latine/Latin Lens


The exhibition Lente Latine/Latin Lens exemplifies Drew's and Reilly's ideas in practice, showcasing works that challenge cultural norms and highlight underrepresented narratives. A striking piece in the exhibition is Group 4 from Qiana Mestrich’s “Namesake” series, which explores the intersections of identity, race, and history, resonating with the principles of curatorial activism.


1.Group 4 from the Namesake Series” by Qiana Mestrich  

   This work features a selection of mugshots of predominantly Black and Latino women named "Qiana," gathered from public archives.

    Mestrich's series draws attention to women who share her name, exploring themes of identity and systemic bias. By re-photographing these low-resolution mugshots in an abstract, blurred style, Mestrich transforms their original intent. The images take on a new life that challenges the viewer's perceptions of these women as mere criminals. Instead, Mestrich creates “photographs of photographs,” capturing the pain and complexity behind the original mugshots, which often serve to label individuals as criminals. She describes the results as having “bruisy colors” that metaphorically reference violence, symbolizing the trauma that marginalized communities endure. This approach highlights the importance of rethinking the narrative around these women, offering dignity to those often viewed through a lens of suspicion.

     Mestrich's work critiques the intersections of corporate influence, racial profiling, and identity, aligning with Drew’s belief in art's potential to “agitate and awaken” (Drew, 42). By abstracting these mugshots, Mestrich disrupts the archival intent and prompts viewers to confront societal biases. Her work exemplifies Reilly’s curatorial activism, encouraging audiences to grapple with the realities of racial profiling and the societal constructs that shape identities.


  

Group 4 from "Namesake" series by Qiana Mestrich 2013



2. “El Diablo es Una Mujer” by Lizzy Alejandro

Another piece from the exhibition Lente Latine/Latin Lens that brings Drew’s and Reilly’s ideas to life is "El Diablo es Una Mujer” by Lizzy Alejandro

 This piece is a photograph featuring a woman wearing a Vejigante Mask, a colorful mask typically worn by men during Puerto Rican Carnaval celebrations. Alejandro’s decision to feature a woman wearing this traditionally masculine symbol is a strong statement against patriarchy. In Puerto Rican culture, the mask has deep associations with masculinity and strength.

 "Patriarchy has no gender. It tells women that they are weak and incapable and tells men that they must be strong and in control."( Hooks, 2004)

By giving the mask to a woman, Alejandro is challenging who can occupy roles of power in society. Her work aligns with Bell Hooks’ reflections on how women are often expected to follow set roles, showing that women can take on traditionally male roles and symbols. Drew’s words, “Art should agitate and awaken” (Drew, 42), echo in Alejandro’s work, as the piece pushes against stereotypes and invites viewers to rethink cultural norms.  Alejandro’s work speaks to empowerment and invites viewers to imagine women reclaiming their roles in cultural narratives, which aligns with curatorial activism’s goals of promoting diverse voices in art.

"El Diablo es Una Mujer” by Lizzy Alejandro


Drew’s insights, Reilly’s framework, and works like Alejandro’s El Diablo es Una Mujer and Mestrich’s Namesake series reveal that art is more than visual; it is a potent tool for activism and social justice. Drew’s Black Contemporary art created a platform for Black artists, while Reilly’s concept of curatorial activism makes room for underrepresented voices in art spaces. Alejandro and Mestrich’s works in Lente Latine/Latin Lens redefine cultural symbols and confront systemic biases, urging viewers to think critically about identity, power, and representation. Together, these voices illustrate that art can shape a more inclusive future, challenging audiences to see the world through diverse perspectives.

Works Cited:


- Drew, Kimberly. “This Is What I Know About Art”. Penguin Workshop, 2020.

- Hooks, Bell. “Understanding Patriarchy”. Self-published, 2004.

- Reilly, Maura. “Towards Curatorial Activism”. Art Journal, 2018.

  


Gallery Response Essay - David Gonzalez

 

Gallery Response Essay - David Gonzalez

Part 1 - Curatorial Activism defined

    Curatorial Activism is defined as an art exhibit organizing pieces of artwork, with the aim of the artworks being the center of a historic movement, whether being political, advocacy, or touching upon political problems today. It can expose the injustices the government places on the people they reign over. Of course, not tyrannically, as artists we have a right to paint write or create as we please. Whether if it's the truth or exposing it without being of political power is something politicians need to work on. In the This Is What I Know About Art, by Kimberly Drew, "103 artists selected for the exhibition that year, only nine were Black" in one of her highlights in her book, which has me thinking is this is a discrimination problem or a social problem or maybe even both. Even when drew was Younger, in this quote "As time went on, I also realized that I didn't get many opportunities to learn about the artists and movements that got me interested in art in the first place. There have been black people since the beginning of time, but I was not seeing any of their art in any of my classes." Were these artists exception, or were they handpicked because of race and social class. Injustices we have been discussing in class. "I have coined the term ‘curatorial activists’ to describe those individuals who have committed themselves to ‘counter-hegemonic initiatives’ that give voice to those who have been historically silenced or omitted from the ‘master narrative" from Towards Curatorial Activism by Dr. Maura Reilly. This quote really stuck out to me from his essay because authors, historian, and curators can expose artists who do speak for the silenced and omitted, offering more than the censored publicly. Kimberly, who is a curator, uses social media like Instagram Tumblr, and other social media to speak for the weak and oppressed in her gallery. Giving the artists who are speaking the truth to have a spotlight in the media. Kimberly Drew is an activist because of these reasons stated. Drew finally states, "It's absurd to think about how many internships are still unpaid, and how elitist and morally corrupt it is to hire unpaid or underpaid labor.” Many oppressions, not just interns, but immigrants, skilled laborers are never rejoiced in the way they maintain our society.

Part 2 - Art Example 



Juan Carlos Giraldo, Lui's Arm with Flag

This really stuck out to me the most. A hand reaching out for a flag, supposably the flag of their country. In this picture it would be the flag of Columbia. The hand reaching as if he's reaching for a dream, a dream to better his life for himself and his family. The artist Juan Giraldo, connects this as activism, he wants to "illuminate the complexity of their lives." Unfortunately for most, the American Dream which people who come to The USA for has drastically been inflated over the years. As more and more Hispanics are working demanding hours, the hard construction jobs, the graveyard shifts, and the leading manufacture jobs.



Dakota Santiago, Working Class New York Series, 2015

I can sense the accomplishments of the laborers of the working class in this image. As I said in the last image, Hispanics work the demanding hours for the high demands of the real world. With the many hours of work, under compensated pay, and unfortunately their labor is cheap because their immigrants. I manage people of high skill like them on a daily t my job. The aim here just like the previous image is to shed some light on the working class, not just Hispanics, but for all races who do trades and manufacturing jobs. 



Quiana Mestrich, "Namesake" Series, 2013

What really stuck out to me on this piece of art, is the mystery behind the blurry images as seen in this picture. The picture here are mugshots taken as close angle of the camera. When a camera is not focused enough on an image, it creates this blur distorting the images. The aim here was to create the colors of bruising, cuts, and marks that references violence and abuse to those that may have experience this trauma in their lives. This would connect to activism as anyone who has experienced this kind of violence personally, want their voice to be heard, this artwork works to aim that.

Work Cited

Reilly, M. (n.d.). TOWARD a CURATORIAL ACTIVISM. Western Art – It’s a White Male Thing, 1. https://www.maurareilly.com/pdf/essays/CIAFessay.pdf
Drew, Kimberly. This Is What I Know about Art. Penguin Workshop, 2020.


Gallery Response Essay-Christopher McVicar

 Curatorial Activism Defined 

    Curatorial activism refers to organizing a group of artists, shared ideas, and general themes to advocate for social change. The primary goal of this practice is to challenge established power dynamics within the art world. Within Kimberly Drew’s memoir, "This is What I know About Art,” she recalls questioning what “museums even do? to show what inspires curatorial activism at its core (Drew, 38). Her curiosity underlines the limited visibility for people of color within the arts, and how the exclusionary measures being taken can lead to a feeling of hopelessness. An activist approach, like Kimberly Drew’s, often emphasizes the inclusion of marginalized voices, artists exposed from underrepresented racial, gender, or cultural groups, whose work has historically been overlooked. By advocating in such a way, one’s work captures “what would happen” if one “did not want” to go to a museum, show, or any exhibit relating to art (Drew, 38). Curatorial activism seeks to reframe dominant “master” narratives, fostering dialogue around social dilemma, and inspiring audiences to reconsider traditional perspectives within art and society. 

Latin Lens Report 

In this showing of thirteen contemporary photographers on the east coast, curator Natali Bravo Barbee captures the essence of Latin American diaspora. Some photographers chosen were born in other countries, while some were born in America. To convey multiple perspectives for her audiences, she investigates themes like family, environment, and dialogue shared through the perseverance of Latin blood. During her introductory speech, Barbee describes her showing as “usual suspects,” who are not typically seen together due to hardships like migration, and cultural bereavement. By exploring these themes, Barbee demonstrates an activist showing and desire to show the unseen “contemporary aboriginal art” (Reilly). Latin Lens depicts those separated by cultural displacement yet unified through the persistence of shared ancestry. 


Gabriel Garcia Roman
"I Am My Father's Son"
    Gabriel Garcia Roman’s 2016 piece titled “I Am My Father’s Son,” explores the psychological stress within Latinx kindred. Culminating layers of burden manifested vinyl is hand cut and woven to capture the physicality of strain. The artist did not have a great relationship with his father growing up, even claiming to lack an emotional reaction to his father’s death, where the inspiration for this piece was drawn. Roman seeks to create a familial bond through physical appearance for what was unthinkable to express with emotions. In processing this matter, he used photo editing software to assemble a self-portrait with a photo of his father in one composition for sake of reference. From there, Roman strips away sections of the foreground to create a puzzle where both individuals are constructed as one, despite their differences. While this piece highlights stress though personal matters, it symbolizes how physical elements create dialogue on a holistic level. A memory, nightmare, or vision can pass one by, yet the only way to recapture those feelings is through external measures like a lens 
    

Cesar Melgar
"Seduced by the Suburbs"
    Cesar Melgar offers a beautiful scope to intertwine physical and intangible realms, pondering how one may struggle to grasp identity politics being Seduced by the Suburbs. Raised in Newark, New Jersey, once a thriving industrial center, Melgar is the son of Colombian/Peruvian first-generation immigrants. His slideshow includes the Adams theater torn to decay, and the raw, lonesome background music of Newark's subway system, amongst other components. The chosen imagery enables viewers to find beauty in a state of despair, reflecting the systemic inequities still prevalent from white flight in America. While one seeks a foreign community to foster wealth and social status, one is left to see the deterioration of housing, and general infrastructure within their native land. At the opening reception, Melgar recounts that greenery reappears throughout his work, imposing a metaphoric escape from the troubles that plague Latin American diaspora 


Jacqueline Herranz Brooks
"All is There to See"

    Having the inner desire to find an escape through nature is also explored by Jacqueline Herranz Brooks. With their “All is There to See” series, they began to take pictures while strolling through Forest Park, in Queens, New York, documenting iPhone pictures of their surroundings in turn. Around each picture’s location is a QR code to scan and hear Jacqueline’s recordings in real time, along with the option to write back a shared experience via postcard. Brooks’ creative intuition revolves around active interplay, which is crucial to liberate a post-colonial society longing to break free from assimilationist culture.  

    In Latinx culture, family, environment, dialogue, and many other factors beyond the confines of this report serve as powerful representations of the community's struggles. While “it is evident that bigotry and discrimination have become so insidiously woven into the institutional fabric [,] curators like Barbee and the Latin Lens’ artists shed light to trickle down generations and time (Reilly). The centrality of this exhibition reflects the importance of collective strength in overcoming adversity, the environment represents expulsion, and survival. Dialogue, both in terms of aesthetics and storytelling, captures the dualities of identity, and resistance serving as a means of preserving heritage. Together, these artists form a narrative of struggle and perseverance, essential to understanding the Latinx experience. 

Works Cited

Drew, Kimberly. This Is What I Know about Art. Penguin Workshop, 2020. 

Reilly, M. (n.d.). TOWARD a CURATORIAL ACTIVISM. Western Art – It’s a White Male Thing, 1. https://www.maurareilly.com/pdf/essays/CIAFessay.pdf