Curatorial Activism - Albert De La Cruz

 

Art is Activism Chapter 2 

“What’s overlooked when we focus on things is an understanding and appreciation of how things are made and who makes them; that is, the process of creation.” (Page 51)

Not only should we appreciate anybody’s craft but we should also acknowledge the importance of effort behind it. I think that people frequently value finished products but never acknowledge and appreciate the time, skill, and dedication that was put in. By focusing on this process, this would largely respect execution of one’s creation. 

“Most of your authors’ early organizing work was done in the back rooms of local bars.” (Page 54)

The roots and backgrounds of most authors are really important and it's what makes them as a person and writer in my opinion. Their work of early organizing started from humble beginnings, in which later would come out to be such a success. Local bars symbolize the shared struggle and it shows that powerful movements can start from peculiar places. Even when resources are limited, there is always something powerful in collective action. 

We are often our own worst enemies when it comes to being creative. (Page 57)

When it comes to perfecting your craft in being creative, there are always conflicts that we may face. Some may have the fear of failure and others may have self doubt. Even though these aren’t social factors this only shows that being creative mental factors play a role in yourself being your worst enemy. What is important to overcome those mental blocks into becoming creative is to always accept personal growth.

Curatorial Activism Response

    Curatorial activism is about using exhibitions to challenge powerful narratives and bring attention to a variety of voices. It involves a huge effort to challenge and disrupt the known hierarchies of the art world. Dr. Maura Rielly states, “Curators have committed themselves to insurrectionist initiatives that are leveling hierarchies, challenging assumptions, countering erasure, promoting the margins over the center, the minority over the majority.” This means not just including diverse voices but actively rethinking who gets to define art history.  Exhibitions can be activist as they can reveal the realities of power structures. “An exhibition that could show the universality of racist power structures, as
One focusing on Bell most certainly would, seemed like the perfect follow-up. Besides, Bell’s protest work has tremendous cross-cultural relevance.” 

    An exhibition centered on Richard Bell’s work can highlight that using art to emphasize these issues. Bell’s critique, “ ‘Aboriginal Art – It’s a White Thing,’” calls attention to how Indigenous art has been shaped by white narratives. To improve art and its history there has to be a creation of accurate representation. Meaning that the diverse cultures, perspectives, and narratives all have to be accurate and well represented. “Curatorial corrections to the exclusion of Other artists from either the master narratives of art history.” This means we have to include artists that are silenced and are given the opportunity to create their own narratives from their point of views. These curators can challenge past and current hierarchies as it can provide an added layer to the understanding of art history