Quotes and Short Responses
Learning by Saying "I Don't Know"
- "If being in the arts has taught me anything, it is that one of the wisest things anyone can say is 'I don't know'" (7).
Though this is one of the lines in the introduction of the book, this is a line that is worth extensive discussion. Art is a very subjective thing when it is viewed; no two people will have the exact same reaction to a piece of art, and its creation is also a personal endeavor that comes from the artist. With how open art is, it is okay to "not know" in order to learn. When combined with aspects of activism, the same idea of it being okay to "not know" in order to learn is very true; activist art seeks to spread a message to an audience. This audience may not know or understand the topic presented before they see activist art, allowing them to learn and grow afterwards.
Shallow Thinking
- "He looked at me and said, 'If you wanted to be in a classroom with other students of color then you
should not have enrolled in art history classes.' This professor was my art history adviser" (27).
This is an attitude that is unfortunately still shared in 2024. Art history is often relegated to only focusing on the history of European men in art. While there is value to be held from these lessons, such as from the Renaissance and Bauhaus, there is an overwhelming amount of important art history that gets ignored in courses that are taught this way. The fact that this can also be reflected in the attitude towards students is simply unacceptable and carries heavy consequences. Fortunately, this is not something that is encouraged at this university, but this cannot be said for all universities in the world. There is much more to learn from, and people from other cultures do not deserve to be silenced. Instead, their stories need to be preserved and encouraged.
A Collective Voice
- "It was developed as a space for collective healing and mourning— for anyone who needed to experience art that attempted to offer sense in this tumultuous time. In that moment, I began to understand how intimately art and activism could work together to produce a collective voice and shared community. And for me, there was no going back" (50).
This excerpt, as well as the chapter that it is a part of, does a great job at describing the effectiveness of multiple people doing small things. In this case, the publication of media and information regarding Black Lives Matter was very much a group effort that was created by more than one person. This is something that is incredibly important on various fronts, whether that is the progression of societal norms and expectations in the United States, the usage of activist art, or the effectiveness of multiple efforts. One voice may be seen as one that could easily silenced, but a thousand voices can prove to become a plea that can no longer be ignored.
Artwork and Exhibition
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| Ellen Gallagher - Oogaboogah 1994 |
This piece by Ellen Gallagher is very interesting to me because of how open to interpretation it is. This consists of grids, squares, and lines that are very much abstract in their creation and composition. The fact that it was made by a Black woman who is known for drawing attention to African-American stereotypes adds to this piece, and each person who views it may have different reactions to it when given this information. The usage of negative space is very strong, with the eye being drawn to the center of the page because of the few black squares almost seeming isolated in comparison to the rest of the canvas.
If I were to curate this to be used in an exhibition, I would likely include it in an exhibition that shows off abstract art that uses grids and geometry that evokes emotions in relation to personal identity. The exhibition could be called "From Inside the Box: Identity."
Dr. Maura Reilly | October 16 Quotes and Responses
Toward a Curatorial Activism
- "The fundamental problem with this biased representation on the part of MoMA is that since its founding, it has functioned, and continues to function as an international icon, as an institution that other modern art museums have looked to as a paradigm of excellence to be mimicked" (Reilly).
The point that one place, especially one that is esteemed as highly as MoMA, influences other into following in its footsteps is one that seems to be ignored in the discussion of representation and curation in the art world. There are things that need to be changed, such as the misrepresentation and lack of diversity when it comes to race and gender identity in the art world. Exploring the fact that one prestigious place has these issues is a good place to start; if a place as esteemed as MoMA has perpetuated these issues, it can also greatly alleviate them by correcting course today. If it is as influential as it has been regarded internationally since its inception, then this influence could be taken another direction.
- "Bell’s continual sampling from the master narratives of art history is one of his most powerful propagandistic weapons. Roy Lichtenstein, Imant Tillers, Jackson Pollock, Andy Warhol, Jasper Johns – no one is untouchable. In his hands, these ‘masters’ become slaves to his politics" (Reilly).
Richard Bell's work is very interesting in its reversals and exploration of the history of popular White artists. Much of Bell's work dissects the origins of the elements that made these works popular, such as the dripping that Pollock is known for or the interiors of Lichtenstein. Small details are changed or emphasized in his works related to these people, changing the narrative to show the real origins of what made them successful, and who they were derived from.
What is Curatorial Activism?
- "It is a practice that commits itself to counter-hegemonic initiatives that give voice to those who have been historically silenced or omitted altogether—and, as such, focuses almost exclusively on work produced by women, artists of color, non-Euro-Americans, and/or queer artists" (Reilly).
This excerpt gives a really solid and intuitive answer to the question "why" when it comes to curatorial activism. People may question why there should be a focus on artists of color, women artists, non-Euro-Americans, and queer artists. All of these groups of people have routinely been silenced, both in art and in other aspects of life. Curatorial activism offers a way to display their work and give them a voice instead of allowing them to remain unheard.
- "These are not issues from the past, folks. This is now. We are living and working in an art world that cares little about racism and sexism..."(Reilly).
This is a point that is always important to emphasize, whether it is in an art setting or a general "world" setting. There are many aspects of life that are still approached unfairly; nobody deserves any unfair treatment, and the fact that things such as racism and sexism both exist and remain accepted in many spaces is unacceptable. These issues are not things from the past or things that should just be read from a history book, they are things that still need to be addressed today.
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