Part 1 - Curatorial Activism defined
Kimberly Drew's "This Is What I Know About Art" and Dr. Maura Reilly's "Towards Curatorial Activism" are both closely related to the representation, acceptance, and activism issues we have been covering in class. The significance of widening the art world and embracing art as a tool for social change is brought up in both pieces.
The struggles and victories of being a Black woman in the art industry are highlighted in Kimberly Drew's book, which is a firsthand account. Her story emphasizes the life-changing power of art in protest and speaks to a larger fight for representation. Drew's account of her internship at the Studio Museum in Harlem is one of the book's most important moments. Her understanding of the significance of institutions honoring Black artists and art was greatly influenced by this encounter. Drew started to see how effective art could be in promoting social justice and developing an understanding of community at this point. Her activism and dedication to promoting diversity in the art world were motivated by this discovery. One interesting quotation is "Art is not neutral." It can act as an inspiration for change and reflects the society in which we live. This sums up her belief that art has the ability to question and alter social standards.
Drew's story is enhanced by Dr. Maura Reilly's essay, "Towards Curatorial Activism," which offers a theoretical framework for comprehending how curators might take on activist roles. Reilly argues that by boosting minority voices and viewpoints, curators have the ability to influence cultural narratives and disrupt the current quo. She proposes a curatorial strategy that is dedicated to social justice and aware of its effects on politics. This is in line with the topics we have covered in class, which include the function of art in activism and the responsibility of cultural organizations to advance diversity and equality.
By using their platforms to challenge existing cultural narratives and promote underrepresented voices, authors, historians, and curators can all be considered activists. Examples of how art may be used to address issues of sexual harassment and gender inequality include efforts like the #MeToo movement in the art world and the Guerrilla Girls' interventions in art institutions. These programs show how art and curation have the power to actively influence social change in addition to reflecting it.
In conclusion, Dr. Maura Reilly and Kimberly Drew both emphasize how action and art are connected. A solid understanding of how the art industry may serve as a platform for social justice is offered by Reilly's theoretical insights in addition to Drew's personal experiences. The sections in Drew's book that highlight her experiences with racist organizations and her efforts to fight it after are especially significant because they highlight the journey's political and personal elements. The idea that art is an effective tool for activism and that people in the art industry have a responsibility to take advantage of their influence to push for justice and inclusion is reinforced by these texts and other projects we've researched.
Part 2 - Lente Latine/ Latin Lens
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| Working Class New York Series by Dakota Santiago, 2015 A photographer with an interest in covering the social issues that plague the contemporary landscape of New York City. Issues ranging from the harsh conditions that tenants in the Bronx are forced to endure by slumlords, to creating a modern day document of the ever changing landscape and demographics that make up the city’s working class population. Dakotas project aims to “the men and women no one sees but everyone needs”. Between 2015 and 2016, he photographed and documented working class workers, while at work. Showing some of the labors they endorse and depend on without realizing. We see what they produce but not the faces behind it and he wanted to bring awareness to them and appreciate them slightly more. I was attracted to this piece of art because most people that produce the products we have today should be appreciated more. They give the community a lot of things and they barely get any recognition. It being an even bigger impact is most of them are a different background yet they provide so much for their city. |
Existir es Resistir by Monica Flores, 2021
Born in 1996, Monica is a Chicanx multidisciplinary artist and cultural worker born and raised in The Bronx, NY. Graduated n 2018 from Herbert H. Lehman Collage with her Bachelors degree in Arts, majoring in Journalism with a double minor in Political Science and Photography. Floes challenges contemporary documentary standards and draws the viewer into a more abstract and experimental form of seeing archiving. In the piece of art, she reflects upon the endurance of life cycles, and overcoming obstacles. This delves into the enduring natures of life’s cycles, emphasizing how life persists through various stages and seasons. It reflects on the continuity and renewal found in nature, where each phase, from birth to growth, showcase the resilience and adaptability of living beings. The cyclical process demonstrates that life is not linear but rather a series of interconnected stages that contribute to the overall balance and sustainability of ecosystems.
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