Over the past few years, issues of race, gender, representation, and power dynamics have come to the fore in the art world. This is not to say that they were not being discussed previously, but recent debates and protests signal the emergence of a new culture war, or at least a serious reconsideration of the role of the artist and the institution.
From 2013 to 2017, writer, curator, and 18th Street Arts Center Artistic Director Anuradha Vikram explored these issues in a column for Daily Serving called Hashtags, which focused on “the intersection of art, social issues, and global politics.” Published by Art Practical and Sming Sming Books, Decolonizing Culture collects 17 of her essays chronicling contemporary attempts — and ill-advised setbacks — at diversity and inclusion in the arts. Topics covered include Kara Walker’s sugar sphinx at the Domino Sugar Factory, Dana Schutz at the 2017 Whitney Biennial, Sam Durant at the Walker Art Center, Google buses, gentrification, rhetorics of colonial power in the museum, as well as essays on contemporary artists Simone Leigh, Charles Gaines, Rina Bannerjee, Mail Order Brides, and others. Next Wednesday at 18th Street, Vikram will be joined by former Daily Serving Editor in Chief Bean Gilsdorf for a conversation, book-signing, and reception.
When: Wednesday, March 28, 6:30–8pm
Where: 18th Street Arts Center (1639 18th Street, Santa Monica, California)
More info at 18th Street Arts Center.
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.
Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.