A story about a kidney and the drawing of a knee bring up age-old arguments about plagiarism and appropriation.
By cutting, reframing, and layering, artists, including Rodell Warner and Alanna Fields, encourage a re-viewing of the past.
“We need to keep reassessing where we get our data from to understand how the narrative is shaped. And how it shapes us,” says Jackson.
For better or worse, words like “proud,” “unapologetic,” and “resilient” have come to define Texans, and these words and this attitude also define a spectrum of Black artists who are from, or have lived in, Texas.
We’ve seen an increase in online programming as museums close to contain the spread of the novel coronavirus. One arts administrator ponders how we can maintain this accessibility, and how it is colored by race and class.
Racist incidents like the one that targeted school children at the Boston MFA are neither the beginning nor the end. They underscore the museum world’s frequent failure to serve marginalized communities.
It’s clear: We need space for new narratives. But how far will we get if the space-making rests in the hands of the colonizers?
The “Apeshit” video is important because people of color rarely have the opportunity to claim such spaces, but it also perpetuates the dangerous notion that art is a luxury.
In one scene, the blockbuster superhero movie touches on issues of provenance, repatriation, diversity, representation, and other debates currently shaping institutional practices.
Challenging art is essential for sparking difficult conversations, but two museum directors — both women — have recently stepped down after championing politically engaged programming.