There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
In Cooking with Paris, Hilton capitalizes on her portrayal of being a competent woman, while highlighting its anachronism through her absurd performance. Rosler manipulates the camera in the same way.
A story about a kidney and the drawing of a knee bring up age-old arguments about plagiarism and appropriation.
As long as museums make representational rather than structural changes, they cannot shake off their white supremacist origins.
While court cases have helped to shape this movement from the 1930s until today, the social-media landscape has generally remained deaf to calls for change.
COVID-19 demolished the canard that serious work is incompatible with family life. We can no longer entertain the illusion that raising children requires a total sacrifice of any other endeavor.
Museums’ narrow approach to embracing digital art and technologies reinforces the perception within the NFT art community that legacy institutions like museums are elitist and antiquated.
Making a place where critical thinking was at the center of everything was bound to be an uphill battle.
The act of touching allows a deeper sensory understanding for the viewer while simultaneously creating a rebellion against the terms of viewing, the defining terms of the museum and gallery space.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.
It seems like we broke the ice to a growing consciousness that the status quo isn’t going to work.