Curatorial Activism and Intervention - Bell

 Chapter Two: The Process

⸜(｡˃ ᵕ ˂ )⸝ "Capitalism is based upon things: producing things and consuming things. What's overlooked when we focus on things is an understanding and appreciation of how things are made and who makes them; that is, the process of creation."

Capitalism and the consumerist lifestyle has always found a way to innovate ways to promote overconsumption: from delivery apps to streaming. It's no surprise that much of the art world has also been subject to this mentality to the point that not big corporations try to sell the ease of creation through AI generated apps and products. There has always been a majority of people who overlooked the process of creation as natural born talent, or on the other spectrum as a waste of time, that now it's become entirely easy to convince people they don't even have to pick up a tool of the trade. They don't even have to think as imagination can also be generated. Further pushing creation along as a commodity that can be constantly reproduced without giving it a soul. 

(,,>﹏<,,) "Abandoning the search for perfection doesn't mean being satisfied with the first take."

This feels more like something I (and others) needed to hear/read. It's almost impossible to not compare yourself to others, where they may be in their journeys or how far along they are with their skill. Even more tricky to not beat yourself up or even feel as if pursuing something else would be a better way to spend your time. The textbook refers to Picasso making alot of iterations of his sketches, but never too many, and that's probably something to keep in mind. Your first thought might not be the best but continuing to work on it, and taking necessary steps away can get you closer to your goal than just forcing yourself ahead.

Towards a Curatorial Activism | Dr. Maura Reilly

₍^. .^₎Ⳋ "When passing the majority of mainstream museums, for instance, we must search diligently for the women artists, artists of color, and artists of non-Euro-American descent."

For a long while, I didn't consider art (in terms of famous ones) to be something that women, people of color or non-EuroAmerican ancestry did. It took meeting a few people in my mid-20s, and then going back to college, to learn more of women artists and then of the artists of color too. Taking a Contemporary Art History course introduced me to the women of the Abstract Expressionist movement who are widely unknown to a majority, to a point that a book is written about them (Ninth Street Women by Mary Gabriel). I think the amount of privilege and credit given to white male artists, over other minority groups who deserve to share the space, is eye-opening. Especially considering that art made by said minority groups has to be labeled as something that's considered "special". Which, in my opinion, seems to lessen it and come off almost as discriminatory especially if they were to create similar pieces.

( ꩜ ᯅ ꩜;)  "More importantly, how can we each do our parts, as curators, artists, teachers, scholars, museum directors, patrons, collectors and so on?"

There should be more of a push for inclusive and equal spaces for art created by minority groups. Rather than small spaces, or special dates to view exhibits, spaces should open up areas that are meant to view these artworks in the same veins as the white male centric ones. Have them side by side, sharing similar themes or ideologies to better curate, but equal real estate on walls. There also needs to be more education centered on these works, not just specialized classes or books that come out once every decade. The same way there are dozens of books discussing Picasso and others, we can bring more attention to those voices yet to be heard. Word of mouth as well. Promote these artists and refer others to view their works. To learn the backgrounds and be inspired.

What in an Art Intervention and Curatorial Activism?

( ◡̀_◡́)ᕤ  An Art Intervention is the process of creating and bringing art to the public in order to serve a function rather than to be passively viewed. They are created with the intention to challenge oppressive systems or ideologies, promote critical thinking and raise awareness, and introduce narratives (sometimes cultural) to offer new perspectives for audiences to engage with. Through cultivating a deep understanding of their materials, and the lived experiences found within their communities, apart from their own, artists can develop narratives that are visually compelling, accessible, at times participatory, and overall inspire others to act. An effective art strategy requires much more than idle sitting and doing. It requires self-reflection in order to build a habitat for oneself to effectively research and collaborate with others, exposing oneself to other ideas and inspiration not immediately considered or found in normal spaces, and participating in activism in one's free time to get a firsthand understanding of the narratives that need to thrive. 

◝(ᵔᵕᵔ)◜ Curatorial activism involves the use of exhibitions or finding new spaces, or ways, to present art so that it can bring to focus the perspectives and voices overshadowed by mainstream art. With this in mind, exhibitions and art spaces with a focus on this would be an example of art activism as it would raises awareness to the underrepresented works and in turn create spaces for representation and empowerment.

Art Intervention Idea

₍ᐢ. .ᐢ₎ ₊˚⊹♡ As a few people have chosen Paula Rego and her Abortion Series for their art last week, I decided to go a different way for my art intervention idea. I feel pulled in a few different directions but I've been inspired by Bad Bunny's Halftime Show and would like to focus more on hispanic voices, aside from my own, and the pieces of our cultures that deserve to be more known and reflected on. Not knowing many, or any at all, of Hispanic/Latino artists, I did some research and found some Puerto Rican and Ecuadorian artists (as two countries are part of my heritage). I discovered Ecuadorian painter, Oswaldo Guayasmin, whose works focused on highlighting immigrant discrimination, struggle, and resilience. He uses bold colors and exaggerated facial expressions and anatomy. I feel like creating works in a similar vein, perhaps in a different medium, to highlight the tense emotions felt now in regards to whats going on in the world with people of color, especially the hispanic community, would be good. Especially if I can manage to fit them into a zine so that the pieces can easily be circulated throughout the public with resources to better aid the community, like outreach programs, etc.

Oswaldo Guayasmin. Lagrimas negras I. 1984.

Puerto Rican artists, Rafael Tufino is a painter as well but its his work as a printmaker that made me fascinated (and inspired). I've recently got into linocuts so seeing that he was Puerto Rican and a printmaker! I was immediately interested in taking inspiration from his pieces that depicted indigenous natives and workers. I considered that making linocuts would be much more easily reproducible and accessible as prints, and even as part of a zine. I'd like to highlight parts of Hispanic culture within prints that people enjoy yet seems to be fading away through gentrification, like bodegas. Highlighting the pieces of hispanic culture that's "disappearing".

Rafael Tufino. Cortador de Cana. 1951.

I found some community led activism groups as well that can offer more insight and inspiration:

• El Puente : creates community-led movements of self determination among low-income, oppressed peoples, Latine and communities of color through a holistic leadership and membership model, and high impact youth and community development programs.
• PR Alliance of Elizabeth : dedicated to preserving the cultural heritage of Puerto Rico.