Response to Kimberly Drew's "This is What I Wish I Knew About Art" & Connection to NJCU Latin art exhibition and view Curating as a Form of Activism
Kimberly Drew's "This is What I Wish I Knew About Art" book provides valuable insights into various topics, such as art, activism, identity, and representation, which align with several themes we've explored in our readings and discussions. Drew's personal journey is a great illustration of how art can be a form of activism. She emphasizes the significance of representation and diversity in the art world. Her experiences as a black woman navigating the predominantly white and exclusive art world demonstrate the need for change and inclusivity. I connected heavily to Kimberly Drew's story in “This is what I know about Art” and instantly had a feeling of being seen because her journey at the beginning of her college career was similar to mine and I was eager to see where the rest of her journey would go. I appreciated the fact that as a class, we had an opportunity to read about and discuss a young black woman in the museum and gallery world. It shows a form of representation for students like me who are constantly looking for a way into this exclusive elitist world. Reading her story made me feel empowered by her forms of activism because I've always felt unsure about my power to use my voice, my experiences, and my art to spread a message that may defy what people expected of me.
Growing up I've always been shy and definitely not outspoken, afraid to upset people or make people uncomfortable with my thoughts and opinions. It wasn't until I graduated high school and began my college career at Parsons in New York where I realized being black in a predominately white and asian institution, coming from an education system where I've only ever known environments of majority black and hispanic students… I felt like that place wasn't for me. I knew I wasn't going to get the recognition I deserved so I took things into my own hands outside of school. As a 17-19 year old I began going to events in NYC, art openings, and forcing myself to talk to all kinds of people and network on my own. After my first semester I withdrew due to family circumstances and lack of finances. Shortly after I realized the lack of opportunity for students like me who were not represented by an institution and space isn't a given when you have art or an idea that needs to be expressed.
I started on a journey of my own form of activism, by using curating as a form of activism.“ “Curatorial Activism” is a term used to designate the practice of organizing art exhibitions with the principle aim of ensuring that certain constituencies of artists are no longer ghettoized or excluded from the master narratives of art.” I started writing proposals to host art exhibitions for young artists who were independent and underrepresented. Since then I've continued on that path, using my voice more, and taking back my power by creating a platform for artists like me because I knew no one would represent me in the way I wanted and deserved and I know there are plenty of artists from urban communities who feel the same way. My activism is against the privilege that non colored people have especially in the art world.
Through this form of activism, I felt empowered but I also learned how to embrace my anger and take advantage of my lack of resources. I curated exhibitions with no little to know money and used my anger for the feeling of not having enough as a motivating force. In “This is what I wish I knew about art” Kimberly Drew discusses a time how she worked through her anger and it became a pivotal moment where she found liberation through her art. In her book Drew states "Art and culture are the keys to liberation. They are the torches that light the way to justice." This quote emphasizes the transformative potential of art and culture in promoting social justice and equity, which reflects on our discussions in class about the role of art in social and political movements. " My faith in the importance of art had never been more concrete. It was images, sculptures, and writing that helped me wade through the anger I was feeling. ...The tears felt like a battle cry for the strong person I needed to become at that point in my life, in my career, and for my growing audience. The tears helped me liberate the part of myself that I was afraid to be. A part of myself that I thought I had to hide."
I felt the weight of Kimberly's pain in this quote as she discussed how she walked around in her community and her work place during the time of Eric Garner's Murder and any other black deaths due to police brutality at that time. As she looks around she sees no-one around her that is affected by these happenings as much as she is and it feels as if there are rules in society that don't allow people of color room to feel hurt, pain, and anger, especially in a work environment where the tragedies do not directly affect them. Through her creative practices, she was able to find healing and find her voice to aid the anger she was feeling and the action of crying became transformative and liberating for her as well. These same expressions, I definitely connected to as I was reading especially during the Pandemic when the #Blacklivesmatter movement began rising in growth. That silence, and pain was such a weight to carry, and though I didn't participate in protests at that time, I used hosting art events as a form of creating safe spaces, conversation, community and social interaction that would help aid that pain I was carrying and embrace my freedom and a young black person.
In the book, Kimberly Drew highlights her experiences as a curator, and this is where the role of authors, historians, and curators as activists becomes apparent. Curators, in particular, can shape the narrative of art and challenge traditional norms by curating exhibitions that promote underrepresented artists and narratives. ”Curators have committed themselves to insurrectionist initiatives that are leveling hierarchies, challenging assumptions, countering erasure, promoting the margins over the center, the minority over the majority, as well as positing curatorial “strategies of resistance,” provoking intelligent debate, disseminating newknowledge, which, in the end, offers up signs of hope and affirmation.” Overall, Kimberly Drew's book serves as a valuable case study on how individuals within the art world can become activists and catalysts for change. Her journey, activism, and insights align with many of the themes and issues we've explored in class, and her work is a testament to the power of art as a tool for social progress and inclusivity.
In the “Artistas de Latinoamérica Sueños y Posibilidades (Latin American Artists: Dreams and Possibilities)” exhibition at NJCU, we can look at this exhibition as a form of activism because it's being awareness to a specific group of people and giving them a voice as a collective which they may have not gotten outside of this space. This exhibition focuses on majority Latin American Artists from the inner city communities of New Jersey and New York. It's an important exhibition because it also shows the students of NJCU how much power artists can have when it comes to delivering a message through art. Many of the art pieces in the exhibition are loud, and bright in appearance and discuss topics, or racial injustice, immigration, environmental concerns, economic problems and more. This exhibition is a great form of activism because The curator is using a college campus to express their power in giving this group of artists a voice to defy white privilege in art spaces like these and express their societal concerns through their art.
In a way, the curator of this exhibition is building membership.. Using their community to create a movement by only featuring Latin artists. This almost forces the viewers or audiences to enroll into the act of activism. "Now, think again for a moment about how most activists often build membership in their movements. How do they convince new-comers to step off the curb of indifference and join in our struggle for a new world? Activists ambush people on the street, clipboard in hand, asking people to sign petitions and donate money. We stuff fact-filled flyers and pamphlets into people’s hands. We build websites where people can access information. We organize public forums at which people can hear the truth from experts, and fantasize about having the media reach of a cable news station. We dump overwhelming amounts of often depressing information about the world on people, and then expect them to be energized and excited about joining us. This is routine activist practice." This quote talks about the idea of pushing people off the curb when it comes to activism. kind of activating the will or the need to start something that will create change or at least influence other people enough to participate in such movements. This is a great way to help people have a broader perspective on what the routine practice of activism is. It also brings awareness to how activists can build movements and a community that prescribes to the cause they are striving for.
Artworks from the “Artistas de Latinoamérica Sueños y Posibilidades (Latin American Artists: Dreams and Possibilities)” exhibition that I view as activism art are “Melting the Future” by Alexandra Alvarez and Installation artwork by Vanezza Cruz. I see these art works as activism because of their boldness. They both feel unapologetic with their characteristics. In Melting the future, I enjoy the detail and combination of colors and the artworks brings light to a heavy topic of child abuse. I actually had the opportunity to display this art piece in one of my exhibitions that was centered around using art as activism. The installation by Vanezza Cruz has multiple art pieces in it and shows a lot of depth. It almost heals dark and heavy but healing in a way and shows the beauty behind people of color’s dark skin and textured hair.
Sources:
Duncombe, Stephen, and Steve Lambert. The Art of Activism: Your All-Purpose Guide to Making The Impossible Possible. O/R, OR Books, 2021.
Drew, Kimberly. This Is What I Wish I Knew About Art. Pocket Change Collective, 2020.
Reilly, Maura. “What Is Curatorial Activism?” ARTnews.Com, 18 Nov. 2019, www.artnews.com/art-news/news/what-is-curatorial-activism-9271/. Accessed 25 Oct. 2023.
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