Food for Thought / on and on…

A selection of tasty resources to chew on, with notes about (some) of their interpretive potential. Viewable in any order. Curator Rebecca Hall has put together a juicy list of references that stand in conversation with her recent series of visual text, ‘Thought Piece’.

1. On the commodification of the art scene; on power; (read critically)

Mel Ramsden, “On Practice” (1975), in-text page 66-83︎

2. On whiteness in the Melbourne/Australian art world

Andy Butler, “Safe White Spaces” (2018)︎

3. On the dangers of white curators imposing minimalism onto the exhibition of black women’s art; on art moving between communities; on the importance of display context

The White Pube, “Sonia Boyce @ Manchester Art Gallery” (2018)︎

4. On decolonising curatorial practices; on colonial histories in art practices

Ivan Muñiz Reed, “Thoughts on Curatorial Practices in the Decolonial Turn” (2016), in-text page 14-18︎

5. On decolonising Australian art institutions; on Aboriginal representation in Australian art institutions; (also read discussion in comments)

Leuli Eshraghi, “On Forgetting Aboriginal Art” (2015)︎

6. On sex work and art; on the complex relationships between art audiences/markets and other consumer audiences/markets

Lindsay Dye, “A Day in the Mind: Cakesitter” (2018)︎

7. On gender and sexuality; on the relationship between personal communities and artistic communities; on defunding-the-arts-as-censorship

Ray Filar, “D*ke Life: An Interview with Eileen Myles” (2017)︎

8. On queer communities and queer experiences across cultures; on black queer experiences and art; on resistance through art; on the relationship between personal communities and artistic communities (involves joyful artistic expression of identity

i-D, "Mykki Blanco Celebrates Johannesburg’s Born-Free Queer Artists and Activists - Full Film” (2017))︎

9. On white supremacy in audience expectations and black emotional labour; on the interlocking/necessary politics of artist display

Nayuka Gorrie, “Why does it take black trauma for you to believe us?” (2017)︎

10. On the commodification and consumption of art (complicating it for contemporary audiences); on racist art histories and practices of disruption; on the relationship between high culture and pop culture; on artistic and cultural multiplicities

Jason Farago, “At the Louvre, Beyoncé and Jay-Z Are Both Outsiders and Heirs” (2018)︎

︎Eora Nation