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 66-83︎
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 14-18︎
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)︎
Mel Ramsden, “On Practice” (1975), in-text page 66-83︎
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 14-18︎
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)︎