VISUAL MAPPING OF SUBJECTS

URGENT & HYBRID PUBLISHING

GATEKEEPING IN ART INSTITUTIONS

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Dialogues: The David Zwirner Podcast
EP. Tyler Mitchell and Antwaun Sargent

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QUOTE

It has become abundantly clear how “politically correct” discourse and the sensibilities of so-called “cancel culture” have become tools of the art-system hierarchy, enhancing an image of museums’ self-doubt and self-reflection. As much writing by contemporary activists and theorists of black liberation show, this is only a cosmetic reaction. The new social climate demands that the artistic sphere recognize its blind spots and start accepting those who were systematically excluded from museum collections, exhibitions, and canons. To a certain extent, one can only commend the few art institutions that admitted that the art system was almost always a willing accomplice to dominant social power structures and their accompanying ideology. Now some have started to rethink and rebuild their collections and exhibitions more and more from the point of view of those without power, though many have opted for cosmetic rather than structural changes, as seen in the Guston fiasco.
I believe it is important for art institutions to contemplate their role in the (re)production of social antagonisms, though I don’t believe “political correctness” can contribute to any relevant systemic change. The main goal of this type of liberal, representational politics is to satisfy the prescribed demands of the enlightened liberal elite while the power structure of the museums, including the art market and capitalism, remain unscathed. One could also speculate whether and to what extent the museums’ new politics further enrichment the elite—under the umbrella of diversity.

Cancelling Art: From Populists to Progressives

Jela Krečič

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ARTICLE

Primeur in het Rijksmuseum: vrouwelijke kunstenaars in de Eregalerij

Bart Dirks

FEMINISM AND THE VILLAINIZATION OF ANGRY WOMAN

01

ARTICLE

What Depictions of Medusa Say about the Way Society Views Powerful Women

Abigail Cain

ARTICLE

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A Brief History of Female Rage in Art

We Need a New Kind of Feminist Art

Tess Thackara

Ariela Gittlen

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ARTICLE

Caravaggio (ca. 1598–99)

Judith Beheading Holofernes,

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IMAGE

Madea,

Corrado Giaquinto
(ca. 1750)

IMAGE

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ARTICLE

Serena Williams and the trope of the 'angry black woman'

Ritu Prasad

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07

QOUTE

“The best way to discredit these women [any powerful woman in politics—particularly those who challenge white male power and authority], to make them look unattractive, is to capture an image of them screaming”

Ariela Gittlen

A Brief History of Female Rage in Art

PODCAST