Q&A: Racism in the Art World
What is it?: Hello everyone, Liuka (Resident photographer in Norman Rea Gallery) here! After a few weeks since Change has been launched, I decided to organize a roundtable discussion panel among our committee. It seemed as an appropriate time for reflection on the way we as the committee understand and see the most effective way to deal with the issues of institutional racism, support for BLM movement, representation and diversity in Norman Rea Gallery.
How did it work?: Following the successful #MuseumHour discussions on Twitter, I have pass on a google with a few questions that were answered by the committee members within 7 day time frame. In this panel I wanted to focus on the issues surrounding Black Lives Matter movement and how Norman Rea Gallery has responded/will continue to respond to it in the future. This movement not only inspired our committee to provide the platform for black protest artists but also as the tip of the iceberg pushed us to think about the way the gallery has dealt with racial inequality in the past. However, I think at this point I would like to separate wider issues of race and the demands of this particular movement because they even if they might stem from the same cause - white supremacy - the positive social change in the society can only happen if its members are specific about their struggles and focused on particularities of inequality. Mixing up historical and geographical struggles of POC is extremely dangerous in the fight with the constructive oppressive power and unfocused intentions could quickly be employed by far-right political movements to deem any human rights movement irrelevant.
Committee members participating in this discussion:
Mariah Chuan – Head of Press and Publicity
Keziah Owusu – Gallery Assistant
Faith I Weddle – Co-Director
Senah Tuma – Co-Director
Aiste Liuka Jonynaite – Resident Photographer
DISCUSSION
1. We have witnessed arts institutions supporting the BLM movement by giving voice to black artists, providing a platform for raising awareness. Is there anything more tangible that could be done by the institutions?
Mariah Chuan: Ever since the BLM movement, the art industry has been using their platform to amplify, strengthen, and contribute to the movement. Institutional/systemic racism is a form of racism that is embedded as normal practice within art institutions and multiple other organisations worldwide. It can lead to issues in day to day life such as discrimination in criminal justice, employment, housing, health care, political power, and education, among other issues. Other than giving a voice to black artists and stopping there, art institutions can start hiring more POC employees and really look into their statistics by using stratified sampling to compare how they’re recruiting a more diverse census in the company.
Faith I Weddle: I agree, arts institutions need to employ POC in positions where they contribute to the direction of the institution. Furthermore, they need to engage with the BIPOC communities around them. It is important to note that many arts institutions are suffering at the moment due years of poor funding which has now culminated and been exacerbated by the pandemic which has created incredibly difficult situations for many people risking or having to make redundancies. Without sounding naïve, there is a possible silver lining in this crisis as there perhaps an opportunity to reform the hierarchy and structure of museums when these institutions rebuild.
Keziah Owusu: Two Angela Davis quotes come to mind:
“I have a hard time accepting diversity as a synonym for justice. Diversity is a corporate strategy. It’s a strategy designed to ensure that the institution functions in the same way that it functioned before, except now that you now have some black faces and brown faces. It’s a difference that doesn’t make a difference,”
and
"diversity without structural transformation simply brings those who were previously excluded into a system as racist [and] misogynist as it was before"
Suggested by the above quotes, addressing injustice by employing or including more black people, POC and/or other minorities in an institution (at an executive level or lower down on the 'totem pole') can appear superficial if it’s the only action taken in times of heightened awareness of injustice. Diversifying institutions on its own, can be used to dissipate accountability under the guise of progressiveness. It works as a shield, benefiting an institution’s public image and (if applicable) potential sales; there is less emphasis on the demographic they have potentially exploited or excluded. The perspectives of these demographics should have been something companies/institutions should have incorporated from their inception, but better late than never I suppose.
As recent events have highlighted, certain demographics of people are not protected as ardently in society as others, so the responsibility of institutions should be to building relationships with grassroots organisations and mutual aid funds (as the charity industrial complex is insidious) to actively fund and work to protect immediately disadvantaged people in society (those that experience compounding discrimination due to the societal intersections they inhabit and thus are the most at risk of harm from state violence and/or negligence, for example, being disabled, trans, black and homeless). This is a direct and productive way to start to help redistribute resources to those most in need, improving living conditions and reducing the likelihood of violence they experience. Using the example of Black Lives Matter more explicitly, art institutions with the capital to do so, in my opinion should invest monetarily in the communities that are the most affected by police intervention in the form of appropriately researched and run workshops by local artists, investing in schools and donating/ building relationships with localised grassroots orgs. This requires research, listening to the needs of communities from the community people themselves and sustained long term effort.
Senah Tuma: I completely agree with the above. Giving a voice falls flat without further engagement and deeper support - this does take the form, in the case of art institutions, in financially supporting and contributing to the growth of these artists on the same level as other demographics have been given support. I do believe that these wider discussions and changes (as mentioned above) taking the form of the systematic implementation through these artistic organisations will be what leads towards lasting and meaningful impact. Diversifying for the sake of diversifying is not effective. I personally feel that the role of artistic institutions, financially at least, takes the role of supporting young artists and arts education and accessibility in communities. This needs to be more targeted towards disadvantaged communities and minorities.
As students running a not-for-profit gallery on a volunteer basis, we benefit from the freedom of the following: the possibility of being motivated only by our own personal agendas. We are not limited by worries of losing our (unpaid) positions, losing customers or footfall - all issues that larger institutions need to be concerned with and which ultimately have rule over their actions in order for them to assure their survival. What ‘sold’ before is not ‘selling’ now in the art world - change and growth is being demanded, and it is no longer becoming financially viable for institutions to be narrow minded. I personally feel that there is a larger shift in contemporary art as a whole towards an integration of art as reflective of social issues, and with a wider message over aesthetics.
Aistė Liuka Jonynaitė: I felt deeply what Senah is saying about Norman Rea Gallery as, to some extent, a carefree and interest free institution. Voluntarily working in the student-run gallery might seem both minor in the context of other art institutions, however, I think we have an extraordinary capacity to be creative and experimentative in our public and social activity.
This question about other art institutions responding to the Black Lives Matter movement certainly is controversial. Especially because, from my point of view, only the marketing departments of these institutions were active during the pivotal points of protesting and their reaction could be seen to be performative rather than structural. Unsatisfaction with the nature of the support BLM movement gained, at least in my social circles and to the best of my knowledge and research into art institutions, made me think about the alternative ways of the change in the society. As Faith and Mariah were discussing one of the ways is to push and constantly regulate the diversity in representation. However, idea of diversity does not come without any agenda and economic/sociopolitical background, which benefits one groups among the others. I think Lennard J Davis thought from The End of Normal: Identity in Biocultural Era is revealing the issue regarding diversity accurately:
‘‘I want to make clear that I do believe it is a good thing that we are moving toward promoting diversity and away from enforcing normalcy. And there is both political and social progress in thinking of humans as diverse rather than normal or abnormal. But, in accepting this change, we should by no means feel that the new model avoids the pitfalls of what Foucault calls "technologies of life." It would be difficult to imagine that diversity is so different a concept that it could avoid the larger project of modernity – the creation of docile, compliant bodies. One could argue that there is as much social conditioning, care of and for the body, and subjec tion of the body involved in this version of imagining the diverse human than in the previous regime. Indeed, it would be naive to assume that any contemporary form of social organization does not carry with it elements of control and categorization no matter how progressive it might seem to us at the time.’’ –
Lennard J Davis in this text is looking for some kind of paradigm shift in the societal structures and it is a long-term and academically challenging goal beyond our possibilities in the positions that we have in the gallery. So, I assume one of the ways we should engage with in being actively anti-racist institution is creating a space for the community to form, for students to be exposed to difference.
2. How can we as the committee of a community based campus gallery contribute to the change within the university context? Can we use our space and platform to create strong and trusting relationships of the members? Or that is beyond the scope of our activity?
Mariah: We as a committee based within a student campus can use our platform to speak out on topics of racism to bring more awareness to a predominantly white populated university. This can be done through speaking to members of the university department as well as members of our gallery and listening to their voices and giving them the platform for others to hear. I feel as though whatever impact we make as a committee is still an impact made even if it changes the perspective of one person.
Faith: As a committee, we were each elected and trusted by the members to represent their voices in the direction of Norman Rea Gallery. I feel that this trust did not end with the election however, and that, as much as possible, open communication is needed to continue directing the gallery in line with the aims of the members. Covid-19 has somewhat strained open communication, and so we are also allowing members to answer questions very similar to these to make sure we continue to fulfill the needs of our community.
Keziah: I agree, even the most incremental difference is still a difference made. I believe that interactive workshops, aside from exhibits, are a useful tool to pass information and education to members of the university community. But as Faith mentions, Covid-19 has restricted the parameters in which the gallery can initially operate. We as a committee will have to use our imaginations to navigate future exhibitions and events appropriately, with discussions like this one and the recent online exhibit ‘Change’ being evidence of the possibilities.
Senah: This change can happen by us working with other societies and teaming up to have a stronger voice. Unfortunately, despite our position as a local gallery that contributes to not just campus culture, but York as a whole, we are at a disadvantage because we are students. Student’s voices, and authority, often struggle to gain traction against larger groups and authority figures with more resources, and louder voices. Through these collaborations we can demand action, and navigate through unfamiliar situations (such as Covid-19). I feel that limiting ourselves to assuming that our actions will fall flat, or that it is not our place, is putting us down and underestimating ourselves - students are the University, too. What I have seen throughout the Summer Term of 2020 is a display of how impactful and proactive societies can be.
Liuka: It is really difficult to understand what is our community during these times at all, I agree. Not to mention that we could be talking about creating community with our members, who are getting involved with exhibition curation and generation of ideas, as well as forming a wider university community in gallery’s events (preview nights, workshops, discussions etc). In terms of working towards social change it seems to be crucial to have a strong relationship not only with Norman Rea members so that our organizational processes would be more efficient and enjoyable but also reflecting with each event how it might resonate in the context of the whole University.
3. What part does the University of York have to play in institutionalizing racism? Do you feel like there are issues with racism/racial inequality on campus? If so, how the Norman Rea Gallery, being a part of it, should respond to it?
Mariah: As a student at the University of York and being a POC, you can definitely feel the lack of diversity due to the imbalance ratio of UK to international students. However, I have never had a dramatically negative experience being a POC in York, but have felt that my peers may have hard times feeling pressure to fit in at times. Norman Rea Gallery having quite a diverse committee can speak out to higher members at the University of York and maybe consider and focus more on the voices of international students and speak to the student union to create events focused on international foods, traditions and normalising/celebrating diversity.
Senah: The art world is historically western focused, and struggles to grapple with issues of its institutionalised issues surrounding race and diversification. The same can be said for a University based in a historically “non-diverse” western context. I do believe that action is being taken towards growth, education and awareness. I believe that this action is being led by the students on campus, in societies like ours. I think that these students - us included - can support each other in our responses to racial inequality on campus, and try to make change in our own way and use our voices to make the University aware. It can feel daunting for a individual to tackle the issue of singlehandedly dismantling institutional racism while being educated at that institution and benefiting from its resources and position, but as a committee we can support each other and our members at the NRG, and represent their voices as a GALLERY, with supporters, not just as individuals. This fight goes alongside our relationships and support from departments, artists and locals who have engaged with us over the years.
Liuka: I do agree with you Mariah that international students perspectives are somewhat undermined in our University just because the number of UK students are nearly three times bigger than students coming from EU and oversees countries. Furthermore, as an international student I always feel the British perspective on education, history and politics is presumed to be default understanding. It might not seem to be directly linked to institutional racism but if we think about the University is accommodating difference there are certainly more things to be done.
4. To what extent is exhibiting protest art by black artists effective in fighting institutional racism? Can artworks that respond and reflect on the death of George Floyd successfully communicate or convey the lived traumatic experiences of black people? Or is some sort of complementing interpretation by the curator and/or artists needed?
Mariah: In my opinions, by dismantling institutional racism you should first find where the problem is within your institution. This can be done by listening to your employees voices, how they feel, educating and listening to what is said. Then implementing change, by building new relationships with POC artists and starting a foundation there and gaining trust through that. Art is subjective so it is never 100% communicated with what it may have intended to, the experiences that the artist conveyed can be interpreted differently as everyone has a different perspective of things. So by complementing interpretations the voice of the curator and artist may be needed to further explain on a deeper level.
Keziah: Protest art works an initial tool of awareness that may be used to inspire those who were not aware of the issues the work addressed to take further action; however, it is important to take action in ways that are transformative and long lasting; sustainable. Black people do not exist as a monolith, my experience of being black and part of various other intersections of society, shape my experiences of blackness and life itself. I feel like art as a tool resonates with some more than others, but as the previous person has mentioned it cannot encapsulate our experiences fully.
Pertaining to the last question, I don’t think it’s necessary to ask for an additional explanation of possibly chronic/complex trauma from a black artist to evoke empathy and compassion in others, as it asks for additional emotional labour from an artist if they were not willing to provide it organically. I do however see the benefit in accompanying material for more abstract works.
Senah: Amplifying the voices and artworks of those affected by the issues at hand, and who are responding to these events, is key in the historical documentation and wider understanding of the impact and wider societal role of these events. That being said, we must always be aware that one artistic response does not encapsulate all artistic responses, or represent the race as a whole - but this can be said for any artist, any artwork. I believe in art it is always important to consider the place of the individual artist. The experience of one does not speak for the experiences of all - but it does represent the experiences of many.
5. Throughout the year, Norman Rea Gallery will be fundraising for charities related to Black Lives Matter.
What is the role of donations to the various non-governmental institutions in the exhibition Change? How to make sure that people donating through the Norman Rea Gallery platform feel the weight of their act? How can we make sure that the organisations we choose to promote are in urgent need of financial support?
Mariah: To make sure that people donating through the NRG feel the weight of their act, we can give more information on the organisations we have chosen and why we have chosen this organisation through a leaflet or our social media platforms. Present the percentage we intend to donate to each organisation and make it clear that 100% of donations will be given to the funding of BLM and not the NRG society. We can encourage donations with rewards, such as free merchandise.
We can make sure that the organisations we choose to promote are aligned with our vision for the upcoming year and what we intend to help. This can be specifically art industry based and/or the mainstream BLM movement organisation too!
Senah: as said above, we hope to create deeper engagement with those supporting and the causes they are supporting. Our aim is not to simply provide a link to donate, or to donate profits off of a sale of a product - granted, these are accessible means of contribution for many who do not feel that they can, or want to, engage further. These donations are still important, and support charities nonetheless. Our goal, as a committee, is to provide means for support for those who wish to engage with the BLM movement and wider topics of race and inequality through engaged activities in our community, focused through art.
Please share your thoughts, if you would like to, on the questions that the committee have discussed through the following google form:
https://docs.google.com/forms/d/1lCf7LQ438BO5ZxFNmivlG4wtywYHFeOQa9JOKyOTy_c/edit
