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设想包容性,艺术家的心灵空间

艺术世界的术语真的能从竞争性的创造天才转变为集体权力和接近性的概念吗?

Toshi Reagon(扎克·克里维特摄)

Watching Thelma Golden,哈莱姆工作室博物馆馆长兼馆长,在公园大道军械库拥挤的房间里,摇曳在东芝·里根的《大可爱》的蓝调中,感觉就像是一场研讨会的结束“形式的审问:变化中的美国文化。”穿着一件花衬衫,飘逸的裙子,又高又高,双色麂皮靴,金在人群中毫不费力地移动着;她似乎是现场的一部分——既不在上面,也不在外面。旁边是舞蹈演员和编舞比尔T。琼斯。苗条的,英俊的,and smiling,he seemed to be absorbing every moment of Reagon's fiercely engaged remix of R&B history with her own impassioned style.

这场音乐会,concluding a long day of panel discussions,强化主题:艺术家们需要聚集在一起,创造新的安全空间,让这些空间充满灵魂,connection,energy,and spirit.Seldom are these amorphous concerns noted on project proposals,策展议程,or marketing strategies.When one is asked about "intended outcome" on a grant proposal,例如,有人回答“精神交流,兄弟会,正能量交换“?

Onyedika Chuke的艺术和城市面板(由扎克·克里维特拍摄)

A collaboration between the Armory and the Studio Museum,the symposium took place on February 17.它旨在评估当前的政治条件如何影响或改变艺术生产。戈尔登主持了卖完的主题演讲,这是比尔T的特色。琼斯,spoken-word poet and playwright Marc Bamuthi Joseph,artist Julie Mehretu,还有音乐家Toshi Reagon。Preceding the panel was the performance of a Native American traveling song by Kevin Tarrant of Hopi/HoChunk tribes.塔兰特解释说,有一条信条说:“那些在崎岖不平的道路上行走的人是安全的。”

对于艺术界和其他地方的有色人种来说,这条路确实很坎坷。When Golden kicked off the discussion with the question: "What does it mean to you今天,I mean literally today,to be an artist," it was not simply a feel-good crowd-rouser.这个问题很紧迫,假设艺术家的角色今天,在一个转向法西斯主义的政治气候中,不同于昨天的一句谚语。

一个艺术家应该能够追求“超越极度疲劳的生活,”马克·巴穆西·约瑟夫强调地回答。他继续说,应该有一个持续的“与边界的接触,清除边界,以及重建这个国家的道德基础设施。”Mehretu说,“必须坚持维护和保护创造性创造性的空间,真正调查你作为一个个体是谁,你想爆炸或探索什么空间,为自己创造什么语言,你想继续推进什么语言。”排气口。”

Marc Bamuthi Joseph (photo by Zak Krevitt)

琼斯念道,“艺术家应该是文化中最自由的人。一个艺术家应该是一个赤身裸体地在街上奔跑的人,对他们的鼻子竖起大拇指,接受了所有的智慧,”而里根补充道,“我们必须设法理解为什么我们如此具有破坏性,并改变这一点。”

During an earlier session titled "The Poetics of Resilience," moderator Tina Campt,a professor at Barnard College and Columbia University,把黑人艺术家当前的文化状况概括为一个悖论:在黑人美学的巨大发展的同时,社区中的反黑人暴力活动比以往任何时候都要多。art,还有文学。She then posed the question,"So what does it mean to make culture in the moment of this paradox?"

Responses ranged from the need to make spaces where one can safely withstand being watched and consumed,to the creation and curation of art that sets up active encounters rather than passive viewing.Performer and choreographer Okwui Okpokwasili noted that artists must figure out "how to navigate so they aren't easily consumed";换句话说,the speed with which art becomes capital potentially leaves artists behind and changes the meaning and intent of the work.She also posited that spaces need to be created or curated where whiteness is better understood because it is not easy to see normalized or systemic power structures.Curators can make these structures visible by not allowing people to be passive spectators,让空间不舒服。Okpokwasili列举了她的一个表演,其中包括30分钟的震颤,舞蹈演员和观众都能忍受的痛苦的延伸姿态。

清单T。琼斯(大平罗摄)

另一位专家,艺术家/摄影师Leslie Hewitt,她解释说,她必须找到一种方法来摆脱摄影的白人历史。通过寻找不同的传统,比如雕塑和舞蹈,she was able to access different aspects of photography and understand notions of framing.Taking risks and entering a discursive space where meaning is not fixed,她说,是游戏和发现的开始。Okpokwasili补充道,"In the space of play is also the space of doubt,未知。I am not interested in a perfect exegesis of what an audience has seen.我们能不能一起迷路,抵制被消费?”

These strands of dialogue,主要由黑人艺术家向混合的观众讲话,felt powerful,即使研讨会的时间和主题限制只允许参与者浮出水面。Together,这些声音创造了“集体振动”,这是Okpokwasili和其他人在整个研讨会中倡导的。艺术世界的术语真的能从个人和竞争性创造性天才的历史模式转变为集体权力和接近性的概念吗?塞迪娅·哈特曼,a professor of English at Columbia,她说她最重要的时刻是2000年左右,当塞尔玛·戈尔德和洛瑞·斯托克斯·西姆斯离开惠特尼博物馆和大都会艺术博物馆时,分别是,and joined forces at the Studio Museum of Harlem.The 金博宝188appexhibition自由风格,包括28位新兴黑人艺术家,启动了一个范例转换或爆发的开始。后黑人艺术运动有女性领袖,她们为多样化和复杂化提供了空间,困难的艺术品,and for unresolved issues to be advanced as questions rather than assertions.It was a refreshed curatorial model.

凯文·塔兰特(扎克·克里维特摄)

清单T。Jones — who has advocated for black identity,history,几十年来的可见度——他靠在椅子上得出结论,"It is still hard to bring black and white people into the same cultural space,同时看一些东西。”沮丧地说,he asked,“实际上有多少黑人在管理组织?”

Julie Mehretu responded that there are now many 金博宝188appexhibitions of black artists and institutions hiring black curators.她的冲动创造参与和保护的空间延伸到她所属的凯茨基尔的集体,其中粮食生产,collectivity,and art production come together on preserved acreage away from the art world's centers and against the tidal wave of gentrification.

没有一个小组成员讨论了白盒的现有框架。感觉像是霸权主义,白色的,male notion was already tedious and inconsequential.思考和展示艺术的新空间尚未编纂。Perhaps these are sites of interruption,as when a marching chorus unexpectedly paraded through the Armory hallways and into the meeting rooms in the middle of the symposium,唱一首精神抗议歌,“我不会的,我不会被感动的。Just like a tree planted by the water,蒂娜·坎普简单地回答说,“合唱团的概念与独奏相反……一种超越奇点的创造方式,这是如此的特权。”

表演者艾莎·戴维斯(EisaDavis)建议:“只要继续走进你不受尊重的房间就行了。”“如果你不适合任何地方,create a new world from scratch," added Latinx director Yara Traviesco.More specifically,艺术家兼档案管理员Onyedika Chuke建议,“一边听陷阱音乐一边看德拉克罗伊,一边谈论艺术史。”

Toshi Reagon和Big可爱(照片:Debra Brehmer)

琼斯说:“艺术能磨快智力。”紧接着是马克·巴穆西·约瑟夫(MarcBamuthiJoseph)的智慧之言:“政治最终是人民的纽带。What is useful for the people?爱是有用的。这不仅仅是一种深奥,marginal phenomenon that may happen if you are lucky.… Art is useful in the sense that it is an instrument by which we can recognize the humanity of one another.它是我们目前拥有的少数社会工具之一,移情是选择的货币。把灵感看成是民主的理想。”

"Interrogations of Form: Culture in a Changing America"在公园大道军械库(公园大道643号,Upper East Side,Manhattan) in collaboration with the Studio Museum in Harlem on Sunday,2月17日。

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