Table of Contents

Art World Divided

Next Wave

Resonating loudly

The art world has always been a source of outrage. But should there be limits on how far it can go? Art has a long history of provoking outrage, and it is often aimed at it. Art can be upsetting or even infuriating to viewers. Recent art world controversies have questioned whether more caution is needed when curating. Recent events have highlighted the tension between freedom and tolerance.

A Division in the Art WorldThe debate over whether controversial art should be destroyed or removed from public view has caused a division in the world of art. Roberta Smith published an article entitled “Should the Artwork That Is Infuriating Be Removed?” This divide is discussed in “

The controversy was sparked by the Whitney Biennial. Smith argues that the Whitney Biennial was a catalyst for art censorship. Dana Schutz’s “Open Casket,” which is based on an image of Emmett (a 14-year-old African American) brutally slain by two whites in 1955, was painted after a photograph. Emmett’s killing was a key event in the Civil Rights Movement. The wound has remained open in our society. Schutz’ painting was met with protests by black artists. They claimed that Till’s photographs were a “black matter”, which is not suitable for white artists. Many artists believed Schutz’s paintings exploited black suffering for “profit” and “fun”. Smith investigates the specific artists that are against Schutz’s painting. Hannah Black is a British black writer and artist who pleaded with Whitney Biennial’s curators to remove the painting from the gallery. Smith quotes Black’s statement that “white free speech and freedom of expression are based upon the oppression of others. These are not rights that we have as natural.

The painting has to go. “Throughout art history, black people have been used as a topic by artists. Many black artists, however, have fought for this subject, particularly from non-black artist. Smith’s article also addresses the issue of art censorship. Kara Walker, an artist of color, was on the other side, and defended Schutz’s work. Smith quotes Walker as saying, “The art history is full of violent narratives and graphic violence that are not necessarily the artists’ own.” She asserts that artwork can have a strong statement, and viewers should not be afraid to ask questions or create better art, no matter what the offence is. It is only when it’s seen that the art can do this. “

Next WaveA New York Times editorial titled “Decolonizing Art Museums, The Next Wave” discusses what art museums are doing to address viewers’ concerns about art centered on race and/or sexuality. Viso asks: “How are museums to re-conceive themselves in an era of societal reckoning on race and sexuality, as diverse audiences demand accountability and a voice?” “Art museums should not only be displaying the works of artists from all races and sexes, but they must also consider how these pieces affect the viewers. Viso says she faced this challenge as the director of Walker Art Center after the controversy surrounding the public sculpture “Scaffold” by Sam Durant.

The piece showed a gallows structure, which is used to hang criminals. Viso states that the hanging gallows represent the seven official executions by the state from 1859 until 2006. She says that this piece is meant to “critique how the death penalty persists in hierarchies.” Viso stated that, as director at the Walker Art Centre, she was challenged by this issue after the controversy surrounding the “Scaffold,” public sculpture of Sam Durant. The piece was a gallows structure, which is used to hang criminals. Viso states that the hanging gallows represent the seven official executions by the state from 1859 until 2006. She says that this piece is meant to “critique how the death penalty persists in hierarchies”. Viso says she hoped that the “Scaffold” could be used to raise awareness and educate. She realized, however, that the public’s reaction to the sculpture was a reminder of America’s colonial heritage and triggered historical trauma. Viso describes her experience as humbling and reflects on the mistakes she made. She believes that museums should engage their audiences in dialogue. For museums to remain relevant, they must act with humility and empathy. Despite the efforts made to change the art world for good, gaps persist between museums and minorities. It takes vision, leadership, and time to make a systemic change. Art is not just a means to expose the problems in our society. It can also be used as a tool for growth. However, artists should be only one group of people that highlight society’s flaws and give us the opportunity to grow. Viso claims that museums must not ignore activists if they are to remain important sources for history. Museums serve as centers for education and not authority.

Resonating loudlyThemes of violence and race have been prominent in art for centuries. Remaking sad or disturbing moments in history into art has given them an emotional and physical quality.

I find myself in a muddy middle ground when it comes to the divide between the art world and the media. This is because my position changes constantly as new opinion pieces, news articles, or reports come out. The discussion around censorship surrounding art is both disturbing and, most importantly, beneficial. Art world debates around “Open Casket”, Scaffold and other topics are nothing new, but these issues will definitely change the way it is. It is impossible to escape art. In addition to helping me develop as an artist, researching this subject will deepen my understanding and perspectives of my peers. I want to understand both sides of this debate, and reach a conclusion.