Repensarse La Curación de Arte
Repensarse La Curación de Arte
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
CAA is collaborating with JSTOR to digitize, preserve and extend access to Art Journal
This content downloaded from 45.77.94.126 on Thu, 05 Jan 2023 15:39:56 UTC
All use subject to https://about.jstor.org/terms
In spring 2016 I curated Sweet GongsVibrating for the San Diego Art Institute. For
the exhibition, I aspired to activate the sensory qualities of objects in order to
illustrate alternative narratives regarding access, place, and space for the benefit
of a diverse audience, especially for people with visual impairments or blindness.
I was especially interested in challenging the ocular-centric modality of curat-
ing exhibitions and the tendency to rely on the convention that objects must be
experienced through vision alone. Like my experimental show, this
Amanda Cachia
Art Journal forum, "Curating New Openings: Rethinking Diversity
in the Gallery," draws attention to the experimental ideologies and
Curating New Openings: methodologies that might guide curators as they initiate and plan
exhibitions of diversity in a range of ways. It derives from a panel
Rethinking Diversity discussion of the same name at the 2016 College Art Association
conference in Washington DC, sponsored by CAA's Committee on
in the Gallery Diversity Practices. As chair of the panel, I sought to expand the
borders of diversity in a bid to conduct a more intersectional con-
versation beyond conventional considerations of difference, where diversity is
recognized and represented, but also to explore what "access" or "voice" means
within these contexts. In organizing the forum, and as a scholar and independent
curator who identifies as disabled according to the social model of disability, I
also aim to place and so to emphasize disability first among the list of minor-
ity subject positions, rather than placing it last, as so typically happens, as if it
were an afterthought. In Art Journals Spring 2016 issue, which offered "Diversity
and Difference," a forum exploring these topics from scholarly and pedagogi-
cal viewpoints, the organizer, Jordana Moore Saggese, similarly wrote of a desire
to "produce a truly intersectional scholarship" so that such dialogues could be
"mobilized by scholars outside that field."1 Artforum's Summer 2016 issue also
focused on "Art and Identity," proving that these debates and complexities remain
prevalent in contemporary art discourse. While this forum also wrestles with
the definitions of and approaches to diversity, it does so from unconventional,
intersectional curatorial perspectives, asking, how do curators approach or define
diversity through their projects? How might curatorial practice itself be interro-
gated through diversity-based exhibitions that occur either inside or outside insti-
tutions like the museum that are built on unequal power relations?
Some of these questions are examined in the influential book Re-Presenting
Disability:Activism and Agency in the Museum, in which the museum studies scholars
Richard Sandell and Jocelyn Dodd write of an "activist museum practice,"
intended to construct and elicit support for alternative, progressive ways of think-
ing about and representing minority identity categories that usually occupy mar-
ginal social positions within power structures.2 In her book Subject to Display:
Reframing Race in Contemporary installation Art, the art historian Jennifer Gonzalez sug-
1. Jordana Moore Saggese, "Introduction: Diversity
and Difference," Art Journal 75, no. 1 (Spring 2016): gests that artists (and by extension curators) have tried to work around what she
70-74.
calls the "double bind," by "choosing to mix dominant and subaltern discourses
2. Richard Sandell and Jocelyn Dodd, "Activist
Practice," in Re-Presenting Disability: Activism and of representation to draw our attention to the sites of their intersection, not as a simple
Agency in the Museum, ed. Richard Sandell, Jocelyn
celebration of cultural fusion, but rather as a carefully considered analysis of
Dodd, and Rosemarie Garland-Thomson (London
and New York: Routledge, 2010), 3. unequal power relations."3 The double bind can be described as the limiting
3. Jennifer Gonzalez, "James Luna: Artifacts and framework artists are placed into when they emphasize differences based on dis/
Fictions," Subject to Display: Reframing Race in
Contemporary Installation Art (Cambridge, MA, and
ability, race, ethnicity, culture, gender, sexual orientation, or religion, as a critical
London: MIT Press, 2008), 31, emphasis in original. white audience will automatically label each of these as "other." On the other
48 FALL-WINTER 20 I 7
This content downloaded from 45.77.94.126 on Thu, 05 Jan 2023 15:39:56 UTC
All use subject to https://about.jstor.org/terms
hand, while the omission of otherness might be accepted by the mainstream, this
curatorial move is also at risk of being emptied of social critique. It seems the
challenge for curators is a push and pull: to generalize without minimizing and
to specialize without ghettoizing, segregating, or isolating. They must also develop
radical voices either in unison with, or against, the often oppressive politics of
the institutions for which they work. Therefore, without appearing to superfi-
cially support policies of cultural diversity, how can curators offer
social critique while also offering other ideas within an exhibi-
tion, so that the outcome will provide a multimodal experience
that conforms neither to a framework of "other" or "multicultur-
49 artjournal
This content downloaded from 45.77.94.126 on Thu, 05 Jan 2023 15:39:56 UTC
All use subject to https://about.jstor.org/terms
recent exhibitions and her plans for the California African American Museum in
Los Angeles; she considers how a museum dedicated to the representation of a
particular constituency speaks to issues of critical race alongside other aspects of
difference in order to encourage an intersectional dialogue.
Other contributions include reports on two recent events that grapple with
the challenges of curating diversity The first is Eliza Chandler's account of the
Cripping the Arts symposium held in Toronto in April 2016, hosted by Tangled Art +
Disability. Chandler provides compelling evidence of the current surge of interest
in disability arts in Canada and North America overall. This is followed by Sara
Reisman's thoughts on her exhibition In the Power of Your Care, held at the Rubin
Foundation's 8th Floor Gallery in New York. Reisman implements the founda-
tion's Art and Social Justice initiative, which aims to broaden artistic and cultural
access in New York in order to promote more cohesive and resilient communi-
ties, and greater participation in civic life. Reisman's essay further expands defini-
tions of disability art, as considered through the lens of temporary illness.
In dialogue with these textual and conversational engagements, the forum
includes works by selected artists and brief accompanying texts by curators who
also engage questions regarding inclusion and exclusion, access, the materiality
of bodies and objects, and how diversities and intersectionalities continue to be
quite multiplicitous. These contributions include works by Christine Sun Kim,
introduced by Matana Roberts; Fayen d'Evie, with her own accompanying text;
Nadia Myre, introduced by Rhonda Meier; Firelei Baez, introduced by Franklin
Sirmans; Gender /Power, introduced by Kris Grey and Maya Ciarrocchi; and
Alison O 'Daniel, introduced by Anne Ellegood.
All the forum's contributions simultaneously speak from multiple and inter-
sectional subject positions, while at the same time refuting, pushing against, and
stretching the contours of diversity to reflect new ontological, epistemological,
and philosophical approaches that can indeed be mobilized by scholars, curators,
and artists, both inside and outside the field, but also from the center, the mar-
Amanda Cachia has curated over forty exhibitions, many of which iterate disability politics in contempo-
rary art. She is an assistant professor of art history at Moreno Valley College in Riverside, California, and
ą. Georgina Kleege, "Audio Description director of the new Moreno Valley College Art Gallery, scheduled to open in fall 2018. She completed
Described: Current Standards, Future Innovations, her PhD in art history, theory, and criticism at the University of California, San Diego, in spring 2017. Her
Larger Implications," Representations 135 (Summer exhibition Automatisme Ambulatoire: Hysteria, Imitation, Performance will open at the Owens Art Gallery
2016): 89. at Mount Allison University in New Brunswick in fall 2018.
50 FALL-WINTER 20 I 7
This content downloaded from 45.77.94.126 on Thu, 05 Jan 2023 15:39:56 UTC
All use subject to https://about.jstor.org/terms