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Whitewalling: Art, Race & Protest in 3 Acts

Download Ebook Whitewalling: Art, Race & Protest in 3 Acts

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Review

Author Aruna D’Souza offers an uncensored look at the role black artists, activists, and their allies have played in forging more equitable practices within the field of contemporary art. (Nico Wheadon The Brooklyn Rail)Whitewalling sets a generative precedent. (Harry Burke ArtReview Asia)Whitewalling is a laser beam of a book, unwavering and on target. (Jennifer Szalai New York Times)If resistance can be welcomed at all, [D'Souza] is clearly striving to do so. (Tiana Reid Garage)An impressively nuanced exploration of the relationship between art and race in America. (Publishers Weekly)Amazing (Steven Nelson Director, UCLA African Studies Center, Professor of African and African American Art History)Remarkable for its clarity, lightness of touch, fearlessness, and righteous research. (Laura Raicovich Former Executive Director of Queens Museum)this book could become an essential primer in discussions about exclusion, free speech, and the power of institutions in the art world and outside it. (Publisher's Weekly)

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Product details

Paperback: 160 pages

Publisher: Badlands Unlimited (May 22, 2018)

Language: English

ISBN-10: 1943263140

ISBN-13: 978-1943263141

Product Dimensions:

6 x 0.5 x 9 inches

Shipping Weight: 10.9 ounces (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

9 customer reviews

Amazon Best Sellers Rank:

#56,715 in Books (See Top 100 in Books)

This is a scholarly collection of three essays dealing with modern controversies over museum installations, the controversy coming over how racist the installations themselves were or certain works within the installation. The book was readable and short. What I liked most about the book was how it is academic but user-friendly in terms of vocabulary and being free of bull****. She also did a great job of clearly and calmly identifying the racism, but also gave the white people the place to speak or try to explain what they had been doing; in that sense it is very non-bougie [which is a good thing]. A boogie white person would have just "both sides" this crap and treated it like there was equivalency somehow. There isn't. However it's nice because she doesnt't get fake outraged or peformative [that's what I mean by scholarly] she just calmly let's people's words speak for themselves. An extremely useful introduction to the topic.

A smart, readable series of three interconnected narratives, drawing connections between very recent developments in the American art world and precedents in the 1960s and 1970s. The author has constructed the text almost entirely on the basis of primary sources—interviews, letters, art reviews, and facebook posts, and tells a morally complex and important story with an unusual combination of rigor and directness.

This book contains essays about the relationship between art objects, artists, the public, the museum/art-business world, and the political background of all of these things. They are not essays about art itself. For example, the first essay is about a recent controversy over a painting in the 2017 Whitney Biennial. If a viewer at the Biennial viewed “Emmett Till” without reading the wall text, without knowing the title, without knowing the artist’s name or race, that viewer would see a fairly unremarkable work of modern representational art. All of the weight of the subsequent analyses, including the one in this book, comes from the context, including the race of the artist. The second and third essays in the book are also about context, including the context of the exhibitions themselves, and about the language used to describe art as well.The essays are thoughtful and thought provoking. Essays about art and its context can be art themselves. These are. Read them. They will make you think. And as you think about these essays think about the many, many words that have been written about Duchamp’s “Fountain”. The “Fountain” itself was just an upside down urinal. All of its fame came from its context. The work was rejected by the 1917 Society of Independent Artists exhibition with the statement, “The Fountain may be a very useful object in its place, but its place is not in an art exhibition and it is, by no definition, a work of art.” However, it changed the scope of the world of art. These essays make me think of the furor over “Fountain”, which justifiably became important than the work itself.To use language from a different discipline, these essays are about metadata; Perhaps that makes them meta-metadata. They are valuable, but they should not make us forget the underlying raw data, which are the works of art themselves.

Interesting read

Excellent book for discussion of history of black art and white led institutions.

Blazing good book and fun to read.

One of the best books I've read this year, this is an excellent and timely book on recent (and not-so-recent) controversies around racism, protests, and art institutions. If you followed the 2014 OR 2017 Whitney Biennial controversies around race, but you weren't sure how to interpret them or historically contextualize them, this is the book for you. If you are interested in current protest movements like Black Lives Matter or past ones, like the Black Emergency Cultural Coalition (BECC), or if you want to learn more about histories of African American art that also address the understudied aspect of exhibition histories of black artists, this is the book for you. If you want to be a better "white ally" to the protest movements of people of color, or if you are interested in becoming more involved in helping to facilitate greater diversity and equality in the visual arts realm, this book is for you. Working backwards from the past to the present through three exhibition case studies at three NYC arts institutions -- the Met, Artists' Space, and the Whitney -- this book unravels the interconnected and persistent histories of systemic racism in our nation's art institutions and art communities and offers compelling suggestions for a way forward.

Just finished reading Aruna D'Souza's WHITEWALLING, which examines the controversy surrounding the inclusion of Dana Schutz's painting "Open Casket" in the 2017 Whitney Biennial, placing the protests occasioned by this work in the context of earlier episodes of crisis around race and power in the NYC art world in 1979 and 1969 - specifically as pertains to the exclusion of Black artists and curators from the power centers of the art world. Lucid, balanced, and persuasively written. I highly recommend it to anyone who'd like some help getting an overview and clearer understanding of the issues involved. Really smart, clear, nuanced writing, and a great read! Substantial, but you'll still be able to follow if you read it on the beach :-)

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