ARt& artIsts
A look into the British Art World and Emerging Artists of Color
ProjectUlysses
A Note to
I'dliketotakethisopportunitytothankallthoseyou participated,mentoredandhelpedwiththisproject This wouldnotbepossiblewithoutyourguidanceandhelp
Executive Summary
Atitsmostfundamentallevel,artoffersanexperience;primarily,oneofviewership, engagement,andaesthetic.However,italsooffersthechancetore-evaluateone’s perspective,embraceanewwayofseeingorperhapsseesomethingnew,by assumingtheeyeglassofanother.
Seeingisaskilledsocialpractice-whatwesee,whatweobserve,andhowweseeit,is intricatelyconnectedandintrinsicallyboundwithhowwelearntobesocialbeingsand withthewaysinwhichthesocialworldisorganized.Inotherwords,seeingisbound withwhoweareandhowourworldoperates.Seeingdoesnotconnectustoanoutside realm;ratheritisanintegralpartofalargersocialmatrixinwhichweoperate.Andwhat wedon’tseeatthemoment,isBIPOC(Black,Indigenous,andPeopleofColour)in culturalspaces.
Blackartistsandotherartists‘ofcolor’arenotwell-representedinBritishpublic museumsandgalleries,particularlyinthecapital.Fordecades,suchartistshave challengedtheirmarginalizationbytheculturalinstitutionsthatwereestablishedto serveandreflectBritishsociety.Theyhaveadvocatedforthemselvesbyinterrogating systematicstructuresandprocessesdesignedtooppressPOCcreatives,byfinding innovativewaystoclaimspacesfortheirworkandmakethemselvesvisible,byworking withthesupportofculturalorganizationsandgalleriesoutsidethecapital[1].Whilethe resourcefulnessofthosefromminoritybackgroundscancertainlygosomeway towardsreducingtheinequalitiespresentinthesystem,isfindingasolutionreallythe responsibilityofPOCartists?
Theaforementionedexperientialpowerofart,lendsitalsoapowertoencourage conversation;tocultivateunderstandingbetweencommunitiesandfosterappreciation andrespect Itisthisqualitythatharnesseswiderrecognitionandrepresentation, allowingfortheacquaintanceofnewlivedexperiencesthroughtheworkofanother.
Yet,atthemoment,theworktoconsciouslycultivateart’spowerthroughdiversity, equity,inclusionandbelonging,remainssorelylacking.Artcanunite,educate, supporthealth,enhancewell-being,boosteconomies,andmore[2][3][4] Yet,todo that,artneedstoberepresentativeofthepopulation.Whenlookingatdiversityand representationintheartworld,itisnotjusttheartiststhemselvesthatlackdiversity buttheconsumerofarttoo.AccordingtoOlivaKwokDecani,ArtCollectorand Investor,,“Althoughminorityartistsareincreasinglyrepresentedintheartmarket, whiteconsumerscontinuetodominateinsellingandacquiringtheirwork”It’sreally importantfortheeducationoffutureartstudentsinthiscountrytoknowwhatBlack artistsandartistsofcolorhavecontributedtothiscountry’sarthistory.Toooften,the workofBIPOCartistsisdiscussedfromapredominantlywhiteperspective
Furthermore,investigationsbytheUKGovernmenthasfoundthatParticipationin theArts[5]by16yearoldsandover,AsianandBlackparticipationwaslowerthan WhiteandMixedRaceparticipation,suggestingatroubling,butunsurprising, correlationbetweenthediversityofcontentpeopleareconsumingandhowthis affectstheirviewoftheirplaceintheartworld.BIPOCcommunitiesneedtosee themselvesrepresentedinandbeyondthewhitecube IfpeoplecannotseeBlack andAsianartistsrepresentedongallerywalls,itteachesthemthattheirspaceinthe artworlddoesnotexist,andsothecycleofunderrepresentationcontinues.
Lived Experiences
Inthesummerof2021,theSerpentinegalleryworkedwiththePeopleof ColourCreativeAgencyandyouthengagementagencyBREAKCOMMSto createSerpentineStudios Thisprogramwasdesignedtobeacollection ofyoungartists,writers,photographersandbuddingcurators Thepurpose beingtobringthecohorttogethertoamplifyyoungBIPOCcreativevoices, increaseyouthengagementandreimaginethegalleryasahubfor audiencestoengagewithart
Growingup,Ihadneverbeenexposedtoartisticinstitutionsandgalleries, withmyfirsteverexperiencebeingin2017,whenImovedtoLondon Up untilthatpoint,despitemyfervorinphotographyanddigitalart,Ihadnever consideredmyselfanartist,merelysomeonewhowas“creative”.Ihad neverseenmyself,mycultureandmyexperiencesreflectedinthewhite cubeandIhadneverconsideredthatIwouldfitintothisworld
Furthermore,Ihadneverreflected onthelackofinformation surroundingBIPOChistoryand thelackofBIPOCart,both growingupinIndiaandasa DesignstudentinLondon.I struggletorecallseeingBIPOC artistsasagenreofmyeducation inIndia,notoncehavingbeen taughtorseeingpeopleofcolorin paintingsorotherformsofvisual art
Whenpresentedwiththe opportunitytointeractwitha diasporaofBIPOCcreatives duringtheSerpentineStudios program,Iwasdeterminedto exploretheindustrythroughthis lensasmuchasIcould ItwasthroughtheSerpentine Studiosprogramandthegallery thatIwasintroducedtothework of93year-oldGhanian photographer,JamesBarnor Thecorethemeoftheprogram wastorespondandengagewith Jame’sworkandhisexhibition ACCRA/LONDON:ARetrospective
James Barnor: A Study
Bornin1929inGhana,JamesBarnor’scareerasastudioportraitist,photojournalistandblacklifestylephotographer spanssixdecadesandrecordsverymajorsocialandpoliticalchangesinLondonandAccra HemovedtoLondon in1959,wherehefurtheredhisstudiesandassignmentsworkingfortheSouthAfricanmagazineDrum Through hisworkforthemagazine,BarnorhelpedredefinethestandardforthesensitiveportrayalofBlackbeauty, eleganceandstyle.HemovedbacktoGhanatoopenthecountry’sfirstcolorprocessingfacilities,andworkedas Ghana'sfirstfull-timenewspaperphotographer In1994,hereturnedtoLondon,whereupon,hisworkfinallybegan tobediscoveredbywideraudiences,throughexhibitionsatvenuessuchastheBlackCulturalArchives(2007)
We,attheSerpentineStudiosprogram,hadtheopportunitytospeaktoJamesandenjoyaprivatetourofhis retrospectiveexhibition Despiteshootingthefirstblackmodeltoappearonthecoverofamagazine(DRUM), JamesexplainsthathestillendedupworkingasacleaneratHeathrowAirport.“Iwasrecognisedattheageof79” explainedJames Therecognitionforhisbodyofworkonlycamelaterinhislife,followingaseriesofencounters: firstwiththeBlackCulturalArchiveswhichorganizedhisfirstshowinLondonin2007,thenwithAutographABP, andfinallywiththeClémentinedelaFéronnièregallery,whichistodayinchargeofallhisarchivesandofthe digitisationofhiswork Similarstoriesabound,themostprominentexamplesbeingLuchitaHartadoandErnest Mancoba,bothelderlyartistswhohadnot,sofar,benefitedfromsuchindividualattentionbymuseumsandart institutions
Thisraisedanimportantquestioninmyhead WhatdoesthelandscapeofrepresentationlooklikeforPOCartists intheUK?WhatdosuchstoriesmeanforemergingandyoungBIPOCartists?IsthecanonforartintheUK skewedtowardsaparticularethnicity?
1. Serpentine Studios with James Barnor 2. My response to ACCRA
Do we see BIPOC faces in Cultural Spaces?
Foryears,therehasbeena growingrecognitionofethnic inequalitiesinthecreativesector, ArtsCouncilEngland[6],in2019, foundittobeprevalentand persistent,particularlyintheaters andmuseums:14%ofthe workforceinnational organizationsinthecouncil’s portfoliowerefromblackand minorityethnicbackgrounds,and just5%acrossitsmajorpartner museums Inpositionsof leadership,thisfellto9%ofchief executivesand10%ofartistic directorsinnationalportfolio organizations Intermsofartistic representationthemselves,only 18%oftheworkforceispeopleof color[seebelow][6]. Dataonthe widerartsworkforce(notjust organizationsfundedbyACE), suggeststhatBIPOC underrepresentationisevenmore pronounced;Music,Performing& VisualsArts(48%BIPOC);Film,TV andRadio(4.2%BIPOC)and Museums,GalleriesandLibraries (27%BIPOC)[7]
Whilethoseinchargehave soughttoaddressthelackof culturaldiversityatmajorarts institutions,thecontributionsand voicesofartistsofcoloracross mainstreaminstitutionsarestill vastlyunderrepresented The ‘BlackArtistsandModernism NationalCollectionAudit’,ledby DrAnjalieDalal-Clayton[1],found thatjust2,000artworksinthe UK’spermanentartcollectionsare byBlackartists–mostofwhich aren’tondisplay.2,000maysound alotbutgiventhattheNational Galleryalonehasover2,300works andthatthereareover1,400 galleriesintheUK,it’saminute number Furthermore,acrossthirty nationalandregionalcivic collections,theworksof‘British bornorbasedartistsofAfrican, AsianandMiddle-EastandNorth Africadescent’onlyaccountfor somewherebetween1%and4% ofpubliccollections[8]
Whilestatisticsdoprovideavery clearpictureoftheindustryatthe moment,isthissomethingyou cannoticewithoutpaying particularattentiontoit?Toshed lightonhowprevalenttheissueis, Iimploreyoutothinkaboutthe experimentIconductedbelow, lookingthroughtheTateModern’s collectionsonBlackIdentityand Art[9],aswellasAsiaandArt[10] TheTateisarguablyoneofthe mostprominentartistic institutionsintheUK Assuch,itis agoodstartingpointto understandopticsandthecanon ofBritishArt.
Perspective: Red: BIPOC artists
Red + White: Total Artists
Perspective: Red: Displayed BIPOC Art in Public Collections
Red + White: All BIPOC Art in Public Collections
Perspective: Red: BIPOC Artwork in Public Collections
Red + White: All Artwork in Public Collections
Tate Identities and Art: An Analysis
LookingthroughtheTateModern’ssectionsonBlackIdentitiesandArt,andAsianIdentitiesandArt, 60%ofthe artworkisnotbeingdisplayed,excludingthe171objectcollectiontitledPersonalPapersofAubreyWilliamswhich areinsidetheTateArchive,andviewablebyappointmentonly
ThisistrueformostprominentBlackArtist’sworkthattheTatehasacquired Representationofartistsfromthe IndiansubcontinentandAsiafaresevenworse,withthecollectedartworksofTateshowcasingonly16%ofallAsian ArtworkcollectedbytheTate.
Perspective: Red: Black Artwork currently displayed by Tate across UK
Red + White: Black Artwork in the Tate Collection that is not on display
Perspective: Red: Asian Artwork currently displayed by Tate across UK
Red + White: Asian Artwork in the Tate Collection that is not on display
Tate Identities and Art: A Visual Experiment
Down below, you'll see the artworks owned by Tate and mentioned on their Black Identities and Art section, wherein, the ones actually on display, whether by appointment or through an exhibition, are marked. Ironically, the majority of the works by Lubaina Himid, who's actively exploring the lack of visibility of BIPOC artists in permanent collections, seems to not be on display. Also note, 171 objects in the Aubrey Williams collection lay in the Tate Archive.
To the right, you'll see the artworks owned by Tate and mentioned on their Asian Identities and Art section, wherein, the ones actually on display, whether by appointment or through an exhibition, are marked.
Cultural Spaces after BLM 2020
Overthelastfewyears,theworld haswitnessedeventsthatmade theuseoftheword “unprecedented”soundlikea cliché Inthemidstofthaterupted thewidespreadprotestsand publicoutcry,spanningcontinents, againsttheinstitutionalracism andpolicebrutalityinflicted againsttheAfricanDiaspora The artworld,whichfanciesitselfon theprogressivefrontlines,was notexemptfromthisreckoning Theresearchshowsthattheartworldhasproblemswithdiversityin almosteverysector,fromrepresentationofblackartistsinmuseumsto prejudicedhiringpracticesingalleriesandartinstitutions[11] Contemporaryartgalleriesappeartobeabsentfromthesediscussions andactions,notesSusuanaAmoah,inherproject#GallerySoWhite[19]. Shenotesthatinthehistoryofthesewhitecubegalleries,the overwhelmingwhitenessofthesespaces–bothintermsofthewalls themselvesandthepeopletheyarecateredtowards–isnotsomething thathasoccurredbychance.Manyofthemrelyonapproachesthat specificallyelevatewesternartandcultureaboveothers[20]
Anonymous feedback collected by Susuana Amoah, through her #GallerySoWhite project provides some firsthand accounts on the experiences of BIPOC artists and curators
Touria El Glaoui, one of the most prominentandinspirationalleaders inContemporaryModern AfricanArtandthefounderof1-54 ContemporaryAfricanArtFairsays “Ingeneral,theWesterncanon aesthetichasbeenatthecenterof theartworld,unfortunately everything around this is on the periphery, Modern African art, but also art from other areas, seems to be considered regional art” Furthermore,authorofbookBlack ArtistsinBritishArt[12],Eddie Chamberssaysthatwhilethere havebeenalotofexhibitions recognisingtheworkofblack artistslately,manyofBIPOC artists have achieved their most pronounced visibility in “BIPOC” exhibitions This“othering”ofartists furtheraddstothepoint madebyTouria,becauseitinvites pre-loaded assumptions and categorisations of artists and their artistic practices This is, in fact, quiteabigconcernthatalotof BIPOCartistsshare Theoddsare already stacked against them, and thisconcernfurthergoesontolimit theirexposureandvisibility[13]
Tate ARTISTS ROOMS and ART NOW: An Experiment
Theriseinpop-upculturehasseentheworksofBlackartistsandBlack-ownedbusinessesandbrands celebrated.ButartistsandactivistslikeBolanleTajudeen,ofBlackBlossoms,aredemandinggalleries to‘Makeuspermanent’[9] LubainaHimid,withMakingHistoriesVisiblearchive,isanotherartist currentlyexploringthelackofvisibilityoftheworkofBlackwomenandotherethnicminoritiesvisual artistsinmuseumcollectionsandtemporarydisplaysofcontemporaryartinBritain[14] Inconclusion,It isnotthatBIPOCartistsarenotvisible,butthis“temporary’visibilityhasgivenrisetoamisconstrued narrativethattherejustaren’talotofBIPOCartists.Theplacewhererealchangestartsisinthestorage unitsordisappearingintothestorageunitsswiftly
IconductedanotherexperimentwiththeexhibitionsandinformationavailableontheTate’swebsite ARTISTROOMSisacollectionofmodernandcontemporaryartthattheTateestablishedin2008,the collectionincludesmajorbodiesofworkbymorethan40internationalartists Theguidingprincipleis toshowtheworkofeachartistindedicatedsoloexhibitions Inmyexperiment,whereinIcompileda listofall40artistsexhibited,Ifoundthatofthe40artistsexhibitedthroughArtistsRooms,only2were BIPOCartists Thatisanappalling5% Furthermore,youwouldthinkthatinthepast20years,withthe riseofBIPOCartists,withconversationsaroundMuseumpracticesandgrowingcallsforbetter representation,theworldofcontemporaryartwouldbebetterforemergingBIPOCartists Consider,for amoment,theTatecollectionofARTNOW ItisaseriesofexhibitionsatTateBritainfocusingonnew workbyemergingartists Sincethe1990s,ArtNowwassupposedtorecognizetalentatitsoutsetand provideaplatformforemergingartists Iwentthrough70oftheartistsshowcasedinthepast27years ofexhibitions,only9ofthefacesfeaturedwereBIPOC,barely13%.Outofthetwomostprominent programsthattheTateholdsforyoung,emergingandestablishedartists,10%wereBIPOC Thisdoes notcomeclosetobeingproportionallyrepresentingthecommunitiesintheUKorevenLondon(38% BIPOC)forthatmatter Toshowcasethis,Ihavecompiledtheportraitsoftheartistsexhibitedinashort film,aswellasextensivedatavisualization
TheseprogramsaresupposedtogiveyoungpeopleacrosstheUKthe chancetogetinvolvedincreativeprojects,discovermoreaboutartand artists,andlearnnewskills,yetwhatdotheseexhibitionssayifthe representationissounfair?Howareyoungpeoplesupposedtoengagewith theartworldiftheydonotseethemselvesrepresentedinthesespaces?
Ithasbeennotedthat,throughtheUKGovernment’sinvestigationintoParticipationintheArtsby peopleovertheageof16,AsianandBlackparticipationwassignificantlylowerthanWhiteandMixed raceparticipation.ThisbodyofresearchisfurtherstrengthenedthroughfindingsfromActivelives Survey(2018),TheWarwickCommission(2015)andDCMS(2017)whichsuggestedthatengagementin theartswaslowestforpeoplewhoidentifyasBIPOC,beingsignificantlylowerforthoseofAsian ethnicitycomparedwiththosefromWhiteandBlackethnicgroups[16] FurtherworkdonebyKing’s CollegeLondononTheCreativeMajorityReport(2021)statesthatthefieldofthecreativeartsremains dominatedbystraight,able-bodiedwhitemen,despiteonlyrepresenting3.5%ofLondon’spopulation. Inthecreativesector,thecreativemajority(BIPOCpeopleandthosewhoaredisabled)aretobefound insmallernumbers,oftenasisolatedindividuals,onthemargins,insegregatedspaces,droppingoutof theworkforceearlyornotgainingaccessatall[17]
12 / Tate ARTISTS ROOMS and ART NOW: An Experiment
Tate ARTISTS ROOMS and ART NOW: A Visualisation
Perspective: Red: BIPOC Workforce of London
Red + White: Combined Workforce of London
Perspective: Red: BIPOC Representation in ARTISTS ROOMS and ART NOW
Red + White: All Artists in ARTISTS ROOMS and ART NOW
Tate ARTISTS ROOMS and ART NOW: A Film in Progress
Portraits of Artists of Colour in prominent exhibtions
A shot from the film, highlighting portraits of artists from the Tate Collection of ARTISTS ROOMS
A shot from the film, highlighting portraits of artists from the Tate Collection of ART NOW
Engagement in the Arts
Participationisfallingbecauseyoungpeoplemaynotseethemselves representedintheartworld,andartistsofcolorwho’vebeguntheir journeysmightfeellikethere’snospaceforthemintheindustry.Inwork donebytheBaringFoundationaboutreachingartistsofcolor,Daniel Regandirectlyquotesthat“Ethnicminoritycommunitiesareoften describedas‘hardtoreach’,whichIbelieveisafalsehood.Iwouldargue thattheyarenothardtoreachbutthatwearenotdoingtherightwork toreachthem.”[16]
In2019,PartnershipforYouthLondonreleasedareportthatstatedthe creativesectorinLondonoftenexcludedyoungcreativesfromBlack, Asianandminorityethnicbackgrounds Accordingtothisstudy,poor careersadvice,unpaidinternshipsanddegreerequirementsforentrylevelroleswereallcontributingtothisunwelcomingandprohibitive environment Withsomanybarriersinplace,youngpeoplefromBIPOC backgroundshavehadtodevelopwhatthereportdescribesasa “resilienceandfortitudeintheirowncareers Theyarehighlyresourceful andwillcontinuetobuildtheirownnetworks,andnotwaitforthe‘green light’frominstitutions,whocanoftenbetrailingbehind.
Iwaskeentounderstandfirst-handwhatissuesemergingBIPOCartistsfaced TounderstandhowBIPOC artistsareformingtheirowncommunitiesandtheirownprogressionroutes,Idecidedtointerview3artistsof color[DiscussionGuidesattachedinAppendix].Furthermore,Ithoughtitwouldbeagoodideatointerviewthe SerpentineGallerytounderstandtheirmotivationsbehindtheSerpentineStudioprogram,aswellastogaina widerperspectiveonhowinstitutionscansupportyoungartistsofcolorandincreaseengagement. with Asa Andrews with Bethany Peterson with Alfredo Guzman with Youssra Manlaykhaf
Participant A
Name: Alfredo Guzman
Age: 26
Location: Los Angeles and London Practice: Visual Medium Artist Ethnicity: Latin American
Participant B
Name: Beth Peterson
Age: 22
Location: Bristol and London
Practice: Photographer
Ethnicity: Dominican
Engagement in the Arts
Whenyougrowupinaminorityyourdefaultexperienceisseeingfewerpeople,ornoneatall,wholooklike you Alfredo,aLatin-AmericanVisualArtist,shedsomelightonhismotivationsgrowingupinLA,whatinspired himtobeanartistandwhathissurroundingslookedlike
Alfredo:OneofthereasonsthatIwantedtobeafilmmakernotjustbecauseIenjoyedthat cinema,butwasbecauseofwhereIgrewup.Itjustfeltsopossible,whichislikeanovelty,but Iwasluckyinthatsense Obviously,notmanypeoplegettogrowuparoundsomethinglike that.Andtherewaswhatfeltlikeamoderateamountofothers,youknow,BIPOCpeoplewho werealsowantingtogetintothefilmindustry,butregardless,Ireallydon'tthinkIeverfelt likerepresentationgrowingup
Furthermore,beingaBIPOCartistisnoteasy,asinadditiontobarrierswealreadyface,sometimesBIPOC artistsendupbeingoverlookedandcastaside,andinaspacewheretheydonotfeelrepresentedor completelycomfortablein Alfredospeaksaboutwhatit’sliketobeanemergingartistinLondon,while BethanyshedssomelightonwhatrepresentationlookslikeinthePhotographycommunity.
Alfredo: Peoplewhoareontheveryedgeandfringeofmakingitandhavingmadethislike beinginaperpetualstateofbeinganemergingartist,you'rejustnottherewhenyougofrom emergingtoestablished.Alotofartistsofcolorjustnevermakeittoestablishedbecause there'snosupportsystem.Andyouknowwhat,mostofthosepeoplethatI'vecometomy head,ifnotall,like90%ofthem,atleastarewhite.
Beth: IwenttoUniversityinBristol,itwasinteresting.Allofmytutorsonmycoursewere amazing Andthey'reallunderstandingeventhoughthemajorityofourcohortwerewhite, butwhat'snewisthecreativearts.Imean,photographyisquiteapopulardegreechoice. Like,majorityofphotographystudentsatthedegreelevelarefemale,butthemajorityof theindustryismen.Infact,femalephotographersmakeup20%percentoftheindustry. Andblackfemalephotographersmakeupprobablylessthan5%ofthat20%.Likeit'scrazy.
Participant C
Name: Asa Andrews Age: 21
Location: Bristol and London Practice: Curation and Visual Media Artist Ethnicity: Latino-Caribbean
Engagement in the Arts
Ifinstitutionsaretobuildtrust,engagementandtrueunderstandingofothers’experiences,ithastostartwith thosecommunitiesbeinginvolvedintheworkfromthebeginning:frombringingparticipantsintothe developmentofthework,hiringartiststhatrepresentthatparticularcommunity(andunderstandits complexities),andconsideringtheculturalbarrierstoparticipation,whilefosteringthecommunitiesthatyoung BIPOCartistshaveformedthemselves AsaandBethany,talkaboutbarrierstoparticipation,what’sstopping youngpeoplefromengagingwiththeartsandwhatinstitutionsaremissing
Beth: Ifinditquiteinterestingthatwhenyousayyoungpeoplearen'tinteractingwiththe arts,likefrombipoccommunitiesbutI'mlike,Iknowsomany.Andit'snotjustphotography. It'sallover.Andit'sspreadoutacrossthecountry,right.Butnooneknowswhotheyare. Andnoonelooksatthem.Andthat'stheproblem.Yeah,noone'sinterestedinlookingfor themunlessit'sBlackHistoryMonth
Asa: Ithinkalotofpeoplerefrainfromtakingpartintheartsbecauseit'sthisideathat we[BIPOCartists]havetomakeourselvesunderstandable.Andwehavetosomehowpocket packageourselvestosellourselvestothekindofmassaudienceandthatwhichhaspower, right?
BIPOCpeopledonotaccessmainstreamartsvenuesastheyfeelthattheydonotbelongthere Notallspaces arenaturallywelcomingandinvitingspaces Inthesamewaythatspacescanbecomegendered,theycanfeel unwelcomingoruninvitingforparticularcommunities Whenaskedaboutifshethinksshe’sstruggledmoreas anartistofcolor,Bethanyrespondsbysaying:
Beth:Idothinktheartiststhataren'twhitestruggleabitmorebecausethemoreIgointoit, themorethatIrealizethattheindustryisallaboutwhoyouknow.Sowe'realreadyata disadvantage.Yeah,becausewewereneverincludedinthosesocialcircles.Imean,wejust, wewouldneverpopthosesocialcircles.
Institutionsneedtolookathowtoprovidemoretrainingandopportunitiestoartistsfromdifferentcultural backgroundstoaddresstheimbalance Although,inrecentyears,thedesiretosupporttheworkofBIPOC artistshasbeenrekindledthrougharangeofindependentcommissioningopportunities,anissuethatstill exists,though,isprogressionroutesforartists ForBIPOCartistsinparticular, progressionroutescanbevery fewornon-existent,andthatissomethingthatneedstobefurtherworkedonbyinstitutions Thereexistsa needforcommunitiestobeformed,forpropersupportsystemstobeerectedandforthechecktobesigned.
Engagement in the Arts
WhenIspoketoYoussraManlaykhaf,HeadofSerpentineStudiosandDigitalContentProduceratthe SerpentineGallery,shespokeatlengthabouthowintermsofataninstitutionallevel,alotofinitiativescanbe spatoutwithnotmuchthoughtaboutlegacyandcontinuationofthatkindofaccess “That’swhywewanted todoitdifferentlyattheSerpentineStudiosprogram”,shesays,“Wewantedtolaunchitasapilotand understandthechallengesanduseitaslearningfortheinstitutionaswell.Thatkindofexposureisreally importantforaninstitution.Itwaswaymuchmoreofatwowaystreetthanparticipantswouldimagine. Institutionsthatlackthesetypesofprogramslackinsightandtheyarevulnerabletolackingadistinct toneofvoiceandvulnerabletoblindspots.”
Atthemoment,thisworkisbeingdonebyBIPOCartiststhemselves,withcommunitieslikeBLCKBlossoms, BBZBLKBK,andWeAreHereformedbyBIPOCartistsbeingattheforefrontofthischange Whenasked aboutcommunitiesandhowthey’veformedtheirownsupportsystems,BethanyspeaksmoreaboutaBlack FemalePhotographersCollectivethathashelpedhergainmorevisibilityandrecognition
Beth: I'mpartofthiscommunityofblackfemalephotographers.Andthey'reallacrossall ages.People,inthecreativeindustries,sometimespretendtobehelpfulbutgetreally competitiveandnoone'sgenuinelynice.Butit'sdifferentwithacommunityyoucan identifywith Andifyouaskaquestionoraskforhelp,likeyouhaveatleast20responseson Facebookfromthegroup.Theypostopportunitiesorifajobcomesthroughforoneof them.Thelackofcommunitycanbeveryfrustrating.I'mveryfortunatetoobviouslyhave thegirlsinthegroupandIgooutofmywaytofindthingstobeincommunitywith.
WhileIpreviouslyspokeaboutcollectivesliketheBBZBLKBK,andWeAreHere,anotherinitiativetodraw attentiontoistheSerpentineStudiosprogramIwasapartof.Asa,afellowSerpentineStudiosmember,spoke atlengthabouthowtheinitiativehelpedhimfindacommunityandhowdisappointedhewasthatthe initiativelastedsuchashortwhile:
Asa: IthinkserpentinewasgoodbecauseitwasthefirsttimeinmylifeI'ddoneanything collaborativelyinacreativeway.Itgavememoreconfidencetopursuethatinthefuture.I wasjustthereandfortunateenoughtohaveotherpeoplearoundmethathadamazing ideasandamazingtalents.Ilikethisideathatwe'reforcedtobetogetherandmake somethingespeciallyatatimelikenowbecausewecameoutofthepandemic,therewas notogetherness Weweretogetherinthisspace IreallylikecreatingandIreallydid appreciatealotofit.Yeah,justbouncingideasoffeachother.That'swhatIlikedmost.ButI stillfeellikemyprojectwasdifficult.It'satimescalethatwehadquitealotofdifferent thingstodo.Iwasn'tsatisfiedwithmyresult.JustbecauseIwanted,ifitwasoverayear,I thinkthatwouldhavebeennicerandIkindoffeltlikeIhadtoforcemyselftocreate something
Engagement in the Arts
ForSerpentine,itwaskeytohaveyoung,diversepractitionerstounderstandthelandscapeofthe institutionandseethesespacesasaresource,aswellasanaspirationpointoftheircareer.Thisisaspace thattheycouldenterintofromanypoint,basically. Itwasthisthingaboutthegallerybeingtheseelite whitespaces.Creatingawarenessandimpactwithmeaningfulinclusion,steadypaceofco-creationand gettingpeopletounderstandthatwhilebeinginthefoundationalpoint.”,explainsYoussra,aboutengaging andembeddingitselfindifferentcommunitiestoaddressthebarriers,includingdisparity,bringingthose essentialpracticestotheirdoorsteps
Unlessmoreoftheseopportunitiesexist,thatcreatesspacefordifferentvoicestobeheard,nothingwill change.InstitutionshaveDirectorsofcolor,butthey’restillpartofasystemthatisextremelywhite. InitiativesthatIspokeatlengthabout,above,setaprecedentofbeingmoreurgentandimportanttoget together.Policiescantakeeffectfromthetopdown.Butifwecreateorganizations,horizontallyinthe firstplace,we’llallbebetteroffintheend.
Conclusion
Basedontheextensivesecondaryresearchdoneandtheinterviewsconducted,wecandefinewhatthe currentcontextfortheartsworldlooksforBIPOCartists.Youngandemergingartistsofcolorfeel disconnected,isolatedandwithoutspace,andfeelalackofanestablishedsenseofcommunity.Thereis significantdearthoflong-terminitiativesthatcanhelpandfurthertheseyoungcreatives,andBIPOC artistshaveresortedtocreatingtheirowncommunities,andyettherestillexistsalackofclear progressionroutesfortheseartists.SingularBIPOCrepresentationininstitutionscannotspeakfor everythinglabeledas‘diverse’,andweneedtochampionorganizationsthatarecreatedhorizontally. Publicspaceslikegalleriesshouldn’tsimplyprovideforsmall,privilegedpoolsofpeople.Totackle institutionalissues,theyneedtolookbeyondtokenismanddiversityprojects.Onlyoncetheseissueshave beenaddressedcanweexperiencethekindoflong-lastingchangethattheartsectorneeds
Opportunity for Design and Further Work
Here,inthespaceofcreatinginitiativesforBIPOCartists,iswhereIseeadesignopportunity.
Howmightwecreateaspaceforartistsofcolortoindulgeindiscourse andcreatetogether?
Howmightweupliftartistsofcolorandprovidethemwithasupport system?
Howmightwebringmoreartistsofcolortovisibility?
Onewaytodothis,whichIamtoexploreanddesignfor,istocreateaGrassrootsSupportsystemfor artistsofcolorwheretheycannetwork,sharemutualaidandskills,andhaveampleamountsofpeer support,asystemthatcanhelpaudiencesdiscovermoreartistsofcolorforeverywhiteexhibitionthey comeacross.ABIPOCrun,long-terminitiativewherepeoplecanmeettotalk,showcasetheirworkand createworktogether.
Furthermore,myjourneyintotheworldofartstartedwithrespondingtoanexhibition Inthespiritof iteration,whichisthecoreofdesignwork,Iaimtoimplorepeopletorespondtomyexhibitionandshort filmontheday,throughtheuseoffeedbackcards.
References
[1]TheDoubleNegative»“DevelopingMoreRepresentativeArtCollectionsCouldNotBeMoreUrgent”:DrAnjalie Dalal-ClaytonontheNeedtoDiversifytheNarrative.www.thedoublenegative.co.uk/2020/10/developing-morerepresentative-art-collections-could-not-be-more-urgentdr-anjalie-dalal-clayton-on-the-need-to-diversify-thenarrative/
[2]ArtsCouncilEngland “CreativeCaseforDiversity|ArtsCouncilEngland”Artscouncilorguk,2018, www.artscouncil.org.uk/diversity/creative-case-diversity.
[3]Kaimal,Girija,etal.“ReductionofCortisolLevelsandParticipants’ResponsesFollowingArtMaking.”Art Therapy,vol 33,no 2,2Apr 2016,pp 74–80,
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[8]MirandaLarbi “BlackArtMatters:TheCreativesDemandingBetterRepresentationinUKGalleries”Metro,5 Sept 2020,metrocouk/2020/09/05/black-art-matters-meet-the-creatives-demanding-better-representation-inuk-galleries-13227846/.
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[17]CREATIVEMAJORITYCREATIVEMAJORITYCREATIVEMAJORITYCREATIVEanAll-PartyParliamentaryGroup (APPG)forCreativeDiversityReportinto“WhatWorks”toEnhanceDiversity,EquityandInclusionintheCreative Sector.
[18]Self-MadeSector:WorkingintheCreativeIndustriesaReportbyPartnershipforYoungLondonandSelf-Made Sector 2019
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