Looking at the disparity of LGBTQ+ representation within the museum, many of the same questions and issues are being raised regarding the perception of an artist as an artist or an artist as an identity. I believe the core of the issue is the challenge for museums and art critics to define what constitutes as gay art. Gay art can be split into two different definitions: gay art defined as art made by gay artists or gay art defined as depicting messaging of gay politics. Museums focus so largely on representing the artist and checking the boxes of minorities that they are ignoring the art and what the art communicates about contemporary social politics, world/local culture, and proper understanding of what art means for the viewer. Of course, there are systemic issues that prevent equal representation of artists within the museum institution which then impedes on a curator’s responsibility to portray the importance of the art.
The issues with the lack of LGBTQ+ representation as well as gender disparity and the lack of racial diversity relate largely with the conversation during Friday’s class regarding the lack of academic focus on critical analysis of the art historical discipline. There is a large western bias within art history from a museum institution standpoint as well as within the academia. During class we were reflecting on how the university could be lacking in their critical approach to the western canon. On one hand, the university has been doing wonderfully by providing this course to open up conversations regarding contemporary museum practices as well as providing courses on Eastern cultures. On the other hand though, the university lacks topics in indigenous American art history and African art history. The art history class is a great place to start in order to inspire the next generation of curators and art historians to focus on topics outside of the western cannon. This applies to both historical and contemporary museums and academia discourse. If this diversity and criticism can be brought to the entry level then more radical art historical activism can be achieved.
Reading Sources:
“Issues.” ONCURATING, www.on-curating.org/issue-37-reader/challenging-hetero-centrism-and-lesbo-homo-phobia-a-history-of-lgbtq-exhibi-tions-in-the-u-s.html#.YKVaYy1h0UR.
Kennicott, Philip. “Perspective | LGBT Artists Sent Messages from the Closet to Survive before Stonewall. Now, Homophobes Are Coopting the Technique.” The Washington Post, WP Company, 23 June 2019, www.washingtonpost.com/entertainment/museums/lgbt-artists-sent-messages-from-the-closet-to-survive-before-stonewall-now-homophobes-coopting-the-technique/2019/06/20/96540414-8c8a-11e9-adf3-f70f78c156e8_story.html.
Strauss, Alix. “How a Self-Taught Art Curator Became a Gay Rights Champion.” The New York Times, The New York Times, 21 June 2019, www.nytimes.com/2019/06/21/nyregion/charles-leslie-lohman-museum.html.
Image Source:
Fernando Z. López – San Diego Pride Press Release. “Local LGBT Art Programs Help the Community Express Themselves in Creative Ways.” San Diego Gay and Lesbian News, 1 Feb. 2019, sdlgbtn.com/causes/2019/02/01/local-lgbt-art-programs-help-community-express-themselves-creative-ways.