(Source: l-brick, via bloodmoses)


The curatorial statement at the entrance to the fourth floor reads:

 Donelle Woolford [Joe Scanlan] radically calls into question the very identity of the artist…

Translation: “Joe Scanlan is a white male professor from Yale who created a black female persona to promote his work, because he thinks that black bodies give their owners an unfair advantage on the art market. We are more comfortable with white fantasies of the other than examining lived experience. We don’t give a fuck about the history of blackface, carnival representations of the other, or violent displays of captured indigenous peoples as museum objects. We believe in our hearts that we are beyond this.

—HOWDOYOUSAYYAMINAFRICAN is a collective of 38 mostly black & queer artists but barely gets treated as one artist. How amazing would it be if their 38 people counted as 38 people at the Whitney, which would accord them 40% of the museum’s space? They have been allotted an “evolving” temporary screening slot. They are the largest collective in the Biennial yet their real estate is virtually nonexistent.

—Gary Indiana, another white male artist trafficking in racist fantasies, receives more space, time and visibility than the 38 members of HOWDOYOUSAYYAMINAFRICAN


(Source: ledouxville, via bloodmoses)