Money, Power, and the History of Art

Cuno, James; Fitzgerald, Michael; Leaman, Michael R; Metro, Judy; Pointon, Marcia; Rosler, Martha; Roth, Michael S.

doi:10.2307/3046227

Cited by 10 publications

(4 citation statements)

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“…Curators have the ability to project a particular social reality and to push social and intellectual boundaries by presenting these cultural images and symbols through various forms of media (Paul ) as well as to ask thought‐provoking questions by exhibiting controversial works of art (Cuno et al. ). The curator's crafting of an exhibit has the ability to project the politics, ideology, and values of the time (Staniszewski ).…”

Section: Resultsmentioning

confidence: 99%

“…The debate over money, power, and art is well documented and centers on whose voice carries more weight: the curator, the “stakeholders,” or the public (Cuno et al. ). Structural elements within the field of art and within the art museum itself also influence the cultural narrative.…”

Section: Resultsmentioning

confidence: 99%

“…However, there is often a racial and/or cultural disconnect between the curatorial staff and the public it is trying to reach (Cuno et al. ). Wendy described curating two exhibits that effectively reached the African American community in her town.…”

Section: Resultsmentioning

confidence: 99%

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Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Blackwood¹,

Purcell²

2014

Sociological Inquiry

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Although the U.S. population is becoming more racially and ethnically diverse, research indicates that minority participation in the arts continues to decline. This article addresses the racial disparity of public art museum attendance by examining the role of the art museum curator and the process by which concepts of race are reproduced within the space of the public art museum. Utilizing Bourdieu's theories of cultural reproduction, social space, and symbolic power as a preliminary framework of inquiry, we examine the concept of whiteness as privileged social construct. Through face-to-face indepth interviews with museum curators, we investigate the means by which the dominant cultural narrative of whiteness is maintained through the preferences, decisions, and social interactions of curators. We draw upon critical white studies, a part of critical race theory, to underline the manner in which whiteness presents itself as a position of dominance. Our findings show that whiteness is maintained through the process of exclusion by presenting the white cultural narrative as both ordinary and invisible.

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Section: Resultsmentioning

confidence: 99%

Section: Resultsmentioning

confidence: 99%

See 1 more Smart Citation

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Blackwood¹,

Purcell²

2014

Sociological Inquiry

View full text Add to dashboard Cite

show abstract

“…Initiatives which are designed to encourage inclusion and improve wellbeing (often termed 'new museology') are seen by some as an unwelcome deviation from traditional museum roles of ' collecting, studying and presenting artefacts' (Appleton 2001;Cuno 1997). Appleton argues that such initiatives ' distort the very basis of the institution' and are a misguided consequence of political pressure on an industry facing an identity crisis.…”

Section: Institutional and Disciplinary Identitymentioning

confidence: 99%