International Deadline: July 15, 2021 – The Great Northern Art Explosion is an international public art exhibition and contest. 100 selected artists will display their artworks or a chance at $10,000 in prizes…
U.S. National Deadline: July 31, 2021 – The Magic Wand Pleasure as Art Competition is open to artists nationwide to design a one-of-a-kind art piece using inactive Magic Wands. Traveling exhibit. $10,000 plus…
International Deadline: October 10, 2021 – Artists are invited to apply for the 2021 Foundwork Artist Prize, an unrestricted $10,000 grant and studio visits with the jurors / progressive curators…
An article in Chalkbeat discusses efforts that have “attempted to ban critical race theory, the academic framework that examines how policies and the law perpetuate systemic racism.”
Image: Wokandapix / Pixabay
As a nation, Canada has been coming to a necessary and long overdue reckoning with its history of violence against entire Indigenous generations. With the ongoing investigation of the country’s former residential schools—institutions that attempted to wipe out Indigenous culture with little regard for those they confined—there is yet another signal flare going off for the necessary acknowledgement of atrocities and meaningful, structural change. And although it’s a small step towards what is needed, the National Gallery of Canada has announced a new vision for the gallery with Indigenous representation at the forefront.
Announced on June 23rd, the National Gallery of Canada put for a statement on their new direction in conjunction with a new logo as well as a brand film that explores the significance of the concept that anchors this new endeavour. Anoksé—an Anishinaabemowin word meaning “everything is connected”—is the apparent core of the new vision for the gallery moving forward.
“Ankosé came to the Gallery during the COVID-19 pandemic,” the gallery stated in their announcement, “when we were striving to stay connected, with a lot of difficulty, through the visual arts. Ankosé reinvigorated the Gallery’s commitment to the communities it exists to serve. Social justice movements spurred by systemic racism have inspired us to commit further to decolonization within our institution, to create a welcoming and accessible environment for everyone, and to advocate for social equity through visual arts.”
This movement towards a structural change of identity for the Canadian institution apparently came about in conversation with Indigenous colleagues as well as Algonquin elders, gallery director and CEO Sasha Suda explains.
Albert Dumont, an Algonquin Elder; courtesy of the National Gallery of Canada.
“Everyone is connected to the art, to each other. One of the Gallery’s biggest priorities is expanding our invitation and our welcome to invite more voices and visitors… We are evolving beyond the hard geometry of the Western lens, to an inclusive circle where we will weave diverse perspectives into our shared story.”
The most obvious signifier of the shift in focus is the new logo presented by the gallery. Where there was once the sharp depiction of the gallery’s Great Hall in the red of the Canadian flag, now there is an ever-shifting circle, a veritable kaleidoscope that draws from the concept of Ankosé. Designed in collaboration with agency AREA/17, the living logo is inspired by the glass ceiling of the same Great Hall, but brings things in an open, welcoming direction, with its broad and bright palette representing the Northern Lights. It’s a gorgeously innovative approach to visuals for a gallery, and the unique impact it provides is keenly felt in watching the designs cycle through.
The Northern Lights inspired palette; courtesy of the National Gallery of Canada.
The National Gallery of Canada is an institution of its country—residing in the capital atop unceded land, there is a poignancy to their choice of making such foundational shifts to the longstanding model. Although many Canadian galleries have looked to include more Indigenous works over the years, this appears to be the first true altering of vision that has been seen from a major gallery with reparations and progress in mind. “Our brand is more than a logo and a new visual identity,” Suda states. “It is a line in the sand – the beginning of a momentous transformation that will reshape the Gallery’s core. The Gallery recognizes the limitless connections that exist beyond the frame, and we invite the world to expect nothing less from us.”
The Communicative Arts Academy, “a vital hub for a community largely excluded from Los Angeles’s cultural institutions,” is at the center of this New York Times Style Magazine article.
International Deadline: Annual Recurring December 31 – The Fellowship program promotes scholarly research on The Wolfsonian’s collections. Fellowships include a stipend, accommodations, travel…
In his recent blog post, Backlash: A Sharp Right Turn by a Philanthropy Member Organization, Phil Buchanan, president of Center for Effective Philanthropy, calls out the current critique of pro-BIPOC philanthropy.
Mr. Buchanan’s critique of the current conservative culture war is an example of why Grantmakers in the Arts (GIA) supports culture AND why we are pro-BIPOC. This “backlash” (I actually disagree with that specific term, but more on that later) is a culture war – one meant to obfuscate an economic war on low-income whites and BIPOC people by a small number of economic elites who have a loud platform and the resources to buy influence.
In GIA’s Racial Equity in Arts Funding Workshops, our partner from True North EDI shares Zaretta Hammond’s framing of culture as a group’s shared attitudes, values, social forms, customary beliefs, and material traits. The economic elites that are using anti-BIPOC cultural strategies do so knowing that culture – what we believe about ourselves and others and how we express this – matters to us more than statistics ever will. That’s why this small number of economic elites have invested so much money – through the corporate media, law schools, think tanks and public advocacy – into the culture of individualism and against the culture of interdependence.
In his blog post, Mr. Buchanan makes the point that being pro-BIPOC is not mutually exclusive with being pro-low-income white. I agree, PLUS the statistics support that being pro-BIPOC HELPS low-income whites. Why? Because when folks fear BIPOC people and efforts that benefit them, they vote against policies that benefit low-income white families as well.
In Stamped from the Beginning, Ibram X. Kendi tells the story of the management of Tredegar Iron Works’ decision in the late 1800s to place enslaved Blacks in skilled positions to cut labor costs and how white workers protested, arguing that slave labor would depress their wages. Management fired the white workers, replacing them all with slave labor. White men who did not own property were required by law to serve on slave patrols, forced to hunt, capture and return the slaves to the economic elites, who argued that it was only fitting since the slaves had “stolen their jobs.” This narrative continues to this day at our border.
In contemporary America, white people make up the largest share of those helped by such safety-net programs as Medicaid and Supplemental Nutrition Assistance Program – commonly called food stamps. And yet studies have shown that whites’ decreasing support for social safety-net programs correlates with increasing racial resentment. One study found that when white participants were told that whites continue to be the “largest single ethnic group in the United States,” they proposed cutting $28 million from federal welfare spending. Those told that whites’ population share is “substantially declining” proposed cutting nearly twice as much – $51 million. The study also found that whites were less likely to support social safety-net programs if they had been told that the achievement gap between white and BIPOC incomes is closing.
Studies have shown that in the first decades of affirmative action, the greatest growth in career and education has been experienced by white women, rather than by any racialized group. And yet, according to one study, nearly 70% of the self-identified white women surveyed – those most helped by affirmative action – either somewhat or strongly opposed affirmative action.
The strategy of convincing white people and women to oppose efforts that help them is a cultural narrative strategy executed by economic elites who oppose higher taxes, the expense of consumer and environmental protections and equality for women. The most recent chapter in this long-term strategy includes the opposition to pandemic relief and unemployment insurance masked as opposition to government support for critical race theory in schools. This small number of economic elites know that telling low-income whites that they’d rather not help them wouldn’t work. Instead, the elites insist that social supports help BIPOC people rather than them. They develop fictional versions of BIPOC people that are fabricated but emotionally resonant and scary. These figures include the “welfare queen,” the “super-predator,” and the “terrorist.”
How these narratives are shaped and deployed by financial elites has been well-documented in books such as White Rage: The Unspoken Truth of our Racial Divide by Carol Anderson and Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class by Ian Haney López.
These acts are hateful and harmful, effectively deploying cultural strategies of metanarrative – the virtuous individual (such as the mythical white cowboy), the evil collective (bands of super-predators) – as well as stories (“A BIPOC person stole your job…Is driving up your taxes, etc.”). They do not bore you with statistics or even facts.
Culture matters and moves us more than any statistic could ever hope. This is why support for culture matters.
That is why GIA shares cultural funding strategies that reject the false binaries between supporting rural communities and supporting BIPOC communities. GIA rejects a cultural vision meant to inspire a cowering stinginess and instead embraces cultural support toward positive narrative change – one of celebration, intersectionality, and interdependence that recognizes that being pro-BIPOC is being pro-humanity.
U.S. National Deadline: Open Until Filled – The Fort Worth Community Arts Center is always seeking energetic, driven, and computer savvy interns for upcoming academic semesters. Unpaid but academic credit…
International Deadline: Ongoing – Price Sculpture Forest seeks sculptors to publicly exhibit outdoor work for sale or otherwise for public exhibition at new sculpture park. No fees or sale commissions…