{"id":2249,"date":"2024-10-28T14:15:20","date_gmt":"2024-10-28T06:15:20","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=2249"},"modified":"2024-10-28T14:15:20","modified_gmt":"2024-10-28T06:15:20","slug":"amid-an-uptick-in-censorship-a-national-coalition-is-helping-artists-fight-back","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/amid-an-uptick-in-censorship-a-national-coalition-is-helping-artists-fight-back\/","title":{"rendered":"Amid an Uptick in Censorship, a National Coalition Is Helping Artists Fight Back"},"content":{"rendered":"

THE ARTIST XANDRA IBARRA\u00a0<\/strong>was caught off guard by a text she received in February 2020. It was a message from a curator she was working with on a group exhibition opening that week at the City of San Antonio\u2019s Centro de Artes gallery. They were informing her that her video in the show had been removed.<\/p>\n

The 4-minute piece,\u00a0Spictacle II: La Tortillera<\/em>\u00a0(2014), shows Ibarra performing as La Chica Boom, her burlesque stage persona. A minstrelsy of Chicanx gender and racial stereotypes, the piece culminates with the artist strapping a Tapatio bottle to her groin and ejaculating the hot sauce onto tortillas. Raunchy by design, the video is a gripping commentary on sexual and racial tropes.<\/p>\n

Back in December 2019, the curators had submitted images and links for all the works in the show to the city for approval.\u00a0Spictacle II<\/em>\u00a0met with no concern. But the city\u2019s arts and culture director Debbie Racca-Sittre expressed disapproval once the work was installed, and the curators agreed to her request to place a content warning and curtain in front of it. Then, at the eleventh hour, \u201cthe video ended up on the desk of city attorney, Andy Segovia,\u201d Ibarra told me over Zoom. Segovia \u201cwrote a statement claiming my video was violating Texas penal codes and he deemed it \u2018obscene.\u2019\u201d<\/p>\n

This expulsion of an artwork from a small, provincial art space might have gone unnoticed had it not reached the ears of the National Coalition Against\u00a0Censorship<\/a>\u2019s (NCAC) Arts & Culture Advocacy Program. They penned a public letter to the mayor of San Antonio, pressuring him to restore the work to the exhibition. The letter argued that \u201ccity-owned spaces are ruled by the free speech clause in the First Amendment,\u201d and concluded that this means \u201cgovernment officials cannot arbitrarily or systematically impose their prejudices on a curated exhibition.\u201d<\/p>\n

The NCAC worked swiftly on Ibarra\u2019s behalf, enlisting curators and the press to post online. Soon, the famed philosopher Judith Butler caught wind of the case, and, along with 28 other academics, signed a letter that lauded Ibarra\u2019s work and cited its importance in their scholarship and curricula. The group insisted that the video had artistic value\u2014which was important legally, because \u201cartistic value\u201d is one of the three main tenets of the Miller Test, used by the United States Supreme Court to assess whether speech or expression can be deemed obscene, and therefore, be suppressed.<\/p>\n

The Centro\u2019s committee made a unanimous recommendation to Racca-Sittre that the work remain on view, but she stalled the appeals process. Soon enough, it was March 2020, and while the ACLU had agreed to step in to help sue the City of San Antonio, the process halted as the city\u2019s galleries closed during the Covid-19 outbreak. It was then impossible to reinstall the work, so the proceedings were curtailed.<\/p>\n

FOR MORE THAN 20 YEARS,\u00a0<\/strong>NCAC has been\u00a0<\/strong>the only organizationin the US dedicated to upholding the right of free expression in the cultural sector. The organization formed the Arts & Culture Advocacy Program (ACAP) in 2000, after the last of such organizations that had cropped up during the culture wars of the 1990s folded. This advocacy program succeeded the National Campaign for Freedom of Expression, which \u201cwent dormant,\u201d recalls Svetlana Mintcheva, the program\u2019s founding director. \u201cThey gave us their mailing list and goodwill. And then, the NCAC took over the work of arts advocacy.\u201d<\/p>\n

Censorship is the program\u2019s number one target. While legally, in the US, \u201ccensorship\u201d refers to the suppression of art by a federal or state actor because of its content, Mintcheva contends that their work requires a more expansive view of the offense. The San Antonio art space that restricted Ibarra is state funded, so that case was more clear-cut. But most museums and commercial galleries in the country are privately supported, and legally, they can determine what happens within their walls.<\/p>\n

\u201cA lot of people don\u2019t see it as censorship when it comes from their side,\u201d Mintcheva explains. \u201cIt\u2019s seen as the right thing to do.\u201d In the US, censorship is often framed as something nefarious that happens in China or Russia. But here, bans on books, abortion, and critical race theory from the right, and so-called \u201ccancel culture\u201d on the left, mean that with some regularity, artists\u2019 works are being removed from public view.<\/p>\n

Today, art that addresses reproductive rights and the Israel-Palestine conflict are prime targets. In March of last year, Lewis-Clark State College, in Idaho, removed works by Katrina Majkut, Michelle Hartney, and Lydia Nobles from an exhibition, claiming they violated the No Public Funds for Abortion Act. Starting in 2021, the law prohibited the use of public funds for abortion, including for speech that appears in its favor. And in March of this year, a portrait by Charles Gaines depicting the late Palestinian thinker Edward Said was briefly removed from his solo exhibition at the ICA Miami without his knowledge or consent, around the time of the museum\u2019s annual benefit for private donors.<\/p>\n

After devoting more than 20 years to the effort, Mintcheva is most keen to talk about the changing climate of cultural censorship in the country. \u201cThe pressure is no longer from conservatives and [the] religious right, who hijacked the argumentation of offense and hate speech that originated on the left in the early \u201990s,\u201d Mintcheva reflected. Increasingly, she says, \u201cit is by people from disempowered communities that feel traumatized by particular artworks.\u201d<\/p>\n

\n
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\"Three<\/div>\n<\/div>
Members of the Dakota tribe probesting Sam Durant\u2019s sculpture\u00a0The Scaffold<\/em>, 2012, at the Walker Art Center\u2019s sculpture park in Minneapolis, 2017.<\/span>Photo Aaron Lavinsky\/Star Tribune Via Getty<\/cite><\/figcaption><\/figure>\n<\/div>\n

Which means that censorship is happening on both ends of an increasingly polarized political spectrum, and the NCAC insists that they do not take sides. \u201cWe serve creative workers regardless of their particular beliefs or the aesthetic merit of their work,\u201d Mintcheva says. \u201cAs an organization, we work based on principle regardless of how we, individually, feel about a work.\u201d And so in 2017, the group criticized the swift dismantling of Sam Durant\u2019s\u00a0Scaffold<\/em>. That sculpture, installed at the Walker Art Center in Minneapolis, sparked protests: the artist, who is white, staged a life-size version of the type of wooden gallows used in 1862 to execute 38 Dakota men in Minnesota. Durant intended\u00a0Scaffold<\/em>\u00a0to comment on the historically disproportionate use of the penalty on people of color. The piece was slated to stand permanently in the museum\u2019s burgeoning sculpture garden.<\/p>\n

It didn\u2019t stay long. A few days into the protests, the artist met with Dakota tribal elders as well as museum and city officials. After that discussion, Durant agreed to dismantle the piece and transfer the intellectual property rights to the Dakota people. In a public statement, the NCAC bemoaned the fact that this \u201chasty decision\u201d by the artist and the museum did not allow for meaningful feedback from more voices, and foreclosed the possibility of other outcomes. Unlike the government-sanctioned suppression of Ibarra\u2019s work in Texas, the artist himself elected for removal. Still, the NCAC denounced the proceedings as a missed opportunity for open discussion. \u201cArtists and art institutions have always played a role in socio-political discourse\u201d they wrote in an open letter. \u201cThere have been vigorous debates in recent years over who can appropriately represent historical trauma, the meaning of cultural appropriation and white privilege,\u201d but there are ways to respond besides removing difficult artworks from view. \u201cCultural institutions and artists urgently need to develop creative ways to respond to such critique and controversy.\u201d<\/p>\n

THE DURANT INCIDENT\u00a0<\/strong>came only six months after calls for the removal of Dana Schutz\u2019s painting\u00a0Open Casket<\/em>\u00a0from the 2017 Whitney Biennial. An expressive rendering of a photograph from Emmett Till\u2019s 1955 funeral by a white artist, the work made headlines when the artist Parker Bright staged a protest in front of the work, wearing a T-shirt that read black death spectacle. As with Ibarra\u2019s case, various artists and thinkers signed a letter; this one was issued by Hannah Black and addressed to the biennial\u2019s curators. The demand was clear: \u201cthe painting must go.\u201d<\/p>\n

\u201cIn this case, we didn\u2019t make a public statement,\u201d Mintcheva recalled. \u201cSometimes a statement by an anti-censorship organization could backfire.\u201d Indeed, the charged nature of a censorship accusation could hinder the NCAC\u2019s attempts to help an institution navigate tricky terrain. Mintcheva held discussions behind the scenes with then director Adam Weinberg, drumming up strategies (including signage and PR) that might keep the painting on view. That\u2019s typical of their approach: when the NCAC lobbies, they ask institutions to respond to critics without removing the artwork in question (though to be clear, they are not institutional consultants). They insist that protesters\u2019 actions are\u00a0also<\/em>\u00a0free speech and therefore deserve protection.<\/p>\n

Mintcheva sees exhibiting institutions as, ideally, forums for open discussion: it is often productive when an artwork, book, or event creates discomfort. \u201cOne of the key issues today is that we have an ever-shrinking public sphere,\u201d she attests. With debate often regulated to the virtual realm, with all its toxicity and dehumanizing traits, she sees brick-and-mortar art institutions as having a duty to welcome moments of dissensus.<\/p>\n

Amid it all, NCAC\u2019s goal is to enable institutions to act neutrally and oppose censorship from all sides. The nonprofit does this work with funding from private donors and from the Andy Warhol Foundation, which has provided support since its inception. This aid allows the NCAC to hold strong to its one line: free speech.<\/p>\n

But given that museums are built on selectivity, and saddled with colonialist and imperialist histories, is neutrality possible? Mintcheva answers the question by citing a published 2021 debate between herself and Laura Raicovich, a former Queens Museum director. Raicovich questions if neutrality is attainable when museums perform the \u201cchoosing\u201d role and take a position by curating certain programs. Does curation equal endorsement? Mintcheva thinks the answer is no, and says museums should
\nstrive\u00a0not<\/em>\u00a0to endorse the ideas of the artists whose work is on view.<\/p>\n

Not endorsing one\u2019s own program\u2014that statement flies in the face of what every museum marketing department does daily. Historically, to exhibit something in a museum is to insist on its importance, relevance, singularity. Is neutrality a pie-in-the-sky aspiration? Raicovich seems to have thought so: after all, she stepped down from her directorship in 2017, after she vetoed renting the space to the Israeli government for an event celebrating the nation\u2019s 70th birthday. The event was reinstated, but
\nthe resulting tensions between her and her board proved untenable.<\/p>\n

Earlier this year, the Yerba Buena Center for the Arts (YBCA) in San Francisco tried Mintcheva\u2019s approach. In February, 8 of the 30 invited artists in the\u201cBay Area Now 9\u201dexhibition modified their artworks in an act of protest against Israel\u2019s actions in Gaza. The works had already been on view for several months. NCAC decided not to intervene, describing it as \u201ca no-win situation\u201d for the YBCA, since any action by the museum would denote partiality. In this case, the modified works were no longer what the museum had agreed to exhibit. However the organization warned that, if YBCA removed the works, it could appear that they were taking a political position. The museum responded by closing the exhibition for an entire month while they deliberated, eventually reopening with the altered works untouched yet accompanied by disclaimers, which stated that the modifications represent the views of the artists, not the museum.<\/p>\n

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\"Colorful<\/div>\n<\/div>
Samia Halaby:\u00a0Worldwide Intifadah<\/em>, 1989.<\/span>Courtesy The Artist<\/cite><\/figcaption><\/figure>\n<\/div>\n

WITH MUSEUM STAFF ON\u00a0<\/strong>the front lines of these negotiations, itisunsurprising that the NCAC\u2019s most recent hire is a former curator: Elizabeth Larison joined as director in August 2022. Speaking via Zoom, Larison described the particular \u201cgray zone\u201d that crops up when the NCAC steps into the curatorial process. For this reason, the organization prefers not to weigh in on whether a curatorial decision may or may not incite controversy and cries for censorship. Larison makes clear that NCAC\u2019s purview does not extend to what a museum and its curators decide to bring within their doors: they step in only after a work or project has been selected.<\/p>\n

Larison, who is a staff of one in the Arts & Culture Advocacy Program<\/a>, spends much of her day-to-day on what she calls \u201ccase management,\u201d or addressing time-sensitive reports of censorship that reach her by referral, or through a report on the organization\u2019s website. One recent case was the retrospective of Palestinian-American painter Samia Halaby scheduled to open this past February at Indiana University\u2019s Sidney and Lois Eskenazi Museum of Art. In December of last year, the artist received a letter that the show had been canceled, with the museum citing unspecified \u201csafety concerns.\u201d<\/p>\n

That case reached the NCAC through \u201cthree degrees of separation,\u201d Larison recalls, speaking via Zoom. In January, she responded by penning a statement that urged the university to reverse their decision. In that letter, she attributed the cancellation to \u201cthe artist\u2019s pro-Palestinian advocacy and activism,\u201d noting that her abstract paintings are unlikely to be viewed as controversial on their own. Since Halaby had already put significant work into this presentation, the NCAC amplified the artist\u2019s request to have the museum reschedule the show. As of this writing, there has been no word from the university, although a different solo presentation of Halaby\u2019s work is currently on view at the Broad Art Museum<\/a> at Michigan State University.<\/p>\n

Responses like this one are most effective when they are timely, so quick turn-around and newsworthiness often structure the tempo of Larison\u2019s days. Still, she makes a point to tend to long-term work. Most of that effort involves tackling the silencing that happens behind closed doors; here, curators are a pivotal focus. In instances of censorship, curators are often put in the middle of competing forces\u2014the artists they want to protect, and the governmental or private forces that might put pressure on curatorial decisions.<\/p>\n

That is why in November 2023, the NCAC, collaborating with Creative Capital, hosted a workshop with curators from around the country. The group discussed censorship case studies culled from the personal experience of participants, who said the workshop fostered an environment of openness
\nand intimacy; one, Janna Dyk of the Art Galleries + Collection at Goucher College in Maryland, said it \u201chelped create a cohort,\u201d adding, \u201cif an issue were to come up, I feel that I could pose a question to the group or to particular individuals, to ask for support and mentorship.\u201d<\/p>\n

This past February, Larison participated in a panel coinciding with an exhibition at AIR gallery in Brooklyn titled \u201cFree Speech and the Inexpressible,\u201d curated by artist and writer Aliza Shvarts. The group show featured the three works by Majkut, Hartney, and Nobles restricted in Idaho last year, in addition to pieces by 15 other artists and collectives that have experienced censorship or made work addressing it.<\/p>\n

Ibarra features in the show too: for her\u00a0Ashes of Five Feminist of Color Texts<\/em>\u00a0(2020), she burned the five most-cited texts by feminist authors of color\u2014including Kimberl\u00e9 Crenshaw and Audre Lorde\u2014then displayed their covers on the wall next to flowers, as if in a morgue. Her gesture is not meant to censor these women so much as to protect them from, in her words, an \u201ceconomy of overcitation,\u201d as institutions often defer to these texts without enacting meaningful change. Nearby, a sculpture by Diana Schmertz takes on Florida\u2019s book bans: her installation comprises watercolor paintings of the covers of books that the 2022 \u201cStop W.O.K.E.\u201d Act banned from Florida public schools; Schmertz engraved these paintings with laser-cut text from the Pernell v. Florida Board of Governors case, which challenged the book bans.<\/p>\n

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\"A<\/div>\n<\/div>
Aliza Shvarts:\u00a0Untitled [Senior Thesis]<\/em>, 2008.<\/span>Courtesy The Artist<\/cite><\/figcaption><\/figure>\n<\/div>\n

Censorship is a topic that hits close to home for the show\u2019s curator: Shvarts made headlines with her own work in 2008, when her BA thesis project at Yale,\u00a0Untitled [Senior Thesis]<\/em>, generated intense debate. The project comprised footage of a nine-month-long performance involving artificial insemination self-administered monthly, followed by consuming herbal abortifacients. The artist describes the process as \u201csuper long and boring,\u201d yet it was also an early instance of \u201cgoing viral.\u201d The piece was ultimately pulled from her thesis exhibition and dubbed a \u201ccreative fiction\u201d by the university\u2019s administration.<\/p>\n

Shvarts says her situation would certainly have benefited from the attention of the NCAC. \u201cI was so utterly alone,\u201d she recalls. \u201cWhen I was navigating that as a 22-year-old, it would have meant the world if an entity like that wrote a letter supporting me.\u201d She included a handout from NCAC as part of the exhibition at AIR, helping ensure that artists know about their available support.<\/p>\n

If curators are on the front lines, it\u2019s artists who are in the trenches. I asked Ibarra and Shvarts if either had experienced subsequent instances of censorship. Both said no, not to the same extent. But the incidents linger. It is soft censorship, Ibarra says, that she has met throughout her 20-year career. For her, this takes the shape of warnings that institutions often display alongside presentations of her work. Such interventions have led her to conclude that \u201cthe display of sexual content is still a profound site of anxiety in the arts.\u201d<\/p>\n

As for Shvarts, since her \u201cterrifying experience\u201d at Yale\u2014which went as far
\nas death threats\u2014she hasn\u2019t made any more work that involves her body in such an overt way. Despite her now controversial reputation, she admits \u201cI\u2019m kind of a pushover.\u201d But a strategic one: she knows that to give a platform to the issues she wants to address sometimes means making calculated compromises. \u201cI really want to talk about these issues,\u201d she says of her work concerning rape, feminism, and reproductive rights. \u201cI\u2019m happy to take into account other people and things I may not know about, like an institution\u2019s own vulnerability.\u201d<\/p>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

THE ARTIST XANDRA IBARRA\u00a0was caught off guard by a text she received in February 2020. It was a message from a curator she was working with on a group exhibition opening that week at the City of San Antonio\u2019s Centro de Artes gallery. 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