Martha Jackson Jarvis Christina Sharpe Smithsonian American Art Museum
When I arrived as the curator of fourth dimension-based media art at SAAM just over a yr ago, I had an unusual challenge. The two galleries that have traditionally showcased this collection were beingness absorbed past ambitious special exhibitions that needed these spaces to fully tell their stories (first, Trevor Paglen: Sites Unseen, and now the lauded Artists Answer: American Art and the Vietnam War, 1965-1975). Luckily, the artists I focus on often create work non only for galleries, simply for theaters and public spaces, with videos or interactives that tin can exist projected or played on screens of various sizes. I decided to embrace this claiming as an opportunity to see how else time-based work could be featured throughout SAAM's building and throughout the year.
I as well saw this as a chance to expand beyond our current collection holdings to broaden the representation of women artists and LGBTQ+ perspectives that have been defining forces in fourth dimension-based media art since its beginnings. In collaboration with my colleagues who develop public programs, and with back up from the Smithsonian's American Women'due south History Initiative, SAAM will feature a series of programs, performances and screenings devoted to cartoon out the contributions of women- and LGBTQ+-identifying artists to American culture and the fight for disinterestedness, justice and safety for people of all gender expressions and sexualities.
This initiative began on March 10 with SAAM's robust participation equally a site for an Fine art+Feminism Wikipedia Edit-A-Thon. The issue was role of a coordinated international effort to address disparities in representation for women and gender not-binary identifying artists on the near used encyclopedia in human being history, and to change the brand-up of those who edit this oversupply-sourced resource, where 84% of editors are yet male person identifying. In a few hours, I created an article for Svetlana Kopystiansky, a video artist in our collection who had very little web presence just has been appearing in major international exhibitions since the late 1980s.
On Saturday, March thirty, it volition be my bully pleasure to innovate a daylong Women Directors Picture Festival: Visionaries, So and Now in SAAM'south McEvoy Auditorium. The event features three curated programs of moving-image piece of work, and post-screening discussions with leading scholars, creatives and the audience.
We'll start at noon by highlighting cinematic foremothers, and their reflections on familial consciousness in the silent era. Next, see meditations on diaspora by ii Vietnamese American artists working in experimental documentary and video art contexts beyond a generation, including Tiffany Chung, who debuted new piece of work at SAAM earlier this month. We end with Julie Dash's beautifully remastered Daughters of the Dust (1991), the first black woman-directed feature to be nationally distributed. Dash'southward creative team included SAAM collection artists Kerry James Marshall, on art management, and cinematographer Arthur Jafa, whose video artwork SAAM recently acquired. The exquisite results have received renewed attention, as many viewers of Beyoncé's 2016 visual album Lemonade noted the film'southward influence. We'll get into all of this in the festival's closing conversation with laurels-winning author Christina Sharpe, and DC-based artist Martha Jackson Jarvis, who worked on the picture show.
On Sun June 9 we volition celebrate Pride at SAAM, with time-based fine art projects that complement the spirit of the Capital letter Pride Festival, just a few blocks abroad on Pennsylvania Avenue. I'll write another Pride-specific post when the appointment gets closer, merely the centerpiece will be Brendan Fernandes' Free Fall 49 (2017), a trip the light fantastic-based installation responding to the Pulse Nightclub shooting and invoking dance floors as sites of resistance and resilience. SAAM's cute Kogod Courtyard will be an ideal setting for this piece, and we're now building a day of experiences around it, and then that LGBTQ+-related art animates visitors' experiences of the museum—and of Pride. (Having a big year himself, Ferdandes is too being featured at New York's Guggenheim Museum this April, and in the 2019 Whitney Biennial this May).
Finally, our thematic focus wraps around the annual SAAM Arcade, where the independent game programmer showcase is organized effectually "Breaking Barriers!" With this year'due south call for submissions (due April 15!), we are seeking games made by people of color, women, LGBTQ+-identifying makers and people with disabilities that push confronting barriers, break down expectations and recognize and relish the diversity of their audiences. Our guest judge and keynote speaker, Tanya DePass, is a leading advocate in this space, having founded I Need Diverse Games in 2014. We're thrilled to have her expertise on board, and can't wait to see her speak every bit role of the weekend… oh yes, that's right, SAAM Arcade is back to ii days, August 3 and 4 this year.
I hope you'll participate in these and many other opportunities for engagement in the months ahead as time-based media art explodes beyond the black box and breaks down gender barriers.
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The "Year of Women and LGBTQ+-Centered Time-Based Media Art Programming" at SAAM is being generously supported past Because of Her Story. The performance of Free Fall is realized with the support of the Smithsonian Year of Music.
Source: https://www.smithsonianmag.com/blogs/smithsonian-american-art-museum/2019/03/28/beyond-black-boxes-and-gender-barriers-year-time-based-media-saam/
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