Welcome To Art History For Dreamers
< a decolonial art school | www.decolonizetheart.world >
☁️ Decolonize The Art World believes in imagination as Prophecy ☁️
It’s not as simple as bringing more black and brown people into the museum, but asking why we weren’t there in the first place? There could definitely be more but there are no shortage of inventive Black art workers, artists, and community cultural production - We deserve more than assimilating into the current museum-industrial complex. Rather, after decades worth of violence, erasure, and being embedded in colonialism, this future is one where the museum has de-centralized by redistributing funding into those alternatives contextually relevant models - Let’s get into that - the how, why, and what other possibilities exist.
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Unless otherwise stated or sourced, writing by Yaa Addae ([email protected]).
Relating to the capitalist construction of the artist individual:
"Being an artist, you hear a lot of talk about genius — which is the process of singling out certain people in art history and saying, ‘Those were the important ones.’ … Whenever you look at any of those artists, you find that they lived and drew from a very active, flourishing cultural scene, and they were only one of the elements in that scene. All these people who are called ‘genius’ actually sat in the middle of something that I call ‘scenius.’ Just as genius is the creative intelligence of an individual, ‘scenius’ is the creative intelligence of a community." - Brian Eno