Women, Feminism, Art and Aesthetic Liberation: Innovative Pedagogies and Practices

Earlier this year as part of my visit to the USA to present at the College Art Association (CAA) annual conference in New York I was pleased to attend the CAA’s Committee for Women in the Arts panel session themed around “Feminist Pedagogy through Activist Arts Practices” (New York Hilton, Manhattan, 17 February 2017). During this 90-minute session four arts scholars presented papers examining different manifestations and articulations of feminist liberatory discourse through contemporary visual arts practices. A brief outline of each paper is summarised below, with links to further information about the featured artists, their projects and their portfolios of work, past and present.

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The College Art Association 2017 annual conference panel session organised by the Committee on Women in the Arts and featuring contributions from (L to R): Laura Elizabeth Sapelley and Jennifer Rissler (co-chairs); Aranke Sampada; Ann Fessler; Jessica Cochran; and Samantha Hill. Photo: Carol Dixon

(1) “The Kinship Project: Manifesting Connections to History through African-American Family Narratives” – This illustrated talk was presented by artist, anthropologist and archivist Samantha Hill who discussed an innovative archives-based research project she first developed in the early 2010s and has been touring to selected communities within the USA since that time to specifically empower African-American families to share photographs from their private and personal archives so as to provide fresh insights on what it was like to live in the United States and challenge racisms during the post-enslavement, pre-civil rights period from the mid-to-late-19th century through to the 1950s-60s (see: https://samanthahill.net/kinship-project/).

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Artist, anthropologist and archivist Samantha Hill presenting photographic stills from “The Kinship Project” to delegates at the College Art Association annual conference in New York (17 February, 2017). Photo: Carol Dixon

Continue reading Women, Feminism, Art and Aesthetic Liberation: Innovative Pedagogies and Practices

The M.A.D (“Make a Difference”) Project: Challenging ‘othering,’ injustice and intolerance through education and arts activism

On 7th December I was pleased to give a presentation about African and Diasporan artists’ ‘politically aesthetic’ interventions and activism within museums and galleries in the West. This illustrated talk was part of a panel session and Q&A that took place at Raindance in Charing Cross as the inaugural London meeting organised by the education and social justice project “Make a Difference” (aka “The M.A.D Project“).

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M.A.D (“Make a Difference”) Project panelists (from left to right): Vikram Ahluwalia; Oliver King; and Dr. Carol Dixon

As a non-profit education organisation, the artists, teachers, scholars and arts activists affiliated to M.A.D seek to develop creative learning initiatives, exhibitions and awareness-raising campaigns that challenge dominant narratives perpetuating racialalised hierarchies, ‘differentialist racism,’ stereotyping and the legacies of colonialism within present-day mainstream society. Through this work M.A.D make a significant contribution towards tackling racism(s), other forms of prejudice, intolerance and misrepresentations of cultures falsely perceived as ‘other.’

Central to the Project’s pedagogic outcomes are the ongoing collation and presentation of stories and images detailing different forms of cultural expression from various regions of the World – particularly the Middle East, continental Africa, Asia and Europe. These diverse (and often diasporic) narratives – as well as the activists’ and researchers’ accounts of their own travel experiences through which this cultural knowledge is sourced –  are widely disseminated via publications, photo exhibitions and taught programmes in classrooms,  community-based organizations, universities and other public institutions.

The over-arching theme of the inaugural London event was “Challenging dominant narratives through arts and culture.” Continue reading The M.A.D (“Make a Difference”) Project: Challenging ‘othering,’ injustice and intolerance through education and arts activism

Call for Papers: Western Museumscapes and the Political Aesthetics of Decolonisation

Carol Dixon will chair a 90-minute conference session on decolonial scholar-activism by African and Diasporan artists, curators and educators working with collections of ethnography and works of fine art in Western museums. This session forms part of the forthcoming programme for the 6th biennial network conference Afroeuropeans: Black Cultures and Identities in Europe, University of Tampere, Finland, 6 – 8 July 2017.

If you would like to propose a research paper, show a portfolio of work, or suggest an alternative multi-media presentation for consideration, please draft a 250-word abstract in response to the following overview:

Session: Western Museumscapes and the Political Aesthetics of Decolonisation: African and Diasporan Arts Activists Agitating for Change

"Anthropomorphic head" (Benin, c. 14th -16th century), displayed in the Pavillon des Sessions at The Louvre. Photo: Carol Dixon
“Anthropomorphic head” (Benin, c. 14th -16th century), displayed in the Pavillon des Sessions at The Louvre. Photo: Carol Dixon

Overview:
High-profile museums and galleries in the West – such as the British Museum in London, the Pompidou in Paris, and the MoMA in New York – are continuously revising and developing new strategic plans  to ensure that their collections, cultural programmes and exhibiting practices are engaging increasingly diverse global audiences. At the heart of these developments are complex issues about the changing nature of acquisitioning, curation, display and interpretation of artworks and cultural objects described as permanent holdings. The policies and practices implemented by these institutions serve as catalysts for generating and sustaining a rich discourse that invites artists, researchers, curators, archivists, educators, scholar activists and other creative practitioners to question their own roles and responsibilities within such dynamic museumscapes.

In this panel discussion, museologists, art historians, contemporary artists, scholars, educators and cultural  commentators from around the world will come together to discuss these issues with reference to one (or more) of the following questions:
Continue reading Call for Papers: Western Museumscapes and the Political Aesthetics of Decolonisation