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Visual Essay: Representation of Muslim Identities in the West

“The art world is one of the last bastions of white supremacy-by-exclusion.”
Judith Wilson

I have created this document to discuss the shortcomings of identity politics and representation. Particularly focusing on the representation of Muslim women artists in the Western art scene, the essay aims to question whether or not the Orientalist gaze is still alive within the global artistic communities.

Oh No! Another Hero!

“It is a waste of time hating a mirror
or its reflection
instead of stopping the hand
that makes glass with distortions
slight enough to pass
unnoticed
until one day you peer
into your face
under a merciless white light
and the fault in a mirror slaps back
becoming
what you think
is the shape of your error…”

Curator As A Collaborator: A Marxist Inspired Reading of Contemporary Curation

This article is primarily concerned with the production of knowledge in curatorial projects and creating a definition of the curator as a collaborator, filtered through the notion of alienation in Marxist philosophy. In his famous “Manuscripts of 1844”, German philosopher Karl Marx theorises the concept of alienation as the separation of labour from the worker, and also as the separation of the products of labour from the worker (Marx and Engels, 1964). In this article, we will aim to present a critical perspective on curatorial ethics, and define curating as a form of collaborating and engaging the artists with the audience to create a mutually beneficial experience.

An Essay by Rosie Minney

Artist and Fine Art student at Newcastle University, Rosie Minney, writes an essay in response to my recent solo exhibition in Vane, “Idea Generating Machines”. In the essay, Minney talks about Marcel Duchamp and Robert Rauschenberg presenting everyday objects as art by altering the spectator’s vision and redefining the cultural context of objects.

The Private Money Paradox: A Short Story About Art, Wealth, and Corruption

Private sponsorship in the arts is not a modern concept at all; it is, in fact, a deep-rooted support system which relies on mutual benefit. We can trace the progression of various models of patronage in art history from Renaissance to Modernism, from merchants to monarchs. Although the working mechanism of art sponsorship in the corporate era consists of much more complex and controversial systems, it nevertheless preserves its essence. Ethical concerns and corruption, however, has always been a disconcerting issue for artists and cultural institutions who benefit from private funding. This article will analyse the nature of corporate sponsorship through both historical and modern examples.

Review: Arter-Space for Art

This review will focus on ARTER “space for art”, a young organisation conceived as a contemporary art space in Istanbul, Turkey; to examine its curatorial structure through the lens of its latest international summer group show “Not All That Falls Has Wings”.

Mark Peter Wright and His Mythologies

Contemporary British artist Mark Peter Wright’s unusually jocular relationship with the microphone inspired this examination of his practice in relation to the French thinker Roland Barthes’ theory of the mythologies. In addition, this article will compare Mark Peter Wright’s artistic development to the legendary Don Quixote’s journey through La Mancha.

Curating on the Online Space

It is not difficult to imagine the reaction of someone, who is looking at a piece of Internet Art from in the early 1990’s for the first time. Their reaction would be the same as that of the selecting committee of the Society of Independent Artists when they first encountered Marcel Duchamp’s “Fountain” in 1917. In both examples, we witness a similar case of de-aestheticising the artwork. Does the discourse of what art really is which started with ready-mades in early 1900’s, still continue today on the online space?

Enchanted with Frustrations: Homage To Jorn Ebner

During the autumn and winter months of 2015, I had the opportunity to listen to many different artists from various backgrounds giving presentations about their works. These talks provided me with such valuable information in terms of how professional artists and fresh graduates deal with hardships, which might arise within their practice from time to time. Although I observed an abundance of different attitudes towards art-making within this period of talks, only one artist’s journey deeply resonated with me, and helped me out of a creative block I had recently been experiencing. In the following paragraphs I will elaborate how German artist Jorn Ebner’s practice, fuelled by frustrations, proved useful to him, as well as to myself.