How contemporary art responds to politics | Marissa Vigneault | TEDxUSU

I recently visited the Museum of Modern

I recently visited the Museum of Modern Art in New York City it is a place that

Art in New York City it is a place that

Art in New York City it is a place that in many ways serves as my refuge from

in many ways serves as my refuge from

in many ways serves as my refuge from the excessiveness of sensation one

the excessiveness of sensation one

the excessiveness of sensation one encounters in midtown Manhattan I bend a

encounters in midtown Manhattan I bend a

encounters in midtown Manhattan I bend a momen that a sense of home overcomes me

momen that a sense of home overcomes me

momen that a sense of home overcomes me every time I walk up the escalators and

every time I walk up the escalators and

every time I walk up the escalators and around corners I know exactly where I

around corners I know exactly where I

around corners I know exactly where I will encounter Van Gogh’s Starry Night

will encounter Van Gogh’s Starry Night

will encounter Van Gogh’s Starry Night arced by tourists snapping photos on

arced by tourists snapping photos on

arced by tourists snapping photos on their phones to post to Instagram I cut

their phones to post to Instagram I cut

their phones to post to Instagram I cut familiar paths through the carefully

familiar paths through the carefully

familiar paths through the carefully curated rooms and my body tends to

curated rooms and my body tends to

curated rooms and my body tends to absent mindedly track from Picasso to

absent mindedly track from Picasso to

absent mindedly track from Picasso to Duchamp to Dali to Pollock to Warhol and

Duchamp to Dali to Pollock to Warhol and

Duchamp to Dali to Pollock to Warhol and so on down the trailing lineage of

so on down the trailing lineage of

so on down the trailing lineage of modern art the works on display on the

modern art the works on display on the

modern art the works on display on the fifth floor of MoMA come from their

fifth floor of MoMA come from their

fifth floor of MoMA come from their permanent collection until an au

permanent collection until an au

permanent collection until an au standard story of the avant-garde with

standard story of the avant-garde with

standard story of the avant-garde with attention on the radical and

attention on the radical and

attention on the radical and experimental artists of the 20th century

experimental artists of the 20th century

experimental artists of the 20th century here artworks are grouped according to

here artworks are grouped according to

here artworks are grouped according to those avant-garde movements cubism Dada

those avant-garde movements cubism Dada

those avant-garde movements cubism Dada surrealism Abstract Expressionism pop an

surrealism Abstract Expressionism pop an

surrealism Abstract Expressionism pop an evolutionary model reinforced through

evolutionary model reinforced through

evolutionary model reinforced through the movement of the visitors body from

the movement of the visitors body from

the movement of the visitors body from room to room the chronological ordering

room to room the chronological ordering

room to room the chronological ordering offers an easy entry point to modernism

offers an easy entry point to modernism

offers an easy entry point to modernism as most arrive at MoMA with some

as most arrive at MoMA with some

as most arrive at MoMA with some familiarity of those major movements the

familiarity of those major movements the

familiarity of those major movements the interpretation of modernism presented by

interpretation of modernism presented by

interpretation of modernism presented by MoMA is one I long accepted why would i

MoMA is one I long accepted why would i

MoMA is one I long accepted why would i as a young art student or even a

as a young art student or even a

as a young art student or even a youngish professor challenge MoMA

youngish professor challenge MoMA

youngish professor challenge MoMA powerhouse of the art world the story

powerhouse of the art world the story

powerhouse of the art world the story they tell through their display is when

they tell through their display is when

they tell through their display is when I learned nodded with an agreement and

I learned nodded with an agreement and

I learned nodded with an agreement and then repeated I pulled highlights from

then repeated I pulled highlights from

then repeated I pulled highlights from their collection into my classroom I

their collection into my classroom I

their collection into my classroom I reinforced the importance of Picasso in

reinforced the importance of Picasso in

reinforced the importance of Picasso in Warhol above all others but in doing so

Warhol above all others but in doing so

Warhol above all others but in doing so I excluded other voices outside of the

I excluded other voices outside of the

I excluded other voices outside of the Canon however movement towards more

Canon however movement towards more

Canon however movement towards more inclusion is taking place MoMA is not

inclusion is taking place MoMA is not

inclusion is taking place MoMA is not the same institution today as it was 10

the same institution today as it was 10

the same institution today as it was 10 or even five years ago the art history I

or even five years ago the art history I

or even five years ago the art history I study today is not the same I studied 10

study today is not the same I studied 10

study today is not the same I studied 10 years ago my classroom and my writing

years ago my classroom and my writing

years ago my classroom and my writing are changing in response to shifting

are changing in response to shifting

are changing in response to shifting political climates and debates

political climates and debates

political climates and debates and news stories are being written about

and news stories are being written about

and news stories are being written about the diversity of the art world I

the diversity of the art world I

the diversity of the art world I witnessed firsthand this turn in thought

witnessed firsthand this turn in thought

witnessed firsthand this turn in thought during my last visit to MoMA for

during my last visit to MoMA for

during my last visit to MoMA for curators there recently reinstalled

curators there recently reinstalled

curators there recently reinstalled sections of their permanent collection

sections of their permanent collection

sections of their permanent collection in response to the presidential

in response to the presidential

in response to the presidential executive order from February barring

executive order from February barring

executive order from February barring citizens from seven countries from

citizens from seven countries from

citizens from seven countries from entering the United States seemingly

entering the United States seemingly

entering the United States seemingly overnight curators reinstalled select

overnight curators reinstalled select

overnight curators reinstalled select rooms to incorporate work made by

rooms to incorporate work made by

rooms to incorporate work made by artists from nations on that original

artists from nations on that original

artists from nations on that original travel ban list beside each work is a

travel ban list beside each work is a

travel ban list beside each work is a label that reads this work is by an

label that reads this work is by an

label that reads this work is by an artist from a nation whose citizens have

artist from a nation whose citizens have

artist from a nation whose citizens have been are are being denied entry into

been are are being denied entry into

been are are being denied entry into United States due to recent presidential

United States due to recent presidential

United States due to recent presidential executive orders the names on the labels

executive orders the names on the labels

executive orders the names on the labels are ones that are not typically

are ones that are not typically

are ones that are not typically encountered in MoMA’s permanent

encountered in MoMA’s permanent

encountered in MoMA’s permanent collection galleries

collection galleries

collection galleries Parvez tan Ivaldi iranian and canadian

Parvez tan Ivaldi iranian and canadian

Parvez tan Ivaldi iranian and canadian Sharonda shahbazi iranian and german

Sharonda shahbazi iranian and german

Sharonda shahbazi iranian and german tala Madani iranian and currently

tala Madani iranian and currently

tala Madani iranian and currently working in los angeles ton Ivaldi for

working in los angeles ton Ivaldi for

working in los angeles ton Ivaldi for example created the prophet in the early

example created the prophet in the early

example created the prophet in the early 1960s at a time when he freely traveled

1960s at a time when he freely traveled

1960s at a time when he freely traveled between Tehran and Minneapolis without

between Tehran and Minneapolis without

between Tehran and Minneapolis without travel restrictions he was able to

travel restrictions he was able to

travel restrictions he was able to encounter another culture other voices

encounter another culture other voices

encounter another culture other voices which helped shape his approach to art

which helped shape his approach to art

which helped shape his approach to art making the relevance for our particular

making the relevance for our particular

making the relevance for our particular moment is hard to miss had 10 have only

moment is hard to miss had 10 have only

moment is hard to miss had 10 have only been working right now his body would

been working right now his body would

been working right now his body would have been prohibited from crossing

have been prohibited from crossing

have been prohibited from crossing borders the cross-cultural exchange

borders the cross-cultural exchange

borders the cross-cultural exchange would have never happened

would have never happened

would have never happened so rather than promoting art and artists

so rather than promoting art and artists

so rather than promoting art and artists as isolated and nationalistic the

as isolated and nationalistic the

as isolated and nationalistic the rearrangement shows a world of

rearrangement shows a world of

rearrangement shows a world of connections and cross-cultural

connections and cross-cultural

connections and cross-cultural discussions in doing so MoMA refutes the

discussions in doing so MoMA refutes the

discussions in doing so MoMA refutes the current administration’s claim that

current administration’s claim that

current administration’s claim that safety comes through cultural exclusion

safety comes through cultural exclusion

safety comes through cultural exclusion and highlights the way that our is

and highlights the way that our is

and highlights the way that our is always politically motivated politically

always politically motivated politically

always politically motivated politically relevant and politically necessary

relevant and politically necessary

relevant and politically necessary a few days after visiting MoMA I crossed

a few days after visiting MoMA I crossed

a few days after visiting MoMA I crossed a series of borders to attend Documenta

a series of borders to attend Documenta

a series of borders to attend Documenta a contemporary art event staged every

a contemporary art event staged every

a contemporary art event staged every five years over the span of 100 days in

five years over the span of 100 days in

five years over the span of 100 days in Kassel Germany in one of those

Kassel Germany in one of those

Kassel Germany in one of those fascinating twists of fate I took the

fascinating twists of fate I took the

fascinating twists of fate I took the same travel path I had in the summer of

same travel path I had in the summer of

same travel path I had in the summer of 1994 when I made my first solo overseas

1994 when I made my first solo overseas

1994 when I made my first solo overseas trip age 16 I wasn’t too concerned with

trip age 16 I wasn’t too concerned with

trip age 16 I wasn’t too concerned with my safety I certainly never gave pause

my safety I certainly never gave pause

my safety I certainly never gave pause to consider how easily my passport was

to consider how easily my passport was

to consider how easily my passport was granted to me and how effortlessly

granted to me and how effortlessly

granted to me and how effortlessly I moved through customs and border

I moved through customs and border

I moved through customs and border security but 23 years later again flying

security but 23 years later again flying

security but 23 years later again flying from New York City to Frankfurt I was

from New York City to Frankfurt I was

from New York City to Frankfurt I was acutely aware of my privilege as a

acutely aware of my privilege as a

acutely aware of my privilege as a traveler across borders I freely moved

traveler across borders I freely moved

traveler across borders I freely moved without disruption to my body

without disruption to my body

without disruption to my body no one detained me questioned me at

no one detained me questioned me at

no one detained me questioned me at length or flagged my identity rather I

length or flagged my identity rather I

length or flagged my identity rather I sailed through passport control without

sailed through passport control without

sailed through passport control without a second look as had always happened

a second look as had always happened

a second look as had always happened before and why the only answer is the

before and why the only answer is the

before and why the only answer is the color of my skin and the nationality of

color of my skin and the nationality of

color of my skin and the nationality of my passport which allows me a shield of

my passport which allows me a shield of

my passport which allows me a shield of freedom to move between spaces on my own

freedom to move between spaces on my own

freedom to move between spaces on my own accord once in castle I wandered the

accord once in castle I wandered the

accord once in castle I wandered the sprawling City home of Documenta since

sprawling City home of Documenta since

sprawling City home of Documenta since 1955 modern art needed new supporters in

1955 modern art needed new supporters in

1955 modern art needed new supporters in the years after World War two especially

the years after World War two especially

the years after World War two especially in Germany where the Nazi Party had

in Germany where the Nazi Party had

in Germany where the Nazi Party had condemned any art not seen as beautiful

condemned any art not seen as beautiful

condemned any art not seen as beautiful or ideal Documenta aimed to return a

or ideal Documenta aimed to return a

or ideal Documenta aimed to return a positive status to modern art which the

positive status to modern art which the

positive status to modern art which the Nazis had labeled degenerate art and

Nazis had labeled degenerate art and

Nazis had labeled degenerate art and politics have thus from the beginning

politics have thus from the beginning

politics have thus from the beginning been at the forefront of Documenta and

been at the forefront of Documenta and

been at the forefront of Documenta and this year was no exception borders and

this year was no exception borders and

this year was no exception borders and the movement of bodies was an

the movement of bodies was an

the movement of bodies was an overarching theme throughout the

overarching theme throughout the

overarching theme throughout the exhibitions Germany has welcomed over 1

exhibitions Germany has welcomed over 1

exhibitions Germany has welcomed over 1 million refugees since 2015 and much of

million refugees since 2015 and much of

million refugees since 2015 and much of the art at Documenta acknowledged this

the art at Documenta acknowledged this

the art at Documenta acknowledged this opening of borders although agree BAE’s

opening of borders although agree BAE’s

opening of borders although agree BAE’s monument for strangers and refugees a

monument for strangers and refugees a

monument for strangers and refugees a fifty four foot tall obelisk erected in

fifty four foot tall obelisk erected in

fifty four foot tall obelisk erected in the public plaza bears the inscription I

the public plaza bears the inscription I

the public plaza bears the inscription I was a stranger and you took me in

was a stranger and you took me in

was a stranger and you took me in in German Turkish Arabic in English the

in German Turkish Arabic in English the

in German Turkish Arabic in English the obelisk now functions as a meeting place

obelisk now functions as a meeting place

obelisk now functions as a meeting place in the city taking in all who passed by

in the city taking in all who passed by

in the city taking in all who passed by it is located just a few blocks from the

it is located just a few blocks from the

it is located just a few blocks from the Friedrich C Onam the historically

Friedrich C Onam the historically

Friedrich C Onam the historically primary venue of Documenta and

primary venue of Documenta and

primary venue of Documenta and significantly the first publicly

significantly the first publicly

significantly the first publicly accessible art museum in europe the

accessible art museum in europe the

accessible art museum in europe the facade of the Friedrich C Onam is

facade of the Friedrich C Onam is

facade of the Friedrich C Onam is typically inscribed with the name of the

typically inscribed with the name of the

typically inscribed with the name of the building and gilded font but this year

building and gilded font but this year

building and gilded font but this year Bhanu Chinna toll is being safe is scary

Bhanu Chinna toll is being safe is scary

Bhanu Chinna toll is being safe is scary replace the traditional dedication a

replace the traditional dedication a

replace the traditional dedication a line in Contemporary Art in its display

line in Contemporary Art in its display

line in Contemporary Art in its display with contemporary politics I walked by

with contemporary politics I walked by

with contemporary politics I walked by agwi Bay in Chinna toller’s work

agwi Bay in Chinna toller’s work

agwi Bay in Chinna toller’s work repeatedly during my days in evenings in

repeatedly during my days in evenings in

repeatedly during my days in evenings in Castle I read I was a stranger and you

Castle I read I was a stranger and you

Castle I read I was a stranger and you took me in and being safe is scary

took me in and being safe is scary

took me in and being safe is scary countless times considering the

countless times considering the

countless times considering the political connections between the two

political connections between the two

political connections between the two statements a desire for safety makes us

statements a desire for safety makes us

statements a desire for safety makes us fear the stranger which is precisely the

fear the stranger which is precisely the

fear the stranger which is precisely the argument put forth by our current

argument put forth by our current

argument put forth by our current administration and their claim for the

administration and their claim for the

administration and their claim for the travel ban this desire for safety

travel ban this desire for safety

travel ban this desire for safety however

however

however is also scary for it closes us off from

is also scary for it closes us off from

is also scary for it closes us off from the stranger and from the unknown what

the stranger and from the unknown what

the stranger and from the unknown what we should be scared of is maintaining

we should be scared of is maintaining

we should be scared of is maintaining borders of exclusion where we may never

borders of exclusion where we may never

borders of exclusion where we may never encounter what is foreign to us we must

encounter what is foreign to us we must

encounter what is foreign to us we must keep borders open to allow for the

keep borders open to allow for the

keep borders open to allow for the movement of bodies the free flow of

movement of bodies the free flow of

movement of bodies the free flow of ideas and the exchanges of culture

ideas and the exchanges of culture

ideas and the exchanges of culture movement allows us to breathe and to

movement allows us to breathe and to

movement allows us to breathe and to breathe in another’s viewpoint art is

breathe in another’s viewpoint art is

breathe in another’s viewpoint art is one such way for us to see the world

one such way for us to see the world

one such way for us to see the world through another’s eyes however different

through another’s eyes however different

through another’s eyes however different they may be art is just so absolutely

they may be art is just so absolutely

they may be art is just so absolutely human in that way it is of us and

human in that way it is of us and

human in that way it is of us and reflects us carrying the weight of

reflects us carrying the weight of

reflects us carrying the weight of history and the anticipation of the

history and the anticipation of the

history and the anticipation of the future within to see art in the service

future within to see art in the service

future within to see art in the service of politics in our contemporary moment

of politics in our contemporary moment

of politics in our contemporary moment is neither new nor extraordinary art has

is neither new nor extraordinary art has

is neither new nor extraordinary art has always been there conversing with the

always been there conversing with the

always been there conversing with the world sometimes silent other times

world sometimes silent other times

world sometimes silent other times protestingly loud artists are the

protestingly loud artists are the

protestingly loud artists are the translators and the messengers of our

translators and the messengers of our

translators and the messengers of our shared environment

shared environment

shared environment they show us that arts purpose is not

they show us that arts purpose is not

they show us that arts purpose is not towards beauty and idealism but towards

towards beauty and idealism but towards

towards beauty and idealism but towards the world in all its messy politics it

the world in all its messy politics it

the world in all its messy politics it is our role as viewers to listen to that

is our role as viewers to listen to that

is our role as viewers to listen to that art and to take in the stranger this is

art and to take in the stranger this is

art and to take in the stranger this is what art at the service of politics aims

what art at the service of politics aims

what art at the service of politics aims for I hear you and I accept you art

for I hear you and I accept you art

for I hear you and I accept you art structures my worldview an institution

structures my worldview an institution

structures my worldview an institution such as MoMA my artistic home have long

such as MoMA my artistic home have long

such as MoMA my artistic home have long influenced my understanding of modernism

influenced my understanding of modernism

influenced my understanding of modernism museums historically provide a space of

museums historically provide a space of

museums historically provide a space of relief for quiet contemplation free from

relief for quiet contemplation free from

relief for quiet contemplation free from the distractions of the world especially

the distractions of the world especially

the distractions of the world especially during times of war and civil strife yet

during times of war and civil strife yet

during times of war and civil strife yet museums and specifically arts have long

museums and specifically arts have long

museums and specifically arts have long engaged with broader societal concerns

engaged with broader societal concerns

engaged with broader societal concerns during these moments a political

during these moments a political

during these moments a political conflict MoMA was the first major Art

conflict MoMA was the first major Art

conflict MoMA was the first major Art Museum to respond to the u.s. travel ban

Museum to respond to the u.s. travel ban

Museum to respond to the u.s. travel ban and others in the art world including

and others in the art world including

and others in the art world including artists critics writers and curators

artists critics writers and curators

artists critics writers and curators quickly followed by recognizing the

quickly followed by recognizing the

quickly followed by recognizing the interwoven discourse of art and politics

interwoven discourse of art and politics

interwoven discourse of art and politics we can move away from an isolationist

we can move away from an isolationist

we can move away from an isolationist approach we must fight the impulse

approach we must fight the impulse

approach we must fight the impulse towards exclusion and recognize what

towards exclusion and recognize what

towards exclusion and recognize what artists have always told us what is

artists have always told us what is

artists have always told us what is strange is not scary it is art