Spray Paint LACMA by Asco
During the 1960s, four Chicanx artists formed Asco or "your art disgusts me" and changed the way society perceived Chicanx art. According to the story, a member of Asco asked a LACMA curator whether they could display more Chicanx artwork to be more authentic to their LA home base. The LACMA curator in response stated that Chicanx art does not exist because "they" can only produce graffiti, not art. Asco gave a metaphorical f*ck you to the LACMA curator by spray painting their initials on the LACMA walls as if LACMA itself was their own personal Chicanx artwork. Spray Paint LACMA placed a spotlight on the innate "eliteness" and whiteness found at institutions like LACMA.
Counternarratives by Alexandra Bell
Alexandra Bell's Counternarratives installation uses journalism as her mode of art. She highlights the inherent racist bias of current journalism that is supposed to be neutral. After Ferguson, Bell used the New York Time's piece of Michael Brown and edited and redacted the article until it read "Officer Darren Wilson fatally shot an unarmed black teenager named Michael Brown." Bell plastered this and many more articles throughout New York in order to not only force the New York Times to be accountable for their journalism but also for the general public to be more analytical when viewing these pieces.
Shot and Captured by Naomi Bragin
First, in order for us to understand the power of this piece, we must all agree that dance is a form of storytelling. According to academics such as Jose Munoz, we should focus not only on what the gestures mean but also on how those gestures affect us. Bragin in Shot and Captured demonstrates black performance in juxtaposition with the daily policing and sanctioning of black bodies. The irony of this piece was the two dancers who were standing at a street corner was in fact stopped and surveilled by a police car during filming. The spontaneity of the police stop shows just how "unspontaneous" these "random" police stops really are.
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