Ernesto Pujol’s journal discusses his art exhibition called Whiteness, where it revolves around the culture of whiteness and the thought process of being a white subject. The exhibition opened at the Foire Internationale d'art moderne et Contemporain in Paris in September 1999, and at Linda Kirkland Gallery in New York in October. It features an interesting assortment of objects joined together like Nazi porcelain dishes and bronzed, enameled, American baby boys' boots on a faux Victorian shelf, wherein Pujol creates a series of photographs focusing on the taste and purity (Pujol 100). Pujol is attempting to make the viewer see whiteness from a more subjective perspective, where whiteness is an internal construct of a profound ethnic experience
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In My Calling (Cards) exhibition, the author discusses the veil that covers up implicit racism in these social situations, which is similar to Sacco-Fernandez’s reading where she acknowledges the unspoken whiteness connects to the art world, thus creates a challenge for artists of color to break through the racist and hostile attitudes within these social spaces. In John P. Bowles’s article, he reveals the impact of setting whiteness as the norm for culture and arts, Piper’s exhibition does the same by removing this veil and seeing the standard of whiteness encroach on others to keep its power within racism. Through seeing Piper’s exhibition, whiteness is understood for what it really is: a construction that allows white people to attain social status through other’s oppression. Moreover, Piper’s calling cards challenge the standard of whiteness and its repressive nature that enables it to succeed in the art world. In Whiteness exhibition, Pujol remarks that the cultural process of whiteness in art and society relates to white people’s need to find an ethnic identity, yet they appropriate everyone else’s instead. This connects to Sacco-Fernandez’s research where she admits that whiteness is more of a cultural process than social because of its expected …show more content…
Like in Bowles’ piece, Berger sees whiteness as a universal and assumed practice that regulates culture and visual art because of wanting to sustain white privilege and power. Both of them found that once social and cultural identities get abandoned, whiteness dictates the experiences of people of color in order to denaturalize their heritage and ethnicity. Also, Berger realizes that Lee’s series confronts the idea of invisibility of whiteness, as she somehow makes whiteness visible through her exhibition, whereas Bowles states that since whiteness is invisible, artist of colors has a duty to make it clear to the public. The conclusions discovered in this essay have now come to fruition, where the research question of whether art can challenge whiteness in its own spaces is confirmed through the ideas and examples presented above. The claims of the authors about exhibitions and ideas show that art can actually challenge whiteness in its own space because artists are taking responsibility for the traditional art canon that represses diversity and making whiteness a visible component in the issues that plague art and art history today.
In My Calling (Cards) exhibition, the author discusses the veil that covers up implicit racism in these social situations, which is similar to Sacco-Fernandez’s reading where she acknowledges the unspoken whiteness connects to the art world, thus creates a challenge for artists of color to break through the racist and hostile attitudes within these social spaces. In John P. Bowles’s article, he reveals the impact of setting whiteness as the norm for culture and arts, Piper’s exhibition does the same by removing this veil and seeing the standard of whiteness encroach on others to keep its power within racism. Through seeing Piper’s exhibition, whiteness is understood for what it really is: a construction that allows white people to attain social status through other’s oppression. Moreover, Piper’s calling cards challenge the standard of whiteness and its repressive nature that enables it to succeed in the art world. In Whiteness exhibition, Pujol remarks that the cultural process of whiteness in art and society relates to white people’s need to find an ethnic identity, yet they appropriate everyone else’s instead. This connects to Sacco-Fernandez’s research where she admits that whiteness is more of a cultural process than social because of its expected …show more content…
Like in Bowles’ piece, Berger sees whiteness as a universal and assumed practice that regulates culture and visual art because of wanting to sustain white privilege and power. Both of them found that once social and cultural identities get abandoned, whiteness dictates the experiences of people of color in order to denaturalize their heritage and ethnicity. Also, Berger realizes that Lee’s series confronts the idea of invisibility of whiteness, as she somehow makes whiteness visible through her exhibition, whereas Bowles states that since whiteness is invisible, artist of colors has a duty to make it clear to the public. The conclusions discovered in this essay have now come to fruition, where the research question of whether art can challenge whiteness in its own spaces is confirmed through the ideas and examples presented above. The claims of the authors about exhibitions and ideas show that art can actually challenge whiteness in its own space because artists are taking responsibility for the traditional art canon that represses diversity and making whiteness a visible component in the issues that plague art and art history today.