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1/ On a panel yesterday, I was surprised to find myself explaining to two other panellists exactly why it is so important to open up our platforms to a wider diversity of voices, and just why we can’t just be sending white writers to cover exhibitions by non-white artists.
2/ One actually argued that she doesn’t see race as important, and that instead she simply values “experts”. I was shocked as “expert” is such a loaded term; how do you even judge that? Is it by traditional structures of power embedded in education; if they have a masters; a phd?
3/ Another said that to take into account the race and gender of a writer is essentialist, and mocked the value of shared experience: “I should send only a writer born in the same city, on the same day as the artist, right?” He also asked me if I only write about British artists.
4/ I couldn’t believe it. I tried to explain to them that the colonial legacy of the west means there are historic power structures inherent in white writers speaking for others, and that we as editors need to be doing the work to change this.
5/ Yes, I write about artists of many different backgrounds, but as editors we have a duty and a responsibility to be aware of when and where to step back and recognise that we (or other European writers) are not the best person to write or commission for this one.
6/ And yes, we do need to be as crude as to pay attention to the gender and race representation of contributors, and the balance of artists in the magazine. We need to nurture young voices, who are not yet “experts” in their field.
7/ It seemed significant that it was only me and an editor from @terremoto_mx who argued for these changes. We were the youngest on the panel, and the only non-white participants.
8/ These things all played out in front of a full audience, out in the open. It is clear that those who hold power and privilege are still unwilling to give it up, and aren’t ashamed to say so. I only hope that change is coming, and that we can do more towards it.
