The creator’s copy of This Is What I Know About Art by Kimberly Drew (all photos by the creator for Hyperallergic)

At the beginning of June, in response to the belated solidarity posts launched by museums and cultural institutions following the massive protests in the direction of anti-Blackness and systemic racism, curator and creator Yesomi Umolu shared “14 Points on the Limits of Knowledge and Care” on her Instagram account. These reflections gestured in the direction of conversations which have rattled paintings and cultural employees for years — particularly, the continual refusal of the museum to acknowledge its imperial historic previous and efficiency. The museum prefers to present itself as neutral and benevolent, a public home offering every respite and cultural authority. But, as with most institutions, it is and has been intimately wrapped up in harm. 

“The conditions of collecting upon which museums were founded are inextricably linked to colonial violence enacted on the other — non-western bodies, spaces, and societies,” writes Umolu. Amidst pressure to decolonize and rebuild our institutions and personal relationships, she wonders, “what does this look like in practice” for museums and paintings areas? 

At the beginning of June, in response to the belated solidarity posts launched by museums and cultural institutions following the massive protests in the direction of anti-Blackness and systemic racism, curator and creator Yesomi Umolu shared “14 Points on the Limits of Knowledge and Care” on her Instagram account. These reflections gestured in the direction of conversations which have rattled paintings and cultural employees for years — particularly, the continual refusal of the museum to acknowledge its imperial historic previous and efficiency. The museum prefers to present itself as neutral and benevolent, a public home offering every respite and cultural authority. But, as with most institutions, it is and has been intimately wrapped up in harm. 
Page from This Is What I Know About Art by Kimberly Drew

Umolu’s question echoes one different requested by creator, curator, and activist Kimberly Drew: What should a museum seem like in 2020? I held every questions shut whereas finding out Drew’s debut information, This Is What I Know About Art. The slim textual content material is a a part of the Pocket Change Collective sequence, which publishes work by essential activists and artists for a teen viewers. Drew charts her non-public journey in path of and previous the paintings world, using her private fumbles and triumphs as a physique in which to have a look at the symbiotic relationship between paintings and activism. Beginning alongside along with her undergrad years at Smith College and ending alongside along with her decision to depart her place as a result of the social media supervisor of Metropolitan Museum of Art in 2017, the information organizes itself spherical formative moments in Drew’s occupation. If you’ve been following the social media phenom as a result of the 2011 launch of her widespread Tumblr weblog, Black Contemporary Art, then chances are high you will already be accustomed to the outlines of Drew’s trajectory. For youthful of us curious regarding the intersections of paintings, resistance, and self-power, this information serves as a generous info. 

At the beginning of June, in response to the belated solidarity posts launched by museums and cultural institutions following the massive protests in the direction of anti-Blackness and systemic racism, curator and creator Yesomi Umolu shared “14 Points on the Limits of Knowledge and Care” on her Instagram account. These reflections gestured in the direction of conversations which have rattled paintings and cultural employees for years — particularly, the continual refusal of the museum to acknowledge its imperial historic previous and efficiency. The museum prefers to present itself as neutral and benevolent, a public home offering every respite and cultural authority. But, as with most institutions, it is and has been intimately wrapped up in harm. 
Page from This Is What I Know About Art by Kimberly Drew

Drew sprints by way of courses realized at assorted institutions: Smith College, Creative Time, the Studio Museum in Harlem, and the Met. A revelatory, paid internship on the Studio Museum introduces her to artists like Jean-Michel Basquiat, Lorna Simpson, and Glenn Ligon — a stark distinction to the whitewashed paintings historic previous applications she took all through her remaining years at Smith. She challenges that lack by way of her weblog, which turned her method “to resist the erasure of Black artists.” A string of post-graduate jobs deepened her dedication to bodily accessibility and neighborhood accountability. Still, a strain emerged between her imaginative and prescient of what the museum might probably be and the museum because it’s, stubborn and reluctant to change. Drew alchemized her frustration into initiatives and initiatives meant to disrupt the boundaries imposed by paintings institutions on cultural manufacturing. She turned her private Instagram account into a roving gallery, documenting as many free reveals as attainable in an effort to demystify the paintings world to those excluded from its processes. The information is a momentary tribute to the boundaries of institutions, leaving readers to ponder (and hopefully activate) the question: the suitable approach to rework museums into arbiters of care?

This Is What I Know About Art by Kimberly Drew is revealed by Penguin Random House and is accessible on-line and at indie bookstores.