Gatekeepers of Modern Art - Who gets to belong and why?
Our Constitution secures to all of us the liberty of expression. As someone who has been working in an art space for quite some time, I often feel how we believe structures are changing, art is becoming more inclusive, belonging to everyone who admires or practices it. But when you encounter moments worth questioning this comforting idea, narratives tend to unravel themselves.
Who gets to belong in Art Spaces and who gets to decide it?
Gatekeeping in art isn’t a modern invention at all. It’s been happening since dynasties started patronising artists. Access to “royal” or “legitimate” art has often been controversial, criticised for being controlled by power, wealth and class. The worthiness of art was intricately linked with the person who funded it, places that displayed it and structures that decided who were allowed to participate. Art spaces have been democratised a lot in recent years but sometimes it seems like the hierarchy manages to exist, surviving in the shadows we don’t cast the light on.
"The worthiness of art was intricately linked with the person who funded it, places that displayed it and structures that decided who were allowed to participate"
Have you ever felt this hierarchy? I personally experienced this when I once visited a museum in Delhi while dressed in traditional attire. My friends and I were repeatedly instructed not to click pictures even when we all did mention that we saw it in the notice board and we understood the intent. What was particularly interesting about this incident was that many people, dressed in what is often described as more “modern” or fitting clothing, were freely taking photographs without being stopped. This is just another example of how our own prejudices tailor cultural norms accordingly.
Gatekeeping in art today is rarely explicit. No one stands at the door and says you cannot enter. Instead, it is woven into the structure of these spaces, almost invisible, but deeply felt.
The Surveillance of Algorithms
I opened an art account on Instagram in 2020. Ever since, I have scrolled through endless videos and posts of artists sharing their work, building digital art spaces and collaborating across borders. I myself collaborated with artists from all across the world when I was active on that account. It feels easily accessible. But is it so?
Pierre Bourdieu, the French sociologist, argued that “cultural capital” is what shapes and monitors cultural spaces. This cultural capital can be the knowledge, skills, peculiar tastes that allow individuals to navigate within certain environments. In the age of social media, this might correspond with the “right” aesthetics, understanding the algorithm, posting something relatable every single day, and following trends in popular songs that align with the feed preferences of your niche.
"Artists begin to self-censor, treating creativity as an act of performance in order to adhere to the algorithm."
The result? Artists begin to self-censor, treating creativity as an act of performance in order to adhere to the algorithm. If you don’t know how to fit in, your art may never get the visibility it deserves.
Address the inconsistencies and reimagine a better space
I’ve always believed that the first step to achieving inclusion is acknowledging the fact that there exists a certain proportion of discrimination. It’s time we talk about how we can rebuild art spaces differently. How to design them in such a way that they feel more welcoming and inclusive?!
That’s what Pouls.of.art has been working so hard to achieve.
This sometimes means:
• Creating inclusive workshops that don’t require expertise in art
• Encouraging multilingual participation
• Valuing process over perfection
• Making space for those who do not identify as “artists”
The responsibility shifts to all of us, as artists, as participants, as organisers and even as observers of art to make people feel comfortable about art spaces and celebrate their imperfections because as Vincent Van Gogh expressed in a letter to his brother, “There is nothing more truly artistic than to love people.”
Hemleena
Research Head, Pouls.of.artDearest gentle readers, one thing about this author that you might've already guessed and rightfully so, is that she's passionate about art and literature. She handles the position of "Research Head" at Pouls.of.art and is always in the pursuit of research ideas, themes, and the silly in the seriousness.
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