SPONSOR TEST
TEST
SuperHi are collaborating with us to explore the different ways that creative folk can use the internet to make the world a better place. Their online, go-at-your-own-pace courses are an affordable and accessible way to learn how to code, design and grow in your career. Together we want to see more digital spaces that are truly diverse, inclusive and empowering. Click above to start your journey into code + design.
Everyone has a story and ways of finding their own creative expression. If it’s not large-scale sculptural artworks, it could be photos kept in shoe boxes, or journals left unread for a decade. There’s sometimes a difference between who we are and how we’d like to be seen. While we might seek to handle this ourselves, our narratives can also change depending on who tells them and how they’re told. The stories we encounter in museums, galleries, history books and the mainstream media often stand at odds with our realities, leaving significant gaps and distorting the bigger picture.
In cultural institutions, methods of acquisition and display shine a light on where the power continues to lie. Only last year, The British Museum reluctantly agreed to return the Benin Bronzes to Nigeria on a loan basis, treasures stolen by the British from the pre-colonial Kingdom of Benin in 1897. More recently, after examining the online public catalogues of eighteen major art museums in America, a study concluded that the collections of those institutions are 87% male and 85% white. And Artnet reported that only 13.7% of living artists represented by galleries in Europe and North America are women. It’s not hard to notice the sustained inequity between who controls mainstream narratives, and who is left out.