The Haunting of Iconology
In this series, I intentionally expose the specific exclusions of cultural experiences in the documented history of art. More particularly, curated works validated as truth by academia. In mediating through this concept is to carefully maintain the dialogic civility around acceptance vs. acknowledgment of “the other” in both contemporary and historical narratives.
In appropriating the cultural capital associated with gender roles, props and gestures, and the historical work’s tangibility, we redistribute the agency back onto the alleged collaborator. Through this performance, we have a more inclusive understanding of art history.