The Politics of Display

What role should curators play in shaping and guiding political discourse? This article examines the consequences of political activism in museum display by investigating the Whitney Museum of American Art’s exhibition America is Hard to See (May 1 – September 27, 2015). The show asked visitors to reconsider American art as a reflection of a profoundly diverse nation, while effectively retelling the modern history of the country by use of juxtaposition and contextualization. The large-scale exhibition employed specific curatorial pronouncements that seemed to serve a political agenda, provoking a reconsideration of curatorial boundaries. This was most evident in the museum’s politically charged placement of Elizabeth Peyton’s portrait, Barack and Michelle (2008–13, fig. 1), which uncritically celebrated the 44th President of the United States and his wife. It is not the intention of the author to question the validity, importance, or artistic merit of Peyton’s contribution. It is understood that the unique charge of an artist allows for and encourages subjective responses. Yet for this reason curators are confronted with a difficult task when faced with the installation of politically oriented art. Depending on the associated text and display tactics employed, an artwork’s subjective appeal might preclude an extended consideration of relevant social issues. While it is generally standard practice for the art world to reflect Leftist ideals, this essay proposes a tempered approach in the curatorial treatment of political subjects. Such a method could foster a more nuanced and meaningful dialogue among museum patrons, as well result in greater inclusivity for the public.