Description

This essay analyzes an exhibition by Los Angeles based Latina artist Carmen Argote at the San Diego Museum of Contemporary Art held from summer to fall 2022. It analyzes one work in the show titled Cosmic Backpack Mono Arana/Spider Monkey and how it is displayed within the museum. It also addresses issues around the representation of marginalized artists and cultures in the visual arts. Although Argote’s culture may influence her works, her art is not defined by her heritage. The museum’s exhibition presented Argote’s works in a way that accurately aligned with her practices instead of exploiting her heritage. The significance in doing so helps provide contemporary artists with genuinely inclusive spaces to express their works, widen representation within artistic spaces, and exposes audiences to a wider variety of artists. Although representation for underrepresented groups is steadily progressing, contemporary artworks that are created by marginalized members of society can often be flattened by solely attributing an artist’s race or one singular aspect of their identity to their art. Given that one’s identity will be influential or significant to one’s work, it is still important to be conscious and respectful in how works are presented to audiences. Through art criticism and visual analysis of Argote’s work, I ultimately argue that artists from marginalized communities, like Argote, have been historically reduced to singular aspects of their identity or cultural heritage. As a result, the multidimensionality of these creators’ practices is often overlooked and misinterpreted. Instead, art institutions should provide spaces where marginalized people are able to present their work in a way that is respectful and genuinely representative of the artist’s own unique experiences.