When I call it storytelling, I don’t mean in the fairytale sense. It’s a linguistic trope that brings art criticism into the realm of the familiar, presenting its complexities as a cultural expression that is immediate and intimate, unhitched from its institutional weight.
When I say radical, I mean both definitions of the word, as a drastic alternative from traditional art criticism, that is, the notion of “expert” and objective analysis, but also radical’s second meaning, ‘fundamental’, from the Latin radix, root, as in root of origin. Together, radical storytelling, used as critical practice, could be an alternative method of writing about and critiquing art through the lens of identity, experience and historical context.
If people shy away from or dismiss critical engagement with contemporary art, it might be because they don’t see themselves in relation to it. If there is a disconnect, then there’s real merit in rethinking the way we as practitioners talk about art. This is especially worth consideration given the curricular cutback arts education sees in schools. People need tools to suss out the mess of feelings and experience art evokes, and it’s part of our responsibility to identify and provide those tools.
Continue reading » viva lisa – an interview with sam anderson-ramos
This is part of “Radical Storytelling,” originally submitted to the SAIC Collections on 14 Dec 2013.