The problem with Marc Quinn’s Black Lives Matter sculpture

    Marc Quinn, A Surge of Power (Jen Reid), 2020 © Marc Quinn studio

    On Wednesday morning, my eyes were greeted by what at first would appear like welcome news. In a revocation of white colonial power, the torn-down monument of Bristolian slaver Edward Colston had been replaced by a figure of a Black woman. Yet, this moment of joy and catharsis was taken away with the realisation that it was yet another example of white privilege in action.

    While many non-Black people took a moment to consider how to de-centre themselves in discussions about race, Marc Quinn, an established white male artist saw an image. Attracted to the triumphant Instagram post of Jen Reid atop the plinth after it had been pulled down, he then decided to engage with depicting the issue.

    However, racism runs far deeper than representation. In actuality, the insidious nature of racism affects Black peoples access to opportunity and resources. This is why there are so few Black sculptors working in the public realm and less so ones with the finances to immediately take advantage of the opportunities that arise. In my experience, Black artists are frequently only accepted when talking about race. Whereas, white male artists have often been afforded the freedom to explore whatever subject matter they want. So, it is even more disappointing to see issues pertaining to race claimed by white artists. Instead, I think it would be more useful if white artists confronted “whiteness” as opposed to using the lack of Black representation in art to find relevance for themselves.

    I can understand the initial positive reactions of those looking to address the lack of visible diversity within public sculpture and gestures towards allyship, but in my opinion, Quinn has literally created the votive statue to appropriation. It could well overshadow any permanent sculpture that eventually goes there, hindering real progress during a moment of activism that should have showcased a Black artist's output, not that of a white cis man.

    Previously, I have spoken about the importance of taking our time to consider how we move forward from this moment. For real change, we need to do to the real work which isnt achievable by quick fixes, only with an in-depth examination of the power structures that govern our society. As an arRead More – Source

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