James David Morgan wrote this post at 1:55 pm on January 27th, 2009.
Emily Jacir’s Where We Come From (2001-03), asked Palestinians around the world: “If I could do something for you, anywhere in Palestine, what would it be?”
Provisions Library explains:
Holding an American passport, Jacir was permitted to carry out many of the simple requests that Palestinian residents are restricted from doing such as paying a phone bill, having dinner with relatives, or eating fruit from a certain orchard.
The result is a heart wrenching pairing of text and photos documenting her missions, viewable online here. Jacir succeeded in capturing the effects of a massive and violent geopolitical conflict within a conceptual framework, and her specificity and attention to scale render the work visceral, rather than heady.
Following their 2008 acquisition of the work, the SFMOMA recently added additional wall text to the installation. Modern Art Notes reports that the text alerts viewers that the museum is distributing “an FAQ about [Jacir], the Israeli-Palestinian conflict, and what the museum’s acquisition of the work might say about the museum itself.” The text reads:
SFMOMA is committed to exhibiting and acquiring works by local, national and international artists that represent a diversity of viewpoints and positions. Works of art can engender valuable discussion about a range of topics including those that are difficult and contested, such as the Israeli-Palestinian conflict. Additional information about Emily Jacir’s Where We Come From, including a list of frequently asked questions, is available at the information desk in the Haas Atrium.
The FAQ and the primary wall text are available online, though, interestingly, are not connected to the online showing mentioned above.
This is the first instance in which the museum has chosen to accompany an exhibit with explanatory text beyond the customary art-historical context. Comments were solicited from the involved decision makers, but only the museum spokesperson, Libby Garrison, was willing to comment:
The decision [to add the text] was made by the curators and the director, the trustees were not involved. It was made because when the work was on view (without wall text) during the acquisition process, we received numerous letters of concern from visitors who saw it on the wall. In response and for the exhibition, we felt we should contextualize the piece acknowledging the sensitivities that surround it. We deeply believe in the merits of her work but of course, are not taking political sides.
Especially given the heightened attention paid to the Israeli-Palestinian conflict of late, the question has to be raised whether this is an appropriate action on the part of SFMOMA, and, more broadly, what a museum’s role in mediating critical or politically sensitive cultural work ought to be.
Discuss (0)
