Separating the Art from the Artist: Curatorial Responsibilities in Times of Social Unrest

In today’s cultural landscape, curators are not just gatekeepers of art; we are stewards of cultural discourse. In times of social unrest, our roles are amplified, and so is our responsibility to critically evaluate the works we present—and the artists behind them. The question of whether we can or should separate the art from the artist is not new, but it carries heightened urgency in an era where accountability and ethical alignment are integral to our institutional missions.

The Legacy of “Great” Artists with Troubling Histories

History is rife with artists whose contributions to the canon are undeniable, yet their personal actions or ideologies are deeply troubling. Pablo Picasso, for example, is celebrated as a revolutionary artist but also documented as a misogynist who mistreated the women in his life. Similarly, Paul Gauguin’s depictions of Tahitian women are iconic, yet they are mired in his exploitative relationships with young girls during his time in Polynesia. Caravaggio, a Baroque master, was a convicted murderer whose violent tendencies shadowed his brilliance as a painter.

These examples remind us that while the art remains influential, the artist’s personal life cannot always be ignored—particularly when their actions perpetuate harm or exploit the very communities they claim to represent.

Why the “Standards of Back Then” Don’t Hold Today

Historically, society often overlooked or excused problematic behaviors in the name of artistic genius. However, as cultural institutions, we are no longer bound by those outdated standards. The mission-driven nature of many galleries, museums, and art spaces today is grounded in fostering equity, inclusion, and community. To adhere to those values, we must critically examine not just what we display but who we choose to celebrate.

Today, curators have the autonomy to disconnect from artists whose personal lives or ideologies clash with their organization’s values. This is not about censorship but about alignment. Galleries and museums are not neutral spaces—they are cultural forums that shape narratives, influence public perception, and uphold ethical principles.

How to Address Problematic Artists in the Gallery Context

Develop a Mission-Driven Standard

Begin by ensuring your gallery or institution has a clearly defined mission that reflects your values. This framework will guide decisions about whose work aligns with your goals. For example, if your mission is to uplift marginalized voices or combat social inequities, showcasing an artist with a documented history of racism, misogyny, or exploitation would undermine that mission.

Contextualize the Work

In cases where the art holds undeniable historical or cultural value, consider presenting it with a critical framework. For example, if exhibiting works by Gauguin, include educational materials or programming that discuss his exploitation of indigenous communities, ensuring viewers engage with the full context rather than romanticized narratives.

Choose Active Disconnection

For contemporary artists, curators have the option to simply not exhibit their work if their behavior or values conflict with the gallery’s mission. Unlike in past centuries, where access to artists and their works was limited, today’s globalized art world offers no shortage of voices to uplift. Disconnection is not about erasing history but about focusing attention on artists who represent the principles you stand for.

Engage Community and Stakeholders

In times of social unrest, community voices become especially vital. Open dialogues with stakeholders, patrons, and audiences about what they expect from your institution. Transparency about your decision-making process can build trust and demonstrate accountability.

Champion Accountability Over Genius

The myth of the untouchable “artistic genius” no longer holds up in a world where accountability is paramount. Elevating artists whose values reflect ethical practices, respect for humanity, and progressive ideals can help dismantle the harmful legacy of idolizing “problematic geniuses.”

Why This Matters

Art is a reflection of the society that produces it, and as curators, we are responsible for shaping the narratives told in our spaces. Failing to address the harm caused by artists can perpetuate cycles of injustice, especially in marginalized communities. By carefully selecting the works we display and the artists we endorse, we set the tone for what our galleries stand for: inclusivity, integrity, and cultural responsibility.

Separating the art from the artist is not always straightforward, but in today’s world, it is a critical part of curatorial work. It is not enough to simply ask, “Does this work hold artistic value?” We must also ask, “Does this work align with our values?” Only by balancing these considerations can we create art spaces that truly resonate with the communities we serve.

We have to move beyond outdated paradigms and take this opportunity to reshape the art world into one where both creativity and conscience coexist.

Denise “The Vamp DeVille” Zubizarreta is a neurodivergent mixed media interdisciplinary artist and cultural operations strategist for arts organizations. She is also a scholar and researcher focusing on applied social justice and its impact on the arts and artists. Of Puerto Rican and Cuban descent, her research and artwork explore the impact of colonialism in the Caribbean. Denise brings over two decades of experience in diverse creative fields. Currently, she serves as an arts and culture writer for leading publications that offer curated and critical perspectives on contemporary arts and culture.

Zubizarreta holds a B.F.A. in Fine Art from the Rocky Mountain College of Art + Design (RMCAD) and is completing her Masters in Arts Leadership and Cultural Management (M.A.L.C.M.) at Colorado State University. Her passion for arts and culture drives her to explore and challenge the intersections of post-colonial theory, identity, technology, and traditions in her writing and mixed media works.

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