Researching contemporary public artists comes with some challenges, especially when those artists are women, LGBTQA+, Black, Indigenous, People of Color, people with disabilities, and/or folks from other marginalized populations. There are two primary reasons for this:
1. In general, the research process takes time and it can be years (even a lifetime) before an artist makes it into academic literature.
2. The academy has traditionally venerated the work of white men from Western European and North American countries over that of other populations.
As arts researchers we have the privilege of producing scholarship that recognizes and honors the significant creative contributions of our diverse human community. However, to do this we must question how "authority" has been defined within the academy.
For the purpose of writing about public artworks from artists with diverse identities and little or no recognition, we can begin by considering their work through a theoretical lens that invites critical discourse. Critical theories provide us with frameworks to question the power structures that allow, for example, statues of Confederate Generals to remain in public spaces but disavow the value of artworks on the sides of public buildings.
To learn more about critical theory and its frameworks, you can begin by looking through material in the University Library collections. You may want to browse the Dictionary of Critical Theory linked below.