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When Artists Speak Truth… WHEN ARTISTS SPEAK TRUTH ACT UP / SHIMON ATTIE / MAJA BAJEVIC / LUIS BALAGUER / FÉLIX BELTRÁN / ADIGIO BENITEZ / ANDREA BOWERS / TANIA BRUGUERA / MATTHEW BUCKINGHAM / NANCY BURSON / YOAN CAPOTE / MEL CHIN / EMORY DOUGLAS / SAM DURANT / DYKE ACTION MACHINE / SHEPARD FAIREY / CHARLES GAINES / RICO GATSON / GUERILLA GIRLS / EDGAR HEAP OF BIRDS / SISTER CORITA KENT / HEW LOCKE / RAUL MARTÍNEZ / RENÉ MEDEROS / YOKO ONO & JOHN LENNON / ADRIAN PIPER / FAVIANNA RODRIGUEZ / ALFREDO ROSTGAARD / DREAD SCOTT / ANDRES SERRANO / FELIX GONZALEZ-TORRES / JARO VARGA THE 8TH FLOOR NOVEMBER 12, 2015 TO MARCH 18, 2016 6. 1. 2. 3. 4. 5. 9. 10. 7. 8. 12. 13. 11. 1. ACT UP (EST. 1987), SILENCE = DEATH, 1986. 7. RICO GATSON (B. 1966, AUGUSTA, GA), DOUBLE AMIRI, SILENCE = DEATH PROJECT. C-PRINT, 22 X 34”. COURTESY 2014. COLOR PENCIL, MARKER, AND PHOTO OF AVRAM FINKELSTEIN COLLAGE ON PAPER, 24 X 32”. COURTESY OF THE ARTIST AND RONALD FELDMAN FINE ART 2. MATTHEW BUCKINGHAM (B. 1963, NEVADA, IA) THE SIX GRANDFATHERS, PAHA SAPA, IN THE YEAR 8. SAM DURANT (B. 1961, SEATTLE, WA), EMORY DOUGLAS 502,002 C.E., 2002. BLACK-AND-WHITE DIGITAL C-PRINT SUITE (YOU PIG), 2004. GRAPHITE ON PAPER, 50 X 38”. 60 X 43” / 152.4” X 109.22” (12FT 7” X 9FT 1”). © SAM DURANT. COURTESY PAULA COOPER GALLERY, COURTESY OF MURRAY GUY, NEW YORK NEW YORK 3. EMORY DOUGLAS (B. 1943, GRAND RAPIDS, MI) 9. FAVIANNA RODRIGUEZ (B. 1978, FRUITVALE, CA) BLACK PANTHER, SEPTEMBER 21, 1974. OFFSET LITHO- I’M A SLUT, 2012. DIGITAL ART PRINT, 17 X 12”. GRAPH. 17.5 X 11.3” © 2015 EMORY DOUGLAS / COURTESY OF THE ARTIST ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 10. ADRIAN PIPER (B. 1948, NEW YORK, NY), VANILLA 4. FÉLIX BELTRÁN (B. HAVANA,1938), COMITE POR LA NIGHTMARES #14, 1986. CHARCOAL & OIL CRAYON LIBERTAD DE ANGELA DAVIS, CUBA LIBERTAD PARA DRAWING ON NEWSPRINT, 22 X 13 3⁄4”. COURTESY OF ANGELA DAVIS (“FREEDOM FOR ANGELA DAVIS”), 1971. FAULCONER GALLERY, GRINNELL COLLEGE SILKSCREEN, 22 1⁄4 X 14”. COURTESY OF THE CENTER FOR CUBAN STUDIES 11. NANCY BURSON (B. 1948, ST. LOUIS, MO) FOCUS ON PEACE, 2002. OFFSET PRINT, 28” X 20”. 5. SISTER CORITA KENT (B. 1918, FORT DODGE, IA – D. ORIGINAL RUN OF 7000 POSTERS. COURTESY OF THE ARTIST 1986, BOSTON, MA), IF I, 1969. SERIGRAPH, 23 X 12”. TEXT BY MRS. MARTIN LUTHER KING JR., AND ALAN WATTS. 12. GUERILLA GIRLS, DO WOMEN HAVE TO BE NAKED TO GET PHOTOGRAPH BY ARTHUR EVANS. COURTESY OF THE INTO THE MET. MUSEUM? UPDATE, 2012. DIGITAL PRINT, CORITA ART CENTER, IMMACULATE HEART COMMUNITY, 11 X 26”. COPYRIGHT © GUERRILLA GIRLS, COURTESY LOS ANGELES, CA GUERRILLAGIRLS.COM 6. DYKE ACTION MACHINE (EST. 1991), LESBIAN 13. ADIGIO BENITEZ (B. SANTIAGO DE CUBA, 1924 - D. AMERICANS: DON’T SELL OUT, 1998. 4/C OFFSET POSTER HAVANA, 2013) UNTITLED, 1972. SILKSCREEN, 29 ½ X 20”. 24 X 36”. 5,000-PIECE CAMPAIGN WHEATPASTED IN COURTESY OF THE CENTER FOR CUBAN STUDIES LOWER MANHATTAN, NEW YORK CITY JUNE 1998. COURTESY OF DYKE ACTION MACHINE! / CARRIE MOYER AND SUE SCHAFFNER When Artists Speak Truth… reveals how cultural producers, centered on the poetic symbol of the butterfly, which in her Shimon Attie’s Double Blind (Israeli and Palestinian visitors may choose to take a print with them. In an interview artists in particular, are uniquely positioned to voice critical work is a reminder that living beings have the right to move Declarations of Independence), 2012 places the with Gonzalez-Torres, artist Tim Rollins described the stacks messages that cannot otherwise be transmitted. The freely, embodying the determination of immigrants who Declarations of Independence of Israel and Palestine side by of prints as “an accumulation of frames from a film.”1 Given exhibition is presented at The 8th Floor, as a dialogical come to the United States in search of their dreams. side in braille, embossed on black Somerset paper. Double the politics surrounding gun control, the frames of this and discursive space where politically engaged artistic Blind is a reminder that the aspirations for independence symbolic film continue to repeat in a morbid cycle. The stack projects set the stage for reflection and interchange. When As part of the exhibition, two artists have created immersive can be felt, but not seen, as propaganda on both sides of red paper, printed with a black framed edge, a minimalist Artists Speak Truth… is posed as a series of questions: site-specific installations at The 8th Floor. Maja Bajevic and of what became the Palestinian question – bound up in version of the outline of a body at a crime scene, becomes what happens when artists challenge the status quo, and Jaro Varga, using text and archives, respectively, explore the state of Israel’s response to the Jewish question – a stand-in for the loss of lives that the National Rifle advocate for change? Why are artists able to ask and how words can accumulate anti-institutional power. Library, obscures the human rights of two historically intertwined Association permits through its advocacy of gun ownership. respond to these questions? What makes art a space where an ongoing installation series by Varga, first realized in nations. The notion of ‘the Other’ is intrinsic to the Vanilla radical ideas can be supported? 2008, is a participatory work in which gallery visitors are Nightmare series, where Adrian Piper makes the racial encouraged to write book titles directly onto the wall of a fears and fantasies of white figures featured in ads and “Ask a few simple questions Perhaps because their status is constantly shifting, artists room-sized print depicting the stacks of a library. The project articles in the New York Times horrifically visible, by drawing have the social mobility and capital to question the power has a number of implications. It questions the relevance charcoal caricatures of racialized stereotypes onto images to define aesthetics: whose structures that define so much of our society. Considering of physical books and their eventual obsolescence, while of white culture. In Vanilla Nightmare #14, Piper overlays that artists are in a class of their own – one that is both also offering the temporary community surrounding the a ghoulish African American figure onto the political pages aesthetics? at what historical economically precarious and culturally rich – it is not exhibition a chance to define the books entered into this featuring then President Ronald Reagan, representative time? under what circumstances? surprising that they are aligned with activists organizing for conceptual library, giving visibility to under-recognized William H. Gray, Senator Lowell P. Weicker Jr., Senator Ted workers’ rights, immigrants’ rights, and gender and racial literary contributions. Varga’s project ultimately builds Kennedy, and impeached United States District Judge Harry for what purposes? and who equality. awareness of the collective input needed to demonstrate a E. Claiborne. Vanilla Nightmare #17 features an ad for B. representative institutional knowledge, creating a cognitive Altman’s department store, Piper’s intervention depicts an is deciding quality, etc? Then From 1967 until the 1980s, Emory Douglas was the map of the gallery’s visitors. Bajevic’s To be continued was Amazonian female figure holding up the two white men in Minister of Culture for the Black Panther Party and his first staged in 2014 at the National Museum in Oslo. For her fists like an offering. you realize suddenly and very graphic art was featured prominently in issues of the her performance in conjunction with When Artists Speak Black Panther newspaper. Included in the exhibition is his Truth…, Bajevic will fog the southern windows of the gallery, Following on from Piper, news of the week (1969) by quickly that aesthetic choices are illustration for the September 21, 1974 issue, which depicts writing political inscriptions onto the frosted glass. In its Sister Corita Kent, combines the plan of a slave ship with politics.” —Felix Gonzalez-Torres the hand of corporate power–comprised of The Chase previous iteration, phrases like “If you are not with us, you poetry, newspaper, and a Newsweek magazine cover as Manhattan Bank, Pan Am, Gulf, PepsiCo, Chevron, Ford, are against us,” “It is good to have just one child,” and “We commentary on inhumanity. Her interest in pacifism and in conversation with artist and IBM, among others – pulling the strings of President do not go home, the dead won’t let us,” were drawn onto human rights are expressed through a collage of text and 2 Gerald Ford, “the 38th Puppet of the United States.” Sam the windows of the museum, resurrecting historic political image that describe the conditions in which slaves were Tim Rollins Durant’s Emory Douglas Suite (You pig) is part of a larger statements with both universal and particular associations. brought to America with quotes from Walt Whitman’s Leaves series completed in 2004 in which he adapts Douglas’ Visual protest turns vocal in Yoan Capote’s Dialogusfobia of Grass. These disparate elements combine to express depictions of police aggression. Durant’s works engage a (Un Nudo en la Garganta), 2011, the subtitle of which the feeling of powerlessness in the face of suffering on a Building on Gonzalez-Torres’ questions about the political variety of social, political, and cultural issues exploring that translates to “A Lump in the Throat,” and is inspired by massive scale. Whitman wrote, “I do not ask the wounded nature of aesthetics, it’s worth considering what happens which connects culture to politics, and where activism is Edvard Munch’s The Scream (1893). Both Munch and person how he feels – I myself become the wounded when political gestures become aestheticized. Do they situated between the two. Durant’s consideration of the Capote’s artworks capture the tension felt in the throat person; My hurt turns livid upon me as I lean on a cane and lose their meaning? Perhaps it depends on the artist and cultural contributions of Emory Douglas to the Black Panther leading up to – and after – a scream.
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