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And the Wisdom to Know the Difference By …And the Wisdom to Know the Difference By Larry W. Cook B.A. in Photography, May 2012, Plattsburgh State University A Thesis Submitted to The Faculty of Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Fine Art January 31, 2013 Thesis directed by Dean Kessmann Associate Professor of Photography Julia Brown Assistant Professor of Painting Table of Contents List of Figures…………………………………………………………………………………………….........iii And the Wisdom to Know the Difference…………………………………………………….………1 References………………………………………………………………………………………………..…......12 Figures………………………………………………………………………………………………………..…..13 ii List of Figure Page 1. Larry Cook, Maria, Ink Jet Print, 20x24 inches, 2010……………………..….………….12 2. Larry Cook, Untitled, Ink Jet Print, 6x7 inches, 2011……………………..….…………..12 3. Dara Birnbaum, Wonderwoman, Color Video, 05:50 minutes, 1978…………..…..13 4. Larry Cook, Picture Me Rollin’. Video, 01:43 minutes, 2012………………...………...14 5. Andy Warhol, Screen Test: Dennis Hooper, Video, 04:39 minutes, 1964…………15 6. Larry Cook, Deandre, Aujena, Douglas, Henry, Video, 13:00 minutes, 2012….....15 7. Larry Cook, M.L., Video Projection, 08:27 minutes, 2012………………………………..16 8. Larry Cook, All American, Tritych Ink Jet Prints, 40x40 inches each, 2012…...…17 iii …And the Wisdom to Know the Difference My MFA thesis exhibition, …And the Wisdom to Know the Difference, consists of photographs and videos that address the issue of identity through the representation of the subject and the interpretations made by the viewer. This combination of direct observation and subjectivity creates a space in which the viewer can engage with the artwork, in fact, the work is activated by the presence of the audience. The use of appropriation, documentation, and the directorial mode of photography create an experience that provides insight into the representation of contemporary black culture. Beyond a reflection of contemporary black culture the work in my MFA thesis exhibition functions as a self-portrait that exposes the maturation of myself as a person and artist. This development is represented through the process by which the work has been created and the framing of the content. Though the work primarily engages black subjects the exhibition is not just about race; instead, it is framed by race as it addresses other issues that transcend racial boundaries. In this thesis I will discuss my identity and the concepts that have influenced my work. Photography has been the primary medium that I have employed in my artistic practice as a graduate student at The George Washington University (GW). In my first year as an MFA student I began to move away from making portrait photographs of single mothers, such as Maria [Fig.1], to appropriating family portraits gathered from stock images online to address the absence of the fathers in 1 these families. Collecting portraits of black families, that included mothers and fathers, and then digitally removing the heads of the fathers [Fig.2], enabled me to more directly address the high percentage of African American households absent of fathers. The appropriation strategies of re-phototgraphing and reediting used by artists such as Seth Price and Richard Prince have influenced my artwork. Prince re- photographed magazine ads, that featured the Marlboro Man, in order to question the ideal of American masculinity that the cigarette campaign represented. However, Dara Birnbaum’s use of appropriation and her visual aesthetic had the most influence on me. Birnbaum’s video piece, Wonder Woman [Fig.3] uses appropriated imagery from the 1970’s television show. The video shows the transformation of Diana Prince, -a seemingly ordinary secretary - into Wonder Woman the comic hero. This repetition of the television production editing techniques, such as the inserts, wipes, and cross cuts, highlights the ideology of the television show; real becomes wonder in order to do good.1 This deconstruction of the Wonder Woman transformation inspired first piece in my show.2 My video piece, Picture Me Rollin’ [Fig.4] is a 01:43 minute loop of rappers in a black Lamborghini performing a driving maneuver called ‘doughnuts’. A doughnut is “the act of rotating the rear of the car around the front wheels continuously”.3 Te 1 Birnbaum, (2010) p.4 2 Birnbaum, (2010), p.2 3 Doughnuts (2003) 2 original video clip is from the 2000 music video Get Your Roll On by the rap group Big Tymers, which I appropriated and re-edited. In the video the exotic car spins in place with the doors open while the driver and passenger wave to the camera in jubilation. In the background men are standing in front of a row of luxury cars, dancing and waving to the music. In Picture Me Rollin’ this is isolated and repeated so that the car is spinning indefinitely. Midway through my video, as the car continuously spins, a young boy drives across the screen in a lavish toy convertible with shiny rims. The music from the Big Tymers’ video is removed and replaced by a ‘chopped and screwed’ version of Dr. King’s I Have A Dream speech. Chopped and screwed is repeating the music by record scratching.4 These techniques were used in Picture Me Rollin’ to recontextualize the speech with a reference to hip-hop music. The juxtaposition of the audio and visual content creates an opportunity for the viewer to ponder whether Dr. King’s dream has been fulfilled. The video references the notion of materialistic gain as a measure of financial advancement in the black community. Dr. King’s dream is about freedom and equality whereas the American Dream is currently understood as homeownership and personal fulfillment.5 Part of the American Dream is materialistic gain; however, there is overlap between the two dreams in that personal fulfillment requires freedom. My 4 Chopped and Screwed History (2007) 5 Cullen (2003) 3 video suggests that the materialism glorified in hip-hop music has become the American Dream for many and is being passed down to younger generations. The process of making Picture Me Rollin’ allowed me to re-examine the influences of hip-hop on black culture. Hip Hop music has greatly impacted my life, especially during my youth when I idolized rappers in music videos. When I was young I turned to hip-hop culture to define the way I dressed, the way I talked, and the way I envisioned success. In college, as an undergraduate student, I began to study Dr. King from a more mature perspective. By seeing Dr. King as a role model, I began to question the influence of hip-hop culture on my sense of identity, which led me to listen to the music and watch the videos in drastically different ways. The repetition in my video reflects this maturation as I ask the viewer to consider the visual content more critically. In repeating the video image of the spinning Lamborghini I am forcing myself, and the viewer to pay closer attention the actions taking place. The title Picture Me Rollin’ is taken from the title of a song from the album All Eyez On Me by the late rap artist Tupac, who debuted the LP after he was released from prison. Below is a verse from the song: Picture me rollin in my 500 Benz I got no love for these niggaz, there's no need to be friends They got me under surveillance, that's what somebody be tellin Know there's dope bein sold, but I ain't the one sellin! Don't want to be another number I got a fuckin gang of weed to keep from goin under The federales wanna see me dead - niggaz put prices on my head Now I got two Rottwillers by me bed, I feed em lead Now I'm released, how will I live? Will God forgive me for all the dirt a nigga did, to feed kids? One life to live, it's so hard to be positive 4 when niggaz shootin at your crib Mama, I'm still thuggin, the world is a war zone My homies is inmates, and most of them dead wrong Full grown, finally a man, just scheamin on ways to put some green inside the palms of my empty hands Just picture me rollin Flossin a Benz n rims that isn't stolen My dreams is censored, my hopes are gone I'm like a fiend that finally sees when all the dope is gone My nerves is wrecked, heart beatin and my hands is swollen thinkin of the G's I'll be holdin, picture me rollin6 In this song Tupac is speaking to those who were against him while he was incarcerated and is telling them that they should be envious of him now that he is free and prosperous. The “500 benz” Tupac rhymes about in the beginning of the verse is short for the Mercedes Benz 500 which is the flagship sedan of the luxury car brand. By reflecting on his transition from prison to driving a luxury car, Tupac depicts his American Dream. The spinning motion of the Lamborghini in Picture Me Rollin’ reflects the cycle of this entirely materialistic notion of the American Dream that is often perpetuated by the culture of Hip Hop music The self-evaluation that began through the process of working on Picture Me Rollin led me to confront other means of self-expression. The video piece Deandre, Aujena, Douglas, Henry [Fig.6] is composed of video portraits of young black adults with facial, neck, and head tattoos. This silent 13:00 minute video loop was displayed on two opposing flat screens monitors, while the four subjects rotate between each screen. 6 Shakur (1996) 5 In traveling back and forth from where I live in Maryland to GWU in Washington, DC, I would regularly see black youth and adults with these extreme forms of tattoos.
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