Works by Glenn Ligon as a message of solidarity with the Oberlin community of color.
Via Nona Brown: Last night, someone dressed in KKK robes was spotted walking on south campus. Classes are cancelled. We can all this day to support the targeted members of our community and show our solidarity.
SHOW YOUR SUPPORT, THIS HAS GONE TOO FAR
10 AM: Poster-making, Wilder MRC
12 PM: Teach-in at A-House
2 PM: Student rally, Wilder Bowl
3:30: Convocation, Finney
As an Oberlin alum, I’m disgusted by what has been going on at my beloved school. The administration is taking a good first step by cancelling classes today, but a lot of work needs to be done.
“This idea of repetition and revision is central to my working process—this idea of stacking and layering and building up densities and recoveries. He’s been altered in a way that the-character-that-is-now-my-conscripted Isaac Hayes should be altered to be in my lexicon.”
—Ellen GallagherEllen Gallagher, currently featured for 100 Artists, is seen here at Two Palms Press in New York working on Isaac from her series DeLuxe (2004–2005), as featured in our Season 3 episode, Play (2005).
The artist’s printmaking process involved multiple techniques—including lithography, tattoo engraving, and laser-cutting—and materials such as crystals, gold leaf, velvet, and plasticine.
WATCH: Ellen Gallagher in Play [available in the U.S. only] | Exclusive: Ellen Gallagher: Master Printer Craig Zammiello
IMAGES: Production stills from the Art in the Twenty-First Century Season 3 episode, Play, 2005. Segment: Ellen Gallagher. © Art21, Inc. 2005.
Kara Walker (American, born 1969) is best known for cut-paper silhouettes that critically address race, gender, sexuality, and power. Most often taking the form of large-scale tableaux of antebellum stereotypes, they present slavery as an absurd theater of eroticized violence and self-deprecating behavior. Her flat caricatures—mammies, sambos, slave mistresses, masters, and Southern belles—are depicted nearly life-size, arranged in narrative sequences that further exaggerate the already grotesque history of slavery. For Walker, the simplified details of a human form in the black cutouts resonate with racial stereotypes. She has said, “The silhouette says a lot with very little information, but that’s also what the stereotype does.”
Images: Installation shots from Kara Walker: Rise Up Ye Mighty Race on view at The Art Institute of Chicago
Wadsworth Jarrell, Revolutionary,
Kara Walker, National Archives Microfilm PublicationM999 Roll 34: Bureau of Refugees, Freedmen and Abandoned Lands: Six Miles from Springfield on the Franklin Road, 2009
(Source: sikkemajenkinsco.com)
Ellen Gallagher, IGBT, 2008
Glenn Ligon, Figure #20, 2009
Rockne Krebs, Day Passage, 1971
