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Kelley Walker: Direct Drive (exhibition): Difference between revisions
Kelley Walker: Direct Drive (exhibition) (view source)
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|location=Contemporary Art Museum St. Louis | |location=Contemporary Art Museum St. Louis | ||
|description_of_content=The exhibition 'Kelley Walker: Direct Drive' is a survey of works by white, Georgia-born artist Kelley Walker that opened at the Contemporary Art Museum, St. Louis, Missouri, (CAMSTL) on September 15, 2016. Walker often incorporates and appropriates imagery from African American history in his works. Four of the works, which Walker created in 2006, use images from the Birmingham Movement and covers of hip-hop KING Magazine. The images of scantily clad African American women from KING covers were blown up, smeared with whitening toothpaste, and installed in so as to invite visitors to walk on the image of the woman's body. In other works, historical photographs of cops beating protestors in Birmingham were blown up (a la Warhol) and smeared with chocolate. | |description_of_content=The exhibition 'Kelley Walker: Direct Drive' is a survey of works by white, Georgia-born artist Kelley Walker that opened at the Contemporary Art Museum, St. Louis, Missouri, (CAMSTL) on September 15, 2016. Walker often incorporates and appropriates imagery from African American history in his works. Four of the works, which Walker created in 2006, use images from the Birmingham Movement and covers of hip-hop KING Magazine. The images of scantily clad African American women from KING covers were blown up, smeared with whitening toothpaste, and installed in so as to invite visitors to walk on the image of the woman's body. In other works, historical photographs of cops beating protestors in Birmingham were blown up (a la Warhol) and smeared with chocolate. | ||
|description_of_incident=The four works were offensive to members of the St Louis art community and African American community, who came to an artist/curator Q&A armed with questions: why did Walker choose to work with images of the black body? what were his intentions and the meanings he hoped to convey? | |description_of_incident=The four works were offensive to members of the St Louis art community and African American community, who came to an artist/curator Q&A armed with questions: why did Walker choose to work with images of the black body? what were his intentions and the meanings he hoped to convey? (etc.) When Walker and curator Jeffrey Uslip were dismissive of these questions, St Louis community artists and activists called for a boycott of the museum and three museum staffers wrote a letter refusing to fulfill their obligations until demands were met. These demands included removing the offending works, public apologies, and the resignation of Uslip. | ||
|description_of_result=The museum built a temporary wall with warning signage around the offending works | |description_of_result=The museum built a temporary wall with warning signage around the offending works and hosted a panel to center black voices as well as peaceful protests. Jeffrey Uslip resigned. | ||
|image=Kelley-walker-Kelis-King-Cover-753x1024.png | |image=Kelley-walker-Kelis-King-Cover-753x1024.png | ||
|source=http://hyperallergic.com/324466/appropriated-images-of-black-people-spark-boycott-of-st-louis-museum/ | |source=http://hyperallergic.com/324466/appropriated-images-of-black-people-spark-boycott-of-st-louis-museum/ | ||