April 25-May 4, 2014
Lake City, SC
Review Panel: Jill Hooper, Classical/Realist Painter; Stuart Horodner, Artistic Director, Atlanta Contemporary Art Center; Mark Scala, Chief Curator, The Frist Center for the Visual Arts; Renee Stout, Contemporary Artist; and Kristen Watts, Director of Collections & Exhibitions, The Mint Museum.
YOU’LL NEVER SEE...
Steel, concrete, road signs, embroidered black hoodies, and acrylic.
Five units at 106 x 30 x 19 inches.
As an artist living in South Carolina—especially as an academic artist living in South Carolina—I feel that part of my obligation to the profession is to engage with the a broad public. The idea of having art that is displayed outside of the traditional museum and gallery setting is hugely important, as it seeks to have discourse with those who might never visit a museum. Too, as a child who grew up both largely in Michigan and Ohio, but went back to South Carolina every summer, the opportunity to display, in the contemporary South, a piece that deals with race equally important.
YOU’LL NEVER SEE... takes as its subject the death of Trayvon Martin and the iconic symbol of his hoodie. As Lonnie Bunch, director the National Museum of African American History and Culture, told the Washington Post when discussing the possibility of acquiring the hoodie for the museum’s permanent collection, "Because it's such a symbol, it would allow you to talk about race in the age of Obama."
As the child of a mother who worked for a liberal, black magazine, Rap, in Dayton, Ohio in the late 1960s, I have often contemplated the question of race, especially as it relates to my daughter and how and when race became an issue for her. For years her friends were simply that: friends. Then, one day some of them were “black” as well. Race had entered the picture. Here, the phrase “you’ll never see” refers to the kind of “seeing” that is a description of the subtlety required to peer beyond stereotype, as well as to Chris Burden's 1971, You’ll Never See My Face in Kansas City.
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