2016/1963
2016 - Painting (Painting)
Diptych, each panel: 76.2 x 86.36 cm.
Titus Kaphar
Although the objects depicted in Titus Kaphar’s diptych 2016/1963 might not be immediately recognizable, the work’s title and the inscriptions ‘Alabama 1963’ and ‘North Dakota 2016’ reveal their use as tools of brutal force. The work with the inscription ‘Alabama 1963’ is a painting of the nozzle of a high-pressure water jet that the Birmingham Police used against black protesters, including children, during a non-violent campaign against racial segregation led by Martin Luther King JR. during the civil rights movement. The second painting depicts the nozzles used against protestors that in 2016 opposed the plans to build the Dakota Access pipeline near the Standing Rock Indian Reservation, many of whom were seriously hurt and left soaking wet during freezing temperatures. In both instances, the footage of the police’s inhumane response to non-violent protesting was broadcast globally, and these images have remained as a scar in our shared consciousness. Speaking to the longstanding impact of these acts of racially-driven cruelty, 2016/1963 is a chilling reminder that the systemic brutality endured by people of color during the civil rights movement is not something that solely remains in the past.
Titus Kaphar’s work is often discussed as socially and politically oriented, however, the artist describes it as a series of deeply personal responses to situations, narratives or histories. He is best known for revisiting historical forms of representation, primarily paintings, and modifying them—cutting areas out, painting over subjects, slashing, wrinkling, layering, and stitching elements out of or onto a painting. Through these formal interventions, Kaphar reveals subjects and narratives that were previously hidden or made peripheral. At the core of his interrogation of the past is the need to address how black bodies and other bodies of colour have been historically either invisiblized or represented as inferior, enslaved, imprisoned, powerless—never as the main subjects. Rather than undoing this problematic history, he brings it to the present and puts it to question by redirecting our gaze towards those subjectivities that have and continue to be excluded and inferiorized.
Colors:
Related works sharing similar palette
© » KADIST
Koki Tanaka
2013This artwork was part of a group of projects presented in the Japanese Pavilion at the Venice Biennale in 2013...
© » KADIST
Humberto Diaz
2002The two works in the Kadist collection, Observador Pasivo and 3600 besos por hora by Diaz are culled from a vast compilation of videos and performances for the camera...
© » KADIST
Gan Chin Lee
2019In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory...
© » THEARTNEWSPER
'Collecting art by women is an integral component of my process': Darlene Pérez on why she waited for a Lee Krasner work Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Art Basel in Miami Beach 2023 interview 'Collecting art by women is an integral component of my process': Darlene Pérez on why she waited for a Lee Krasner work One-half of the couple behind the Pérez Art Museum Miami will never tire of Monet's Water Lilies Benjamin Sutton 8 December 2023 Share As well as providing the Pérez Art Museum Miami with $75m and 200 works from their collection, Darlene and Jorge Pérez support many local arts organisations Darlene Pérez, together with her real-estate developer husband Jorge, is a major force in Miami’s cultural scene...
© » KADIST
Shahryar Nashat
2015Employing both the High Modernist technique of abstraction and monochronism, as in the work of Lucio Fontana and Yves Klein, and bodily states of fetishization, Yea High (sweetpreparator) reworks the art historical canon of movement and the body to consider flesh as a physical construction of man-made matter...
© » KADIST
Natasha Wheat
2011Natasha Wheat’s Kerosene Triptych (2011) is composed of three images, one each from the digital files of the Library of Congress, the Smithsonian Institution, and the Field Museum tropical research archive...
© » ARTS EQUATOR
Tender reading: A review of Loss Adjustment by Linda Collins | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles January 28, 2021 By Grace Foo (650 words, 3-minute read) Not many people can endure the traumatic experience of losing a child to suicide, let alone be of sound mind to write about it in a painfully self-aware manner...
© » IGNANT
Designing Tranquility — Inside The Minimalist World Of Isern Sera And Valeria Vasi - IGNANT Name Isern Sera · Valeria Vasi Images Monika Mroz Words Monika Mróz Spanning his interior work from residential to exhibition design, Isern Serra conveys minimalism with a human face in every space he designs...
