(1)Title- AMERIKKKA: Exposed & Defeated

Through my exhibition, I want to display the true identity of America, rooted in racism, and the representation of Black bodies that have bared the evils of its identity, while triumphing its oppressive essence.

#ARTH287

(2) The exhibition considers the slavic history of African Americans and how vulnerable Black people, as a community, still fall victim to the degrading power of white supremacy and the subtle forms it transpires in.

(3) Featured Artist:
Noel Anderson
Sonya Clark
Genevieve Gaignard
Jamea Richmond-Edwards
Alison Saar
Kara Walker

(4) This piece is titled “Salty Karens”, 2020 by Genevieve Gaignard, which shows how the prejudice shown by white women towards Black people in America is still an issue whether small or large. Their prevalence of saltiness, as it grows into a KKK hood, grain by grain, signifies

(5) the extent of their bitterness and how it is rooted in racism. The innocence of white women in this work seems unachievable as each grain of saltiness they spew accrues and carries on with them throughout life, making their contribution to oppression subtle.

(6) As this type of hate continues to manifest under the radar, it will breath life into the suppression of Black bodies. https://www.instagram.com/p/CEozYHwlXGK/?igshid=1gkbzhewoszyq

(7) https://www.instagram.com/p/CBGUDkkF1oR/?igshid=mx7qmztx6f1p Unable to find the title, this 2017 piece by Alison Saar denotes an energy of terror conveyed by the subject. As a Black viewer, this terror could possibly be inherited relating to the subject and through the warnings to the left stating

(8) "Stay Alert, Stay Alive". The red background and filling in the subject's eyes also indicates warning and danger, creating a sense that their existence in America is always under attack with no indication that it will cease. https://www.instagram.com/p/CBGUDkkF1oR/?igshid=1l2vt4wz7gfg0

(9) 40 Acres of Mules. 2015 by Kara Walker is a complex piece that challenges the broken promises of reparations claimed to be delivered to African Americans. This snippet of the larger work shown in MoMA is posted on Walkers instagram. In the larger work &&' the snippet,

(10) nudity expresses the commodification of Black bodies and their degradation. It also provokes questioning of the dynamics of race and sex, requiring thought towards its ambiguous appearance and meanings. https://www.instagram.com/p/BIRDA5EDmn7/?igshid=brgcqgx09z56
https://www.moma.org/collection/works/199727

(11) Grow'd by Alison Saar acknowledges the history of Black women in slavery through the eccentric representation of cotton through as the sculptures hair. The use of material gives the woman durability and strength despite her circumstance.

(12) The title of the piece suggests that the subjects days of growing cotton is in the past (growed) and that she is growing (Grow('d)). Also suggested by the light in the top corner that will grow to luminate her out of the shade of oppression, creating energy of triumph

(13) toward slavery. https://www.instagram.com/p/Bt6sEhplt17/?igshid=xxfjzmohp11x

(14) Another piece by Genevieve Gaignard titled Disinfect Our Politics, 2020. Though Gaignard created this in response to the pandemic and a Trump comment, I think this piece exposes the root of control in America, as the power lies within the gov't and its politicians.

(15) The blindfold could suggest the blind governing ignorantly over its people as they are not only racist, but far removed from societies struggles. Like most social injustices, Black women are seen as actively eradicating the threat to their livelihood and community, defeating

(16) the exposure of the nation's internal pandemic, racism. The flag also has confederacy undertones, as Gaignard recreates the modern version of the flag and its evident roots in present day. https://www.instagram.com/p/CGgSwzqF0d2/?igshid=1r8lw30ytd2aw

(17) The next three works are by Noel Anderson, using tapestry to unleash hidden messages of brutality on Black people through distortion. The first one entitled "HOOD DREAMS" represents the inaccuracy of Black trauma in the media, which people are forced to ingest and

(18) internalize about Black people and criminalization bc it is the only image that is provided in the media. The distortion of this tapestry reflects that as the media motives behind their coverage is racially driven. The second tapestry "Die Leitung" also displays this,

(19) twisting the images of Black boys and stealing their innocence through barbarity. https://www.instagram.com/p/CLesGmNFfaj/?igshid=b6f10vx84wb4 https://www.instagram.com/p/CMDEGeil8GP/?igshid=18b5yzj4sz4mv https://www.instagram.com/p/CKEkeQUl8AX/?igshid=1d8m370arm4y8

(20) The last tapestry "UNTITLED" exposes the malicious intent to hold Black boys for mockery, as the white cops seem to mimic plantation overseers in their physicality. This continues to denote the power white people have over Black people, years from the explicit practice of

(21) slavery and activity from the KKK.

(22) "these days. this country. this history." 2019 by Sonya Clark is an accurate representation of this country and its inner destruction depicted by the defacement of the flag. It also represents the breadth of injustice placed on the citizens of this country who build it from

(23) the bottom up. Through racism, America has created unforgivable turmoil for and between its people that has finally come to light in exposure to its own self-destruction. https://www.instagram.com/p/CA0OehFlAtp/?igshid=twzvma75de8d

(24) The last piece is by Jamea Richmond-Edwards and is titled Wings Not Meant to Fly. 2011 This piece shows that despite all of the injustice and oppression Black individuals have been forced to bear in America and through this thread, Black people still defeat the odds

(25) of survival in this society. Through struggle, pain and trauma they become stronger and earn their wings to fly above the supremacy of white indoctrination and thrive in their own complexities and essence.
https://www.instagram.com/p/CCLI2cblbvk/?igshid=1nfjlzykrw141