
This gallery contains 2 photos.
Nothing wrong in being left behind, digitally handicapped, if that’s where you want to be. Continue reading
This gallery contains 2 photos.
Nothing wrong in being left behind, digitally handicapped, if that’s where you want to be. Continue reading →
Justyne Fischer
“The Sunshine State” Woodcut on voile, 50 x 50 inches, 2014 Sandra Fluke: In The Sunshine State, Justyne Fischer powerfully evokes the grief, anger, sorrow, pain and history that courses through the Black Lives Matter movement. The lynched bodies of Jordan Davis and Trayvon Martin are reminiscent of Lady Justice. Yet, their families and their communities continue to search for true justice. The needle dropped on “Strange Fruit” long ago, but it’s haunting lyrics and plaintive melody continue to score a nightmare of racism our country has yet to wake from. No justice, no peace. |
Maru Hoeber
“FLIGHT” Porcelain and wood veneer, 7.5 x 24.5 x 7.5 inches, 2015 Sandra Fluke: The faceless refugees depicted in Flight by Maru Hoeber are anything but. Their features burst rapidly into focus as the sculpture’s kinetic energy captivates viewers, too many of whom have turned their minds away from the tragic realities of a crisis with no respite in sight, long forgotten by our 24-hour cable news cycle. The refugees’ heartbreak at leaving their homes behind, bittersweet relief at escaping their war torn country, and optimism that a better life awaits them on distant shores is palpable. This piece amplifies the voices of people who have been silenced for far, far too long. Snippets of their conversations rush through the minds of viewers, crackling with hopefully enough intensity that apathy is jostles away. |
Nancy Ohanian
“EPA REGULATION”* Digital print on aluminum, 30 x 20 inches, 2016 Sandra Fluke: Racism also list at the heart of EPA Regulation by Nancy Ohanian, environmental justice evading the residents of Flint and numerous other cities across our country. Flint is one of Michigan’s poorest, Blackest cities, intersecting identities that increased its marginalization and vulnerability. Flint’s government served not just contaminated water, but a pointed disregard for the health of its poverty stricken African American community. |
Algie Abrams
“Beggar Woman” Velvet Paper, 24 x 36 inches, 2014 |
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Sara Friedlander
“Stonewalled in Jerusalem” MDF panels, digital collages, original and archival photos, paint, 45 x 120 x 5 inches, 2012 |
Emily Greenberg
“The Trial (Rachel Jeantel).” Video, Original footage from Axiom Amnesia, 3:26, 2014 |
Vicki Gunter
“It’s Not One Thing…It’s Everything – Loss Series 8” Clay Photo Lithographs, Slips, Stains, Glazes, Lusters, Wood Mount Decoupaged with Altered Copies of $1 Bills, 16 x 28 x 6 inches, 2012 |
Jihae Kwon
“you are with me” Paper, book board, book cloth and leather, 9.75 x 14 x 1 closed, 60 x 14 x 2 open inches, 2014 |
Priscilla Otani
“Pleasure Quarters”* Wax paper, photo, paper-covered cages, ink drawings, 36 inches diameter, 2010-2013 |
Sibylle Peretti
“Making Birds” Carved, engraved, silvered and painted plexiglass, feathers, paper 15 x 36 inches, 2014 |
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Miholyn Soon and Elleanor Jones
“The Sculpted”* (a film by Miho Soon’s Crew) Video, 4:42, 2015 |
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Joseph Tipay
“Freedom Letters” “Prison Letters” Woodcut and monotype hand printed on kozo paper, 60 x 36 inches each, 2014 |
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Frank Wang
“Whiteface” Video, 1:10, 2016 |
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VIBE and The Meteorites
“Power to the People”* Performed by VIBE Video, 4:48, 2013 |
In order to accommodate as many viewpoints as possible and expand the conversation beyond the physical limitations of the museum, additional works were selected to be shown in a looped slideshow in the gallery: Nic Abramson*, Kamal Al Mansour, Marcia Annenberg*, |
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