Issue 39: The OGOD Issue
- Most Read
Woman bravely shows what losing 110 pounds really looks like.by Tod Perry
Bill Gates has five books he thinks you should read this summer.by Tod Perry
LEGO is running 100 percent on renewable energy 3 years ahead of schedule.by Eric Pfeiffer
Daughter explains brutal obituary she wrote for her father.by Penn Collins
After rumors of her death spread online, this distressingly-thin beauty blogger is finally getting help.by Tod Perry
One-Woman ‘Yeast Infection’ Protest Scares Away Anti-Planned Parenthood Demonstratorsby Tasbeeh Herwees
Mom wears summer dress for years without noticing the NSFW pattern in plain sight.by April Lavelle
Ellen Page called out Chris Pratt for his homophobic church, and his response proves her point.by Kimberly Dinaro
School recalls yearbook after realizing student's quote has a deeper, very sexual meaning.by Julianne Adams
A Protest-Inspired, Must-See Art Exhibition In Harlem
Viewing the work of photographer Devin Allen, you might think you’re looking at scenes from the Civil Rights era. The Baltimore resident famously documented the 2015 protests in his hometown after Freddie Gray, a 25-year-old black man, died in police custody from a severe spinal injury. In Allen’s photos, the intensity of the crowd’s anger and exasperation is palpable, eerily reminiscent of the mid-1950s, and the police came at them just the same—with billy clubs, tear gas, and rubber bullets.
Allen’s images show Baltimore, but they could just as easily be from anywhere disenchanted and disenfranchised Americans have decided to fight back in the past few turbulent years. It’s for this reason that Amanda Hunt, assistant curator at the Studio Museum in Harlem, chose Allen’s stark, black-and-white photographs as a focal point for The Window and the Breaking of the Window, an exhibition featuring works of art inspired by protest, on view through early March.
The show is partly a product of Hunt’s own processing of political protest in America. Allen’s images are straightforward depictions, but Hunt’s real aim, she says, was to create a safe space where museumgoers could meditate on artwork that offers a range of interpretations of the subject matter: artists responding to, engaging in, and capturing dissent. The result is a diverse collection of referential, explicit, and abstract creations, some of which may be difficult to take in—but that’s the point.
“I hope they’ll be able to recognize themselves in some of the work, in some ways,” says Hunt. “Maybe even their own feelings about what’s impacting communities of color.”
Standouts include Deborah Grant’s painting of a camcorder with the words “56 Blows,” referencing the number of times Los Angeles police officers struck Rodney King on camera. There’s a portrait of Stephen Lawrence, a British man killed in a racially motivated attack in London in 1993, by Chris Ofili. The exhibition culls its title from a William Pope.L piece from his “skin set” series, in which the acclaimed visual and performance artist painted statements about skin color. The artwork, also included in the show, reads, “BLACK PEOPLE ARE THE WINDOW AND THE BREAKING OF THE WINDOW.”
“To speak to the violent nature of some of the images, or some of the reasons for which we are protesting currently across our country—it felt necessary to be up front about that in the title for the exhibition,” Hunt says. “But there’s also a bit of hopefulness in it as well, because of the implication that there is a cycle that can be broken.”
Photos by Sasha J. Mendez courtesy of Studio Museum Hero Image: Devin Allen Untitled from “A Beautiful Ghetto” series, 2015. Chromogenic color print.
Photos by Sasha J. Mendez courtesy of Studio Museum
Hero Image: Devin Allen Untitled from “A Beautiful Ghetto” series, 2015. Chromogenic color print.