Issue 39: The OGOD Issue
- Most Read
Mom leaves the coolest set of instructions for babysitter.by Tod Perry
12 non-threatening leadership strategies for women.by Sarah Cooper
Artist reveals the hidden side of long-term relationships in 15 perfect illustrations.by Raleigh Van Ness
This eight-year-old girl is going viral for dressing up like Michelle Robinson, not Obama.by Tod Perry
The not-so-nice history of the word ‘nice.’by Rachel Reilich
28 Of Barack Obama’s Greatest Achievements As President Of The United Statesby Tod Perry
Dude responds to his own ‘Wanted’ post on Facebook and starts a bro-mance with the local PD.by Tod Perry
Tomi Lahren tried to own the libs with ‘Not My President’ merch. It hilariously backfired.by Kimberly Dinaro
After reading this tweet thread, you will never watch ‘Home Alone’ the same way again.by Tod Perry
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.