Through texts and objects, Cameron Rowland illuminates the connection between slavery and the commercial structures that define the global economy today.
This year, a number of artists will receive the prestigious award. The special honor comes with a no-strings-attached grant of $625,000.
With a scattered display of everyday objects and cryptic legal documents, Cameron Rowland illustrates a long history of systematic racism.
What I saw when I stepped from the elevator and entered the hush of the Artists Space gallery was barely anything: a red raincoat on the wall, some honey-colored wood benches that looked as if they belonged in a courtroom, and some odd steel contraptions on the floor.
Even in today’s anything-goes environment, it’s not all that common to encounter a work of art that hews so closely to the mundane that it risks not being recognized as art at all. Let alone two or three in a single show.
But that’s the case with Conspicuous Unusable, a group exhibition at Miguel Abreu that’s a refreshing throwback to a time (the 1970s) when the division between art and life was in a constant state of flux and gallery press releases routinely began with a quotation from Martin Heidegger.