In highlighting a neglected piece of history that struck fear in the hearts of white enslavers, Scott made a statement about who gets to mine our history, simultaneously prompting questions about intentions, impact, and praxis.
In 1811, hundreds of enslaved people marched through Louisiana chanting “freedom or death.” While their oft-forgotten journey ended in massacre, artist Dread Scott spent six years organizing a reenactment to celebrate the legacy of their courage, to be staged November 8-9.
This show is different from many of the previous at the 8th Floor gallery precisely because it is so intertwined with the theme of voices and their sounds.
“A Time for Seditious Speech” aims to show that speech can serve as a call to direct action, sometimes even violence.
Scott’s project reenacts the 1811 German Coast Uprising, the largest slave revolt in North American history.
An exhibition at the Barnes Foundation uses the theme of the contemporary flânuer to draw connections to its 19th-century collection, but the concept is deeply muddled.
Far from serving as an excuse for self-pity or left melancholy, the Occupy Museums event was an effective counter-inaugural: a ceremony marking a wider commitment to shared struggle.
For one week, the monumental flag bearing the text, “A MAN WAS LYNCHED BY POLICE YESTERDAY” flew outside Jack Shainman Gallery’s West 20th location as Dread Scott’s unfortunate update to the nearly identical one the NAACP once flew outside its Manhattan headquarters.
This week, we’ve witnessed another onslaught of senseless killings of Black people by police in the United States.
Agitprop! ought to be an outstanding exhibition of politically engaged art. A feverish amalgam of historic and contemporary artwork, the exhibition is undermined by an ambitious but poorly executed curatorial strategy.
DES MOINES, Iowa — Divisions of race, class, and place haunt aspirations for equality and justice in the US.
What kind of painting do you make in the face of the killing of an unarmed civilian by a police officer? What type of drawing sums up the pain of more than a century of institutional racism?