Oak panel with screen print; signed K.Haring 88 along lower right edge.
An example of Keith Haring's signature style in which figures are rendered in a crisp, clean single line. Two central figures of indeterminate sex engage in a form of connection/penetration evoking both a sense of movement and the erotic. Created the year Haring was diagnosed with AIDS (from which he would die two years later), this work retains Haring's simplicity of line while the imagery alludes to deeper themes of eroticism, sexuality, and danger.
LED display running time approximately 25 minutes with looping text of approximately 170 truisms in red text.
Holzer's Truisms were adapted from readings as part of her Whitney Independent Study Program in New York City in the late 1970s; her first series of Truisms took the form of posters that she plastered across lower Manhattan; later utilitzing billboards and t-shirts for her textual art, Holzer adopted her best-known medium, the LED (light emiting diode) display in 1982. This work runs on a continuous 25-minute loop with over 170 truisums that range from trite to humorous and ironic while engaging viewers in a participatory exchange between ideas and perceptions.
A horizontal lighbox enclosed by a wide, black molded frame in which Kara Walker's signature silhouettes are encased in linen and lit from behind. Silhouettes represent four figures: a man and child at viewer's left, two women at right.
An example of Kara Walker's black cut paper silhouettes, here seen backlit within a large, framed lightbox, that engage viewers in a voyeuristic journey through unspeakable images taken from Walker's take on the Antebellum South. The four central figures, an Anglo American male at left, a child and two females -- all African American -- are engaged in power struggles that evoke both racial domination and struggle as well as sexual engagement and abuse. Visual tension is created by the disparity between the pristinely beautiful silhouettes and the atrocities their interactions represent.