Not exact matches
The poem they perform — a piece called «Black Girl Magic» — is a celebration of black female identity and a protest against an education system entrenched in a
white - dominant
narrative that doesn't serve their
cultural and socio - emotional needs.
Inhabiting unlikely places and partnering with diverse
cultural entities to break ground for conversations and
narratives outside the traditional
white - cube gallery space has always been an underlying principle of the gallery.
Standouts include Carrie Mae Weems» holographic
narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the
cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and
white.
Her recent work functions as a call to confront the dissonances of our own daily performances, considering how these re-performances of social icons (for example, the figure of the
white woman) can become erasures of other
cultural narratives.