Inspired by the Victoria Memorial in front of Buckingham Palace, Walker’s fountain explores the interconnected histories of Africa, America and Europe, referring to the transatlantic slave trade and the ambitions, fates, and tragedies of people from these three continents.
Ken Gonzales-Day’s Erased Lynchings repurpose nefarious historical imagery.
Picturing Power #6 is part of a digital photomontage series made with images sourced from a Dutch colonial archive.
Beyte Saar boldly attempts to rescue the Mammy character from her demeaning, servile role in Jim Crow fantasy in this powerful assemblage
Drawing upon his Iraqi-Jewish heritage, Michael Rakowitz critiques ongoing systems of colonization in his sculptural and participatory work.
Marshall discusses his career, his strategies to circumvent institutional inequality, and his mission to diversify the cultural representations that are prioritized and historicized by the museum and art history canon.
Diop uses his own body to restage charged moments in history in a quest for us to look at and learn from these events afresh.
A day of two Suns (2019) is an ensemble of plywood mountain sculptures and found objects staged around a large paper screen, upon which videos are projected on either side
Watch a former sugar factory turn into a monumental installation, including a colossal sugar-coated sphinx and a series of life-sized, sugar and resin boy figurines
Artist Fred Wilson talks about the conventions of the museum and how he used them in his art to disrupt the inherent biases and traditional understandings that museums and its patrons have had
Artist Kerry James Marshall explains his series Mementos inspired by his memory of 1960s-era souvenirs.
Artist Kara Walker talks about the often-violent subject matter of her work and the popular literature that inspired it