Newspeak: Ignorance is Strength, from the Newspeak installation, Dread Scott
PROPELLING HISTORY FORWARD
Revolutionary artist Dread Scott examines racial and cultural disparity in contemporary society
GLASSBORO, NJ – Renowned for making “revolutionary art to propel history forward,” acclaimed American artist Dread Scott, in his first New Jersey one person exhibition, opens the Rowan University Art Gallery at High Street’s new season with A Sharp Divide, an exhibition that tackle the racial and cultural disparities within our criminal justice system. The exhibit is on display from September 6 – November 5, 2016.
An artist’s presentation and panel discussion with Dread Scott, presented by the Office of Social Justice, Inclusion, and Conflict Resolution, is scheduled for September 15 from 5:30 – 7:00 pm in Eynon Ballroom, located in the Student Center on the university’s Glassboro campus. A reception to welcome the exhibition follows from 7:00 to 8:30 pm at the High Street gallery, 301 West High Street in Glassboro. Shuttle service between the Student Center and the gallery will be provided to students and the public following the panel discussion.
The exhibit serves as a survey of Dread Scott’s public engagement, performance-based, and multi media based works, completed from 1987 – 2014. In examining racial disparities, the work explores the complexities of the criminal justice system such as the criminalization of youth, profiling and discrimination, stop and frisk tactics, and other civil rights issues. The selected pieces include video, photography, recordings, and audience interactions.
“This is a world of profound polarization, exploitation, and suffering and billions are excluded from intellectual development and full participation in society,” Dread Scott explains. “It does not have to be this way and my art is part of forging a radically different world.”
He notes that his work “illuminates the misery that this society creates for so many people and it often encourages the viewer to envision how the world could be.”
Dread Scott works in a range of media including performance, photography, screen printing, video, installation and painting. His works can be hard-edged and poignant. His art has been exhibited at the MoMA PS1; the Contemporary Art Museum in Houston; The Walker Art Center in Minneapolis; the Pori Art Museum in Finland; and in the Whitney Museum’s inaugural exhibition at their new building. The Brooklyn Academy of Music presented his performance Dread Scott: Decision as part of their 30th Anniversary Next Wave Festival, and the Museum of Contemporary African Diasporan Arts presented Dread Scott: Welcome to America. Recent work has been presented in several showings in New York and his sculptures have been installed at Logan Square in Philadelphia.
He first received national attention in 1989 when his art became the center of controversy over its use of the American flag. He was denounced by the President and the United States Senate, which soon after passed legislation to “protect the flag.” His opposition to this law resulted in a Supreme Court case and a landmark First Amendment decision.
The gallery is located at 301 High Street. Free public parking is available on High Street and neighboring streets. Municipal parking areas are available off Lake Street (behind Little Beefs Deli) and near the Barnes and Noble shopping complex between New Street and Rowan Blvd.
Admission to the gallery, lecture, and reception is free and open to the public. Regular gallery hours are Monday – Friday, 10 am to 5 pm; Thursday – Saturday, 10 to 7 pm. Directions can be found on the gallery website. For more information, call 856-256-4521 or visit www.rowan.edu/artgallery.
Support for programming at Rowan University Art Galleries has been made possible in part by funds from the New Jersey State Council on the Arts.
Thank you to Mary Salvante, Rowan University Art Gallery at High Street, for the content of this post.
Harcum College hosts a 3-week long mixed media exhibition of fine fun art, opening Friday, September 16, 2016. Festivities begin at 7:00pm, promising a 2-hour preview of works from the nutty, crazed, absurd, cockamamie minds and the half-baked hands of three local artists: Artemus (Vee Conover), Ajax and Linnie Kerrigan-Greenberg. A multitude of original art and prints will be on display, from the well-conceived to the ill-conceived, the cast-off, celebrated, useless and misjudged — all available for purchase.
The show reception takes place in the Kevin D. Marlo Theatre at Harcum College and runs from 7:00pm to 9:00pm. Ho-hum snacks and other art-opening type foods (free!) shall be on hand. Admission open to anyone who shows up. Clothing is required. So is a sense of humor.
Please join the artists for an evening of fun, food, conversation, music and thought-provoking art.
Harcum College, Kevin D. Marlo Little Theatre, 750 Montgomery Ave, Bryn Mawr, PA
Q & A WITH THE ARTIST – Friday, July 15, 5:00 – 7:00pm
The 3rd Street Gallery is pleased to announce, Sweet Tooth, the solo show of photographer Neil Marcello whose works continue to explore complex industrial solutions that ultimately become the problems that bear examining.
In Sweet Tooth Neil’s photographs of architectural dioramas, that he designed and hand built, suggest the role industry plays in the production of candy and the use of artificial dyes in the United States. His interest in the candy industry began as a boy consuming readily available sweets such as Nestles, Butterfinger, which just recently eliminated artificial dyes in its manufacturing process for this particular brand of candy.
Neil Marcello, LemonHead, Sweet Tooth Series, 2014-2016
He was surprised to learn that the Mars candy manufacturing company used (and continues to use) natural dyes in their production of candies in Europe, and the United Kingdom, but not in the United States.
He says, “I offer them up as kitsch motifs, similar to the shapes, colors and forms used by candy manufacturers to stimulate and entice the viewer…”.
While viewing these fantasy images, Neil encourages the viewer to reflect on how far we may be willing to go in order to satisfy our cravings. Together with the launch of his latest exhibition, Neil has collaborated with Philadelphia street photographer, Ronald Dean Corbin, on the release of Corbin’s new self-published photographic book, entitled “Photographs My Way” (2016), available on Amazon.
Please contact the artist for prints and commissions
Neil Marcello, Twizzlers, Sweet Tooth Series, 2014-2016
3rd Street Gallery, an artist-run fine arts gallery, opened its first space in 1978 on the corner of 3rd and Bainbridge in South Philadelphia. It has shown numerous artists since its inception and currently hosts fifty member-artists. These multigenerational, award-winning artists hold advanced degrees in the arts and sciences, work in diverse traditional and contemporary media, and have their works included in collections at museums, as well as in corporate and private collections.
Thank you to Neil Marcellofor the content of this post.
Ourself is a site-specifific, responsive artwork that shares the positive inner voices of Camden. By entering the work the public activates audio clips of personal interviews with local residents from all walks of life, around the theme of motivation and ambition.
The work is generously funded by the National Endowment for the Arts, the Kresge Foundation, and the Campbell Soup Foundation. The Connect the Lots initiative is a community-driven initiative to activate Camden, New Jersey’s vacant and underutilized spaces through the identification and implementation of artistic, cultural, and recreational projects and activities in these spaces to create safe and vibrant gathering places for the residents of the City of Camden.
Francis Kéré is an internationally renowned, Berlin based architect who integrates traditional knowledge and craft skills into innovative and sustainable buildings worldwide. As the first son of the head of Gando, his home village in Burkina Faso, he was the only child allowed to attend school in a large city; he later studied architecture in Europe. While still a student, he began to reinvest his knowledge back into his community, building schools that would change its future trajectory.
In Gando, Kéré combined traditional Burkinabé building techniques with modern engineering methods, maximizing local materials and community participation to reduce costs and ecological impact—a practice common to many of the projects highlighted in this exhibition. His work in Gando has become a catalyst for further development: the men and women he trained in construction techniques can now use their skills to earn incomes for their families. Students in his schools have gone on to pursue higher education and aspire to circumstances that were considered impossible before.Primary school in Gando, Burkina Faso, completed 2001, Designed by Francis Kéré, Burkinabe, active Berlin, Photograph by Erik-Jan Ouwerkerk
Harnessing the success of the Gando initiative, Kéré founded his Berlin office in 2005 and has since garnered acclaim for his work elsewhere in Western Africa and, more recently, in Europe and North America. He is the recipient of the 2014 Schelling Architecture Foundation Award, the Global Award for Sustainable Architecture, and the BSI Swiss Architectural Award, among others.
This school consists of nine modules that house a series of classrooms and administrative offices. The laterite stone walls, undulating off-white ceiling, and unique wind-towers exponentially reduce the interior temperature.
Secondary School, 2007 / Dano
Consisting of three classrooms, a computer room, and office space, this school is built mostly of widely available laterite stone and features a permeable ceiling, a corrugated sheet roof, and shaded windows that ensure natural ventilation. The laterite refining process and the ventilation system illustrate Kéré’s innovative techniques utilizing local handicraft.
To ensure a natural and sustainable cooling system in an extremely hot region, the roof over the classrooms is elevated from the interior construction; underneath, a perforated clay ceiling allows for maximum ventilation.
Canopy Shelter and Shade
The tree is a primal form of shelter. Four fundamental elements of architecture can be extracted from the various parts of the tree: canopy, structure, gathering place, and shadow. The canopy, as a general concept of various roof and ceiling enclosures, is an architectural cornerstone in Kéré’s work. Constructions in hot, arid places like Burkina Faso depend on innovative shade-making devices that allow ventilation and cooling without the need for electricity, as well as overhangs that provide protection from torrential rains. This video’s skyward perspective presents the importance of canopies in Burkina Faso, from village trees to traditional ceilings made of clay and thatch, to Kéré’s roof constructions at different stages of completion.
Reflecting the accessibility of Kéré’s building process, this video shows one of his most recent projects: the Lycée Schorge school in Koudougou, Burkina Faso. Unlike most modern construction sites in the West, which are strictly off-limits to the public, the Schorge site is left open for the surrounding villagers to observe. This process demystifies the act of building, allowing the public to slowly accept and sometimes even contribute to the new construction. Every stage of the project, including mounting the ceiling trusses and facade elements, fabricating the classroom furniture, and painting the interiors and window shutters, is performed without the use of heavy machinery.
The chairs in this space were made by a local fabricator in Philadelphia using the same design that Kéré created for schools in Burkina Faso. The Francis Kéré Foundation and the Philadelphia Museum of Art are pleased to offer these fifteen chairs for sale at the close of the exhibition to support Kéré’s further work in Gando. If you would like to reserve one or more chairs, please visit the Museum Store in this building for further details.
Diébédo Francis Kéré: How to build with clay… and community
Sharing Knowledge
Whether in a classroom with chalkboards and desks, or under a great baobab tree with logs and stones, the survival and prosperity of each new generation relies heavily on the transmission of knowledge. Gathering is not only a function of social occasions, it is also how ideas are discussed and spread. Shadow symbolizes this place of coming together. Visitors are invited to sit within this gathering space.
Wood
While natural hardwood forests are rare in Burkina Faso, the fast-growing eucalyptus tree provides a useful source of timber. This species is considered a nuisance in the region because it provides little shade and leaches moisture from the soil, exacerbating the problems of desertification. Despite its limited structural strength, it can still be made into screens, interior finishes, furniture, and even secondary facade systems that shade and protect buildings from wind and rain. Through the process of testing and prototyping, Kéré’s firm is also exploring new solutions for reinforcing the material for structural applications.
Clay
Burkinabés have long built with clay, extracting it from the earth, processing it by hand, and using it in a variety of architectural and craft elements, from walls to hand-built pottery. For the Gando School Library, Kéré pioneered a new use for local clay, casting sections of large pots into the ceiling to provide natural ventilation and lighting. Made by local women, the pots were transported to the building site on foot, involving the community’s expertise and participation. More recently, Kéré engineered an innovative way to cast the clay into reusable molds, creating wall systems that can be replicated for use in modular buildings.
Bricks
Bricks play a crucial role in Kéré’s architectural practice. Whether cast from clay or cut from locally extracted laterite stone, the simple form of the brick can be used to create sophisticated architectural forms and building systems. With or without mortar, bricks can be used in walls, ceilings, and floors. Different systems of stacking and bonding can produce a permeable boundary, allowing air and light to pass through. Thick brick walls also create a thermal mass, which, together with adequate ventilation and shading, helps to maintain a comfortably cool interior space.
School Furniture
To offset the costs of transporting building materials to remote sites with extremely limited means, Kéré and his team came up with ingenious ways to use every scrap of material left over from construction. Using steel rebar and plywood, the team built customized chairs and desks for school students and staff. Every bend and weld was carefully calculated to streamline production time and costs. The furniture was produced on-site with simple hand tools and jigs. A particularly striking detail is the rubber “shoe” made by hand from recycled automobile tires.
Architecture of Community
Despite the many differences between the city of Philadelphia and the village of Gando in Burkina Faso, where Francis Kéré was born, the installation in this atrium emphasizes the human-scale domestic architecture of both places and the sense of community such a design produces. In the plan of this space, Kéré overlaid the geometric grid of William Penn’s Philadelphia — represented by the regular placement of the frames that support the hanging parachute cord enclosures — with the irregular disposition of the enclosures themselves, mimicking the organic development of a Burkinabé village. The installation also features sounds collected from both Burkina Faso and Philadelphia, reinforcing the concept of community and shared space. The hanging parachute cord material may appear first as an obstacle, but on entering and interacting with the installation, the visitor will perceive that the material is a unifying, enclosing element that creates common spaces that must be negotiated and shared.
It Takes a Village
Conceived by Kéré Architecture and designed in collaboration with the Philadelphia Museum of Art’s Curatorial, Exhibition Design, and Editorial and Graphic Design teams, this exhibition has fostered an exchange of ideas, traditions, and experiences between Africa, Europe, and the United States. Thanks to the eager participation of many members of the Museum staff and volunteers, the Young Friends Executive Board and event committee, students from the University of Pennsylvania Undergraduate Program in Architecture, and the general public to help fabricate components, this installation truly represents the coming together of a community. In addition, the Philadelphia Museum of Art would like to acknowledge Richard Wesley, for facilitating the UPenn collaboration; Larry Spitz, Carol Klein, and Sasha Barrett, who generously offered their services in creating the red clay pots to suggest the Gando Library ceiling; and David Cann and James Bassett-Cann, for their help in the realization of the atrium installation.
The Philadelphia Museum of Art isPhiladelphia’s art museum. We are a landmark building. A world-renowned collection. A place that welcomes everyone. We bring the arts to life, inspiring visitors—through scholarly study and creative play—to discover the spirit of imagination that lies in everyone. We connect people with the arts in rich and varied ways, making the experience of the Museum surprising, lively, and always memorable. We are committed to inviting visitors to see the world—and themselves—anew through the beauty and expressive power of the arts.
Newspeak: Ignorance is Strength, from the Newspeak installation, Dread Scott
Headshot Dread Scott
