The Dallas Museum of Art’s Contemporary Art Department united to create an exhibition with a powerful message.
“Visibility is power,” said Dr. Anna Katherine Brodbeck, Hoffman Family Senior Curator of Contemporary Art at the opening of the exhibition.
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WATCH HEREThese are the last days to experience the exhibition comprised of 60 works of art by 50 diverse, intergenerational artists exploring the complexities of visibility. The exhibition, taking its name from Deborah Roberts’ work of the same name, is on view through April 13 in the museum’s Barrel Vault and adjoining Hoffman, Rachofsky, Stoffel and Hanley galleries, each organized by one of the four curators: Brodbeck, Dr. Vivian Li, Ade Omotosho and Veronica Myers.
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SIGN UP Brodbeck curates the opening section about the vulnerabilities of the seen and unseen. Gerhard Richter’s 48 Portraits greets visitors with familiar faces of white men who were important public figures in politics, culture and academia throughout the 19th and 20th centuries. In response, Samuel Levi Jones’s 48 Portraits (Underexposed) creates a visual history more inclusive of Black people.
This section also includes museum’s debut of America, a 2019 film by Garrett Bradley.
“She takes some found footage from the Lime Kiln Field Day film from 1913, which was the first film to feature an all-black cast. It was a silent film, and she makes kind of stage vignettes that fill in the gaps of early Back American life that were not captured on film so we can tell richer stories,” Brodbeck said.
The Scene
Myers, Curatorial Assistant for Contemporary Art and Asian Art, makes her curatorial debut with a section of works composed by queer artists. One of those artists is Dallas native Puppies Puppies (Jade Guanaro Kuriki-Olivo). The artist grew up in Plano as a closeted trans woman and credits visiting the Dallas Museum of Art as inspiration for what she could become. Her sculpture is a bronze cast on an engraved brass base.
“This is her body cast in bronze standing on a pedestal that says ‘woman.’ It was really important to me to bring this work in for people like Jade, for people like myself, for other closeted trans people living in Plano to be able see themselves not as they could be, but as they are,” Myers said.
Omotosho, The Nancy and Tim Hanley Assistant Curator of Contemporary Art, curates a section of work by Black artists working with found-object assemblage. Access, a later work of Noah Purifoy, shows how the he took shoes, rims, sinks, and a shovel blade to create a sculpture that invites a different perspective of the Black community.
Purifoy inspired many artists in this section of the exhibition, including David Hammons. Hammons enjoyed a successful career by creating a series of delicate body prints. Ivory Spirit is Hammons’ leap of faith as he experiments with assemblage. He drapes sheer fabric over a rusted metal shape to create an ethereal being.
“I like to think of Ivory Spirit as being the force that bridged the boundary between representation and abstraction,” Omotosho said.
Li, The Lupe Murchison Curator of Contemporary Art, explores history and immigrant experience through figuration with works primarily by BIPOC artists. Marisol’s Pocahantas is a lithograph based on the only portrait of the Native American made during her lifetime. In the 1616 portrait, Pocahantas is dressed in English clothing and her skin is lightened as an attempt to promote her as an example of Indigenous integration. Marisol does the opposite in her work, allowing her to reclaim her royal status in the Indigenous community.
“Marisol purposely darkens her as well as she darkens her surroundings,” Li said. “She also creates a lightness and radiance to her, so she is not just an advertisement.”
Pacita Abad’s How Mali Lost Her Accent is from her “Immigrant Experience” series, a compilation of works about the experiences of people coming to America from Asia, Africa and Latin America. The painting is inspired by a Laotian Vietnamese friend who is fulfilling the hopes of her immigrant parents.
“This is to celebrate in a way her realizing of the American Dream. She’s at the crossroads of her life, choosing colleges and things about what’s her next right step,” Li said.
The title, however, highlights what Mali is losing to succeed in her new culture.
The Barrel Vault merges the four curators’ theses, as envisioned by Brodbeck. This section features Cupboard, 2022, a recently acquired monumental gilt bronze sculpture by Simone Leigh. The full skirt references Africa’s architecture, the ceremonial clothing made of raffia, and the dome-like structure of the hut that became the European symbol of African continents.
“Because we’re an encyclopedic museum, we’re thinking through how these histories get propagated,” Brodbeck said.
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