- Whatever law allows a policeman to go blameless for shooting dead an unarmed youth a dozen times, even in the head, is simply wrong.
- Whatever law allows a policeman to kill a youth because this youth is said to be "charging" at the policeman is simply wrong.
- Whatever politics that permits white policemen who are perpetually afraid of black men to police black communities is wrong.
- Whatever law permits a white lawyer whose father was killed by a black man to decide whether or not to charge a white officer for killing a black man is wrong.
- Whatever system that saw nothing wrong with the handling of the Michael Brown case by Ferguson police and prosecutor is wrong
- Is the law rigged against black men in America?
Tuesday, November 25, 2014
Wednesday, November 19, 2014
Tuesday, November 18, 2014
Monday, November 17, 2014
Saturday, November 15, 2014
Twist and Turns
November 20, 2014 - January 17, 2015
Opening reception: November 20, 6-8pm
|Nnenna Okore, Aja Nsukka, mixed media, nd. Courtesy, the artist|
David Krut Projects is pleased to present Twist and Turns, Nnenna Okore’s second solo exhibition at the gallery. The title of the exhibition draws attention to the sense of dynamism and movement in this selection of Okore’s most recent sculptures - continuing her exploration of material through a laborious hands-on creative process gleaned from the traditions of West African art making.Raised in Nigeria, Okore’s affinity for tactile and gristly elements from the semi-urban environs of Nsukka in south-eastern Nigeria, have inspired a body of works that broadly focus on transformation and regeneration of mundane ecological and man-made objects. Through visual subtleties, she is able to present the fluid and delicate attributes of the physical world, triggered by aging, death and decay. She embraces biodegradable materials laced with memories and histories of her past; and submits to the use of several organic forms delicately articulated in an interwoven manner to reflect the quintessence and mystery of life cycles. The familiar yet abstract sculptural forms rely heavily on materials including newspapers, cloth, plaster and hessian, which were acquired mostly in her Fulbright year abroad. These materials metaphorically reference social, historical and environmental interconnectedness of our collective experiences as mortals.
By default, Okore responds to the movement and malleability of her mediums and processes, allowing them to lead her. Her drawn-out processes of threading, fraying, tearing, teasing, twisting, rolling, layering and dying are derivative of domestic Nigerian tasks that she mastered while living in the country. Through her work, she reveals impermanent earthy attributes of organic and twisted forms. Her intuitive approach to process begets intricate and unhindered layers of the process and materials. The undulated nature of Okore’s work further accentuates the extraordinary panoramic dance between the art and the gallery’s unique ambience. The result is an intriguing display of spellbinding ethereal forms.
Nnenna Okore is an Associate Professor of Art at North Park University, Chicago, where she teaches Sculpture. She has received numerous international awards and been exhibited in many prestigious venues, including October Gallery, London; Museum of Art and Design, New York; Sao Paulo Biennale, Brazil; and Art Twenty One, Nigeria. She received the prestigious Fulbright Scholar Award in 2012, which resulted in a year-long project in Nigeria. Her works and interview were recently featured in the July/August 2013 issue of Sculpture Magazine.
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