Mar 022019
 

Derek Fordjour, Two Party System, 2019

 

JRRNNYS, Derek Fordjour’s solo exhibition at Night Gallery, includes new paintings and sculptures that “advance explorations of earlier works, returning to the subjects of crowds and athletic competitions to illustrate the entrenchment of power relations, capital flows, and racial inequality within the economic and social systems of the United States”. The paintings are made of multiple layers of painted cardboard and newspaper that are then scored and sections are removed.

This interview with the artist from artnet goes into more detail on his fascinating process and the reasons behind it.

Signing Day, 2019

Signing Day detail

 

The centerpiece of the exhibition is the installation STOCKROOM Ezekiel.

From the press release

…The work takes its name from the 1884 letters of Ezekiel Archey, an 25-year-old unjustly held as a prisoner sent to labor at the Pratt Coal Mines in Birmingham. Archey’s letters, sent to the Alabama inspector of prisons, are among the most prominent primary-source documentation of the ravages of the convict leasing system, acknowledging the stark preponderance of black prisoners and the gruesome treatment of the laborers by their supervisors. Fordjour’s installation responds to Archey’s letters by creating a walled-in structure comprised of over 1,000 individually constructed compartments – cells, as the artist calls them – painstakingly organized with a variety of found and handmade objects, though by a logic that is never explicated to the viewer. Lights in individual cells blink on and off variously, while small speakers let forth bursts of music by the dictates of a rigid but similarly inscrutable pattern, luring the viewer in the eye-popping manner of the carnival game or game board. The intermittent sounds of music range from the early field recordings of 20th century ethnomusicologist Alan Lomax to 80s- and 90s-era drug dealer anthems to modern day Trap music, a largely Southern genre of hip-hop inspired by the illegal drug trade. The viewer has entered a gamelike arena whose rules remain obscure. With time, the objects that populate the shelves come into focus. Some cells contain familiar items – balls extracted from various sporting contests, the lottery and billiards, cameras, hood ornaments from luxury sports cars, decommissioned prison uniforms, and hundreds of hand blown glass balloons, among others. Others are closed off with metal grating, while still more are lined with the ubiquitous fabrics of luxury designers, invoking the aspirational quests of poverty-stricken urban communities. Finally, many cells contain small busts of the same expressionless figure, molded from resin, copper, metal, plaster, dirt, and salt – materials which stand in for the most prominent products from the era of convict leasing, including the coal mines and steel plants of of Alabama and the molasses distilleries of Florida. Taken individually, the contents of these cells suggest luxury and labor, surveillance and displacement, strategy and competition; as a whole, the work suggests the laws of chance taking place within the confines of a framework that is as unknowable as it is oppressive. From the era of Pig Laws to our current three-strikes mandatory sentencing, educational lotteries to modern day sporting empires, Fordjour’s installation points to the tragic persistence of unjust structures that define American life, employing contemporary commodities while invoking history. At once mournful and flickering with possibility, the installation conjures notions of personal loss and gain within the macro-scale context of the inscrutable systems that have determined the fates of black and brown people through the nation’s history.

Derek Fordjour, STOCKROOM Ezekiel, 2019 image via Night Gallery

This exhibition closes 3/2/19.

If you are in NYC you can see one of Fordjour’s new works, Half Mast, as a public art installation for the Whitney Museum. The large vinyl reproduction of his painting can be seen at the intersection of Gansevoort and Washington Streets, directly across from the Whitney and the High Line.

Derek Fordjour, Half Mast. Image via Whitney Museum

Dec 312018
 

If you are in Palm Springs for New Year’s Eve, take some time and visit Robolights. This is the last year it will be at its current location on an estate in the Movie Colony area.

Robolights is an ongoing work created by artist Kenny Irwin Jr., at his childhood home. The sprawling installation incorporates Christmas holiday themes, robots, aliens and, of course, numerous lights. The various creations are made from found, recycled, and donated objects.

There are some Disneyland influences, seen in a castle similar to the It’s A Small World Castle, and a boat with creatures singing holiday songs (you see it while crossing a bridge over the water), reminiscent of the Pirates of the Caribbean ride. There are also merry-go-rounds, animatronics, video games, and music which give the place the feeling of an amusement park.

Also worth mentioning are the Islamic details seen around the installation, adding to the uniqueness of the space. The artist converted to Islam as an adult.

Robolights is a maze of larger than life creatures as well as little details that become more and more noticeable on each pass through. It’s eccentric, fun, chaotic, a little bit dark at times (so many skulls and skeletons) and well worth spending some time exploring.

Keep in mind if you go that there is no neighborhood parking around Robolights- only for residents. Parking is located a short walk away at Ruth Hardy Park.  Robolights will close on January 2nd, 2019.