This expansive thematic show that uses House music as both an allegory and an art form ends this weekend. It’s worth spending time moving back and forth through the rooms to hear, or rather feel, how the soundscape informs works that are deceptively benign but loaded with signifiers of oppression / liberation creating intersections where labour meets love.
Today, Saturday, October 29 Toronto talent Esie Mensah will be performing between 2 – 4 pm.
“Chicago-based artist Theaster Gates takes over the fifth floor of the AGO’s Contemporary Tower with an immersive exhibition exploring the potential of the house museum—historically important landmarks that have been transformed into legacy sites. Gates proposes new ways of honouring and remembering Black experience and explores the potential of these spaces through music, dance, video, sculpture and painting.”
Marie Watt’s sewing circle and Nick Cave’s SoundSuits provide ways to start discussions around challenging issues.
As our long winter was on it’s way out and a new spring beginning an interesting initiative began here in Ottawa. Vicki Heyman, wife of US Ambassador to Canada Bruce Heyman, launched Art in Embassies, a project started by John F. Kennedy as way to share the talent of American artists abroad as well as “start cross-cultural dialogue“.
Maria Watt was the American artist chosen to open what has become a series of events focused on the role of art as a catalyst for social change. The timing seemed oddly predestined. Marie, a woman of mixed Settler / Indigenous heritage sat on the stage at the National Gallery of Canada speaking to Greg Hill (the NGC’s Audain Curator of Indigenous Art) about the connecting quality of her work.
“My work draws from my experience as a Scottish German Seneca person in the US growing up in Oregon…[I explore] Indigenous moments in history and European history – those nexuses.”
This was on the eve of the Roundtable Discussion on the Missing and Murdered Indigenous Women and Girls that was also taking place in Ottawa that week. On the Friday, as Carleton University was hosting the National Roundtable, the Carleton University Art Gallery (CUAG), in collaboration with Art in Embassies, was holding a roundtable on Indigenizing the Gallerywith Marie as the honoured guest participant. If a nexus “is a series of connections linking two more more things” than what was happening at that precise moment in Ottawa, in the social spaces where art, academia and politics converge, was a moment where Indigenous women’s voices were being prioritized.
“will highlight the rich history of commerce and trade in Ottawa. The word “Ottawa” comes from the Algonquin word adawe, which means “to trade.”
Along with their blankets participants were requested to write a story that illustrated the importance of that blanket to their family. The stories become the currency and their richness is revealed in their ability to criss-cross countries and cultures, span many generations and fuse past with present. With her works involving blankets Marie does what she can to have the stories available for audiences to read (view some of stories from the NGC install here). At her National Gallery talk she related a few of them to us. One story was Peter’s. The blanket he gave to Marie came from a concentration camp. If I remember correctly, it was his wife’s and it was all she had when she was liberated from the camp. Eventually that same blanket would be used to wrap and protect art work purchased by the couple in the life they created together. Marie feels that such a story flies in the face of Hitler’s denigration of art and is a perfect symbol of reclamation – a blanket’s meaning transformed by its new role.
The stories are also ways for people to enter into the intimate space of another. In this complex historical moment where we struggle to understand the meaning of words like reclamation and reconciliation sometimes the way of navigating that complexity is through the simple act of creating a space for people to share moments. This is the strength of the Art in Embassiesinitiative which has been infused by Vicki’s desire to explore art as social practice precisely because it can build bridges and foster understanding between disparate social circles. As a way of gathering a diverse group together for a common goal, another event that was held as part of Marie’s visit to Ottawa was a sewing circle. It was moving to see people of all backgrounds, ages, and genders stitching together in the Great Hall at the National Gallery. And the artist was present! Marie took the time to speak with people as well as listen to new stories being shared. For Marie, it’s about being affable in her process. As she says, a sewing circle is about “tucking yourself into something as humble and familiar as cloth. It’s a safe space that’s a much more informal space – getting together in a neighbourly way.”
In these informal spaces people can digest what they might otherwise feel challenged to confront. Marie’s work, although not overtly political, is charged by a political climate that does it best to ignore Indigenous rights and a national leader who publicly declared that the issue of #MMIW (Missing and Murdered Indigenous Women) as not “really high on our radar.” As a Seneca woman she uses her art as a way to generously share Indigenous teachings to a non-Indigenous audience.
The next artist speaking as part of the series is Nick Cave. Nick’s work is also about looking at social as well as disciplinary nexuses of art, dance and fashion. Like Marie, he uses the act of sewing and assemblage to move a challenging conversation forward. The intense subject of racial profiling prompted Nick to look at ways we disregard and denigrate. His first “soundsuit” was created by gathering discarded sticks and twigs, the things that surround us during our day that we ignore and allow to become invisible. The final product functioned as both apparel to be worn by a dancer during a performance and sculpture to be inserted into a gallery space. Whether still or animated by performers whose race and class are concealed inside the soundsuits, Nick’s work is meant to break open a space. They are impossible to ignore. As performers climb inside they have a chance to access the feeling of being connected with something seemingly foreign from their everyday but yet some of the materials that Nick utilizes, like Marie’s blankets, are humble ones that are familiar to all.
Again, the timing of this event is important. After months and months of the heaviness of how racial profiling is being executed – literally – by agents of power, we need to widen the discussion around race that has been split open by the murders of black men at the hands of the police. The problematics of race isn’t just an American issue. Here in Canada the erasure of Black bodies in cultural, academic and political institutions has the potential to fester and become a much deeper problem. We need to have the challenging conversations immediately and those conversations have to happen in places like the National Gallery of Canada, an institution where Black contribution to Canadian history and art has been close to absent. No time like the present.
I applaud the audacious spirit that Vicki has brought to the cultural table here in Ottawa and I look forward to participating in more of these types events that create a nexus for change by widening the circle of social influence.
You can follow the conversation at #artconvoAIE. More events will be coming up in 2015!
Oh my! Where does one start?! First let me say this. There is nothing boring about Ottawa. So let’s just put that “it’s the city that rolls up the sidewalks at night” myth to rest. Just when I think I might get a breather from events the Writers Festival ends by seguing this city into another festival celebrating the arts – The National Arts Centre’s Ontario Scene. “Imagine 600 Ontario artists, from all disciplines, performing in the national spotlight on the stages of Ottawa/Gatineau: that’s Ontario Scene.”
The biggest limiting factor to Ontario Scene is that my body only allows for me to be in one place at one time. I may have to settle for 300 Artists, 30-ish events and maybe 1 less day.
I have already clocked two events with back to back nights at Carleton University Art Gallery for the Opening and Artist Walk Thru of the current exhibit “Human Nature.” This show “presents fourteen contemporary Ontario artists whose works look at the state of the natural world and our impact on it.”
Images by Leah Snyder for Mixed Bag Mag.
Graffiti Boxman Project. Photo Flips BSC. Kwende Kefentse.Credit James Park Photography.
“Century Song is a live performance hybrid showcasing the extraordinary Canadian soprano NEEMA BICKERSTETH. A radical revisioning of the recital form from one of Canada’s most exciting theatre companies, it is part classical song, part dance, part projection, and entirely theatrical.” Find outmore…
Digging Roots. Raven Kanatakta and Shoshona Kish. Photo Ratul Debnath.
DECLARATION is a great Ontario Scene initiative that will be running from April 29 to May 3.
“DECLARATION is a celebration of Indigenous peoples’ right to engage in the creation and evolution of arts and culture, as asserted in Article 11 of the 2007 United Nations Declaration on the Rights of Indigenous Peoples. Created by Toronto-based ARTICLE 11, DECLARATION is an immersive, live, sound and image installation and performance-creation lab. It offers the rare opportunity to witness established Indigenous artists mid-process as they take risks and explore new approaches and collaborations in a responsive, interdisciplinary environment.”
Read more about the full DECLARATION programming here.
Santee Smith. Image by Red Works.
John Morris, NAC Executive Chef
Also, on the menu, literally, is food – the best of what Ontario has to offer in the culinary arts.
On Monday night:
“le café presents a WINEMAKER’S DINNER that showcases and complements the delightful wines of Pelee Island, Canada’s oldest and most southerly wine region. For this special occasion, National Arts Centre Executive Chef JOHN MORRIS will prepare a sumptuous five-course menu with all-Ontario ingredients, and every course will be paired with the finest varietals that Pelee Island has to offer. Winemaster MARTIN JANZ, of Pelee Island Winery, will be in attendance.”
On Tuesday night:
“Experience the innovative and mouth-watering creations of more than a dozen top chefs from across the province as they vie for the $10,000 top prize in the ONTARIO CULINARY CHALLENGE. Each chef will prepare uniquely Ontario small plates, using a selection of 100% local and regional meats, cheeses, fruits, and vegetables. With the support of Wine Country Ontario, chefs will be partnered with Ontario wineries to produce the perfect food-wine pairings, which attendees can sample throughout the night. Rub elbows with chefs, sommeliers, and media, sample some of the province’s finest wines, and cast your vote to award the first-place prize for the very best of the best in Ontario’s culinary arts.”
Alright, time for a 2nd shot of espresso and I will be ready to go.
Theaster Gates moderated by Pamela Edmonds of Third Space Art Projects
Whenever I bring up the “Urban Field Series” with my Toronto artist, designer and curator friends everyone remembers a talk they went to that was phenomenal. This annual series brings to Toronto cultural provocateurs from around the world to discuss how culture grafts its expressions onto the urban space.
This Thursday Prefix welcomes Theaster Gates to Toronto.
“[Theaster Gates] the award-winning artist and director of the Arts and Public Life initiative, University of Chicago, speaks about his extraordinary community projects that critically engage with the public, including Dorchester Projects, a cluster of abandoned buildings on Chicago’s South Side that has been transformed into a vibrant cultural locus. Moderated by Pamela Edmonds, independent curator. Presented by Prefix and Third Space Art Projects.”
Prefix Institute of Contemporary Art
401 Richmond Street West, Suite 124
Toronto, M5V 3A8
Doors Open at 7 pm. Tickets can be purchased at the door.
$8 Prefix Photo subscribers, students & seniors
Sometimes demolishing the past doesn’t change the present.
At the behest of Creative Time Kara E. Walker has confected:
or the Marvelous Sugar Baby
an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant
On June 30 “Why I Yelled at the Kara Walker Exhibit” was posted in The Indypendent. This powerful article touched on several issues that I felt needed to be addressed. I applaud the writer, Nicholas Powers, for punctuating the space with an action that wasn’t a planned intervention or a performance piece. It was a unprompted visceral response – an appropriate (re)action.
In his article he asked a very important question – what is the role of the curator? I ask – when the curator knows that they are putting out work that is loaded, even potentially volatile is it acceptable for them to just step back and let things play out? Do curators have an obligation to facilitate dialogue and create a safe space for emotional release?
Many people found their experience in the physical space to be quite painful “Black Pain, White Laughter” as Nicholas puts it. The online experience provided an almost unchallenged area for people to act ignorantly – even racist and misogynistic.
Should Creative Time (the team behind “A Subtlety”) have immediately stepped in to address the racism and misogyny? In both spaces they could have intervened. There was an opportunity for a whole other dialogue to take place that would perhaps have lead to more understanding and empathy therefore more respectful behavior.
“It was like a sleeping beehive had been kicked over”
Nicholas called out people for the types of photos they were taken at the back of the sphinx, the location where much of the problematic behaviour has occurred. A Creative Time curator, in an effort to distance the organization from his spontaneous intervention, asked him to tell people he was not part of Creative Time. He writes:
“ A friend cut in, saying loudly that I didn’t have to say shit. They got into a debate that heated up into a verbal fight. Visitors came up to me, some saying I was wrong; others saying I was right.
…It felt great to confront the “white gaze,” the entitled buffoonery of the visitors. But why did we have to?…wasn’t the job of Walker or at least Creative Time’s staff to curate a racially charged artwork? Yes, Walker has the freedom to express herself. Yes, Creative Time has the freedom to organize it. But what do you expect will happen if you put a giant sculpture of a nude black woman, as a Mammy no less, in a public space.
…Instead of challenging the racial power dynamics of white supremacy, Walker and Creative Time, in their naivety or arrogance, I don’t know which, simply made the Domino Sugar Factory a safe place for it.”
For me, that is where the installation failed. The safe space that was created was for those who needed to be challenged the most. The historical dirt, literally baked to the walls of Domino Sugar Factory, was sanitized – much like the process of whitening sugar, a process that requires crushed up bones to do the bleaching. The act of allowing people to document the art with cell phones, cameras and a hashtag also allowed people to mitigate their experience of the work by not being fully present to what was in front of them – the ugly truth and the shadow side of sweet consumption. Instead, the Sugar Sphinx became a tourist trap; like flies to sticky paper people got stuck to the spectacle but emotionally never moved beyond.
This work should have been about collective mourning of a disturbing past and collective consideration as to how our current lifestyles still support modern day slavery.
“One of the worst things about my experience with the Kara Walker exhibit in Brooklyn was the lack of space available for me to mourn the devastation of Blackness, nor appreciate its power. There were white bodies everywhere I turned; white bodies laughing, white bodies posing for pictures, white bodies giving me strange looks as I solemnly shuffled around the warehouse, white bodies overflowing the space, white bodies spilling into my physical and mental space…
I became uncomfortable, realized that even though this was obviously a cemetery, a place of remembrance and mourning for how Blackness has been distorted and destroyed throughout history, the pain I felt would always take a backseat to the comfort white people seek in lies. In that moment, I began remembering what violation felt like.”
Malik and two friends decided they needed to intervene in the space between the mammy’s breasts in an attempt to reclaim it.
“I suggested to my friends that we pose in front of the mammy sphinx holding up the Black Power fist, with a picture of us doing so to be taken by our white chaperone from our youth organization.
As we stood there, with our fists defiantly raised to the ceiling, the mostly white people in front of us became much quieter, they seemed offended even. Khadijah says she heard people whispering, “It’s not about that…”.One white man gave us a look of bemused indignation, rushing to the space we had just claimed as our own after our picture had been taken, only to pose for yet another smiling portrait in front of the mammy sphinx. Perhaps he did that to prove a point, a point sprung from the murky waters of privilege and ignorance.
And my spirit sank lower into my gut; I could feel it dragging me down towards the molasses-resembling-blood splattered ground.”
The lightness of whiteness and a burdenless history
When one reads the comments in Stephanie Wyatts “The Audacity of No Chill: Kara Walker in the Instragram Capital” the good ol’ ‘reverse-racism’ argument starts to bubble up. She called out white people in her article and that, is just not socially acceptable, even in the context of art speaking on Black Slavery. If this is not an appropriate time when is it?
Stephanie, a Black woman, had to bear witness to jokes about “sugar tits”, “big ass” and “sweet lips” as her racialized body stood in front of sculpture of another racialized body. The sexualized talk directed at a lifeless sphinx (as her own physical presence was ignored) was talk also aimed at her. As the human being standing next to the the ones saying such things she should take it personally.
“I stood in front of a sugar boy carrying a huge basket oozing what began to look more like blood than molasses. I looked to my right and a white kid was licking one of the boys while his parents stood there unfazed. I walked over to get a full-on, yet still-distant view of the giant sphinx. Two seconds later, my eyes exploded and I was crying all over myself.
I obviously didn’t expect to start crying, but it happened and I let those tears run free. I was snapped out of my sob by a white guy yelling, “This is boring!” Tears for my ancestors turned into hot, angry tears. “
Stephanie’s response to all of the callousness, built up upon other times she has had to bear witness to people acting with insensitivity, lead her to write:
“…I’d gotten the sense that deep reverence may not be white people’s spiritual gift. But where’s the respect? How do you not realize that you are currently standing on sacred ground and staring the sickness of our country dead in the face?”
All of these articles are written by African Americans. I didn’t come across any other articles of this type, speaking to a visceral and painful experience, written by anyone that wasn’t Black.
Whiteness / ‘lightness’ is a privilege. It gets you a pass in a lot of places. It shouldn’t get you a pass on ignorant behaviour. The Mammy Sphinx and Sugar Babies speak to a mutual history, slavery exists in the collective memory(s) and the weight of it should be shared. Unfortunately “A Subtlety”demonstrated that many people still see it as a burden belonging only to Black people.
Whether we like it or not, history has intimately intertwined us all and the unknotting shouldn’t have to be done solely by the people who can trace their ancestry back to those who survived the Middle Passage.
Both the physical and online spaces that “A Subtlety” provided were spaces where white people could have at least helped to carry the burden. Instead the actions of many led to the piling on of more weight.
“A Subtlety” exposed that the not so subtle expressions of racism exist even in places created for homage to its impact.
The Black female body is never neutral. She can never rest.
“I walked into the exhibit feeling alone and I walked out of the exhibit feeling lonely. To be a parody and a parent. To be a black woman and pun.
It is here when I decide that I will bring my daughter next weekend. She should know how to arm herself against a world that never considers her skin, her ancestry, her people. She should know her body is always up for discussion, whether she initiates the conversation or not. She should know her pain will always be greeted with a whimsical patronizing hand.
She should know how to celebrate, defend and demand her own song and rich history be acknowledged and honored.”
Creative Time presents “A Subtlety” in Williamsburg, Brooklyn.
I make a scattered dash to get to the Kara Walker exhibit in Williamsburg, Brooklyn. Hot day, with an intense late-spring / almost-summer sun blasting me and the pavement I am pounding. I get lost then located. I turn the corner to see the longest lineup I have seen for art in sometime.
Kara Walker. A big sign makes it clear this is an event!
“At the behest of Creative Time Kara E. Walker has confected:
or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant”
Once inside the Domino Sugar compound there is a long march into the factory where another blast of heat hits you. This time it’s combined with a sweet smell.
The immediate feeling is of being overwhelmed. The scene is fantastic! Honey coloured light dappling a cement floor textured by the wear and tear of once busy workers. More texture on the rusted out walls that offer a palette of cobalt blues and deep muscovado browns. Beyond the crowds, at the far end of the factory, this gorgeous, towering, powder-white statue rises up – intense with her omnipresent stare.
But then your eyes adjust to the dim warehouse light and your nose notices that the once inviting smell has turned into a toxic sweetness. The scent becomes more rank as you move closer to the sugar sphinx. It mixes with dust and hot human sweat. It doesn’t smell good and the scene that at first seemed stunning loses its charm as you notice you are surrounded by statues of small children, barefooted and barely clothed, standing so they reach slightly above the level of your heart. They each hold a gathering basket. Although they are fixed in their location they seem to multiply and move because as groups of sightseers wander off another child emerges through the dusty light.
It is these children that become the most haunting part of this installation. Constructed from resin and covered in molasses, their bodies leak onto the concrete floor leaving a puddle of black gummy moisture that traps your feet. The dark slick reflects back the faces of the meandering masses that approach the bodies like they are curios.
They are fascinating. Their technical production makes them close to life-like despite the fact that their heads loom too large on their spindly frames. Some even seem to smile but you can’t be sure if it is the case because their face may have shifted as the molasses melts.
The crowd bends to see them face to face, the crowd comes close to touching, but only the little ones, without socialized inhibition, reach out. As they do their parents snap photos, telling them to hold still and smile.
What becomes even more curious then the sugar statues is how the crowd reacts. Met with the visual reminder of the slave trade people pose with the sugar babies flashing a tourist’s grin.
When confronted with the sweetness of life gone sour what should be our appropriate response?
I wonder why they smile in a scene that, if you pause for a moment to think of the reasons Kara Walker’s sugar mammy and molasses children have been constructed in this space, is distressing. At the edge of the East River, for over 150 years, the Domino Sugar building was used as a processing plant for the imported cane that came to America from the colonies. Blood sugar – a term used to demonstrate how the sugar trade was bound to the slave trade yet the crowds want to be memorialized with the look of pleasure on their face.
It’s not that the crowds seem unsympathetic to the histories Kara references. Racially mixed (albeit predominately white), I am sure the majority are aware of what they are witnessing.
So how do we commemorate our experiences with art that is meant to be challenging? As we ram head on into the digital (sur)realities of the 21st Century have we stopped to think about our decorum when we bear witness to problematic subject matter? Have we been educated on how to be critical; have we considered how to be respectful?
Historically cameras were restricted in art spaces but now, often, they are allowed. With a population that is snap happy and needing to share they were there what does this mean for the way we now interact with art?
Are we in the actual moment or does the camera mitigate us from needing to be fully present in those times when we are confronted with difficult realities, realities that may even challenge our lifestyle choices?
We are primed from a small age how to interact with a camera. Like the parents instructing their curious kids, we are told to ‘smile’. Should there be times when we ask ourselves, is our documentation appropriate? Could there be a better way for us to use this ubiquitous technology we have access to?
Upon entering the exhibit a sign reads “Please do not touch the artwork but do share pictures on social media” and the hashtag #KaraWalkerDomino supplied.
As I write, the trending content for this tag is Jay-Z, Beyoncé and their baby daughter Blue. They have been spotted on a Father’s Day outing to the Brooklyn location.
Besides Beyoncé (and the occasional off-colour comment alluding to the Sphinx’s sexualized nudity), the tweets are mostly of people expressing how impressed they are by the artist’s work but the opportunity for a more expansive discussion, even if only in 140 characters is missed.
People seem willing to participate in the spectacle but are they willing to participate in active change?
This sweet stuff is serious stuff.
Kara Walker’s work is not just a memorial to a past travesty. Everyone’s sweet tooth is still sucking bodies into modern slavery and bonded labour. The syrup that drips from the statues of the children is like a living organism that marks the space in real time. The legacy of the sugar trade is in our present moment. When the Domino Sugar Factory is finally demolished, clearing way for condos, what will have changed?
Social media exposes where we are at culturally. The evidence left behind by hashtags demonstrates that there is much work to be done around how best to digest what we should find distasteful.
Inside our pockets are powerful tools. Technology has given us the means to not only discuss our reactions beyond our immediate circle but also archive them for a future population of new users. We each have the capacity to participate in building extensive and transformational legacies around the art that impacts us.
When the molasses evaporates and powdery dust swept away what remains?
Hopefully an expansive documentation of how people were deeply moved by the work and a record of thoughtful interactions in 140 characters or less.
“Over the past four decades, Creative Time has commissioned and presented ambitious public art projects with thousands of artists throughout New York City, across the country, around the world—and now even in outer space. Our work is guided by three core values: art matters, artists’ voices are important in shaping society, and public spaces are places for creative and free expression.” Read more on Creative Time…
The exhibition continues through until July 6, 2014.
“Midway through Candide, Voltaire’s famously naive protagonist enters Dutch-controlled 18th-century Suriname, where he encounters “a negro stretched upon the ground, with only one moiety of his clothes, that is, of his blue linen drawers; the poor man had lost his left leg and his right hand.”
“Good God!” exclaims Candide, who proceeds to ask the man why he’s in such terrible shape.
“When we work at the sugar-canes,” the man answers, “and the mill snatches hold of a finger, they cut off the hand; and when we attempt to run away, they cut off the leg; both cases have happened to me. This is the price at which you eat sugar in Europe.”
“White sugar has always been for rich people. White sugar has always been guest sugar, company sugar, sugar for public display. Parlor sugar…
…It takes bones to get sugar white. Thousands of pounds of cow bones burned to bone char are used to bleach sugar in processing plants. My Hindu parents, for whom beef was the ultimate taboo, did not know this when they proudly displayed white sugar lumps in their silver sugar bowl…
…Some of us take our sweet dirty. Extracted. Not poured.”
“The overwhelming whiteness of viewers isn’t unique to Walker’s exhibit. There are more than 17,500 museums in the United States that are visited by 850 million people annually, the vast majority of whom are white. Art, particularly when it’s commissioned and it’s covered in important publications like the New York Times, is often seen as the exclusive domain of white folks. Museums, dating back to their modern origins in the 18th century, were usually built by wealthy white patrons and enjoyed by middle and upper class European families. In the American context, they served a specific purpose for opening up and exploring a new continent, according to Ford Bell, head of the American Alliance of Museums who was quoted by NPR in 2008. People of color — their customs, their cultures and, in the infamous case of Sara Baartman, their bodies — were usually the object of those white gazes. But in recent years, as the country’s demographics have shifted in favor of a so-called majority-minority, the art world has made great strides in featuring the work of artists of color. It’s hard to imagine any work by an artist like Walker or Carrie Mae Weems, at the Guggenheim 50 years ago.”
“…Meant to serve as a commentary on the sugar cane trade, and a cultural critique of slavery and perceptions of black women throughout history, the work is part Sphinx, part racist Mammy stereotype, and is coated in sugar. It features exaggerated features including breasts, a bottom, and a vagina. As Walker told artnet News, “Nudity is a thing, apparently, that people have a problem with; not slavery, or racism, but female bodies, or bottoms.”
And sadly, she is correct. While few appear to have responded to the work with charges of indecency, some visitors have been unable to stop themselves from mocking and sexualizing the work, uploading photos pretending to cup its breasts or tongue its buttocks. This gross behavior has, understandably, struck a nerve with feminists and racial equality activists alike. Yesha Callahan of The Root writes, “History has shown us time and time again how a black woman’s body was (and sometimes still is) objectified. From the days of the slave trade to even having black butts on display in music videos, the black woman’s body seems to easily garner laughs and mockery, even if it’s made out of sugar.”