Doreen Garner and Kenya (Robinson) offered a challenge to deep-seated legacies of revered white men in America with their exhibition “White Man on a Pedestal.” After collaborating for two years, the artists put together eight new sculptures and installations (all works 2017) at the largest scale of either of their careers to date. As stories of sexual misconduct and harassment proliferate against the white supremacist backdrop of Donald Trump’s presidencyincluding allegations against former Artforum copublisher Knight Landesmanit has become clear that white men won’t descend from
Sculptor Doreen Garner extends her inquiries into intimacy, hygiene, latent sexuality, and racialized violence in her first curatorial effort to date. From Chicana punk tattoo artist Tamara Santibañez to Hollywood special-effects animator Erik Ferguson, the artists in this group exhibition hit Garner’s themes from many different angles.
Nakeya Brown’s photo series “If Nostalgia Were Colored Brown,” 2014, presents quietly domestic tableaux peppered with clues to a vibrant life: 1970s disco albums, salon hair dyers, curlers, and a flowerless African violet. In Ted Mineo’s pictures Mist, Not, Shipping
Elaine Cameron-Weir’s current exhibition, “viscera has questions about itself,” feels like the laboratory/dressing room of a cyborg goddess. Five otherworldly garments and seemingly sentient accouterments occupy the gallery, titled with chopped and spliced phrases such as “subcutanean tantric the skingrip palpable, it” and “body conduit (dish of) psyche’ dissolved” (all works 2017). A long bolt of enameled crocodile-like skin, Snake 8, is draped down to the floor. In the middle of the gallery is a chain-mail garment with metal breasts and spine, subtly echoing Snake 8’s sinuous verticality.