Residency Art Gallery
In her 2003 essay “Pimp Notes on Autonomy,” Beth Coleman writes, “The fame of black people . . . is a fame based on the foresight that race does not exist anymore, which does not necessarily make a body right.” O. J. Simpson’s infamous claim, “I’m not black, I’m O. J.,” could be read as a similar assertion, a cultivated self-definition of Simpson as a public figure pointedly outside of racial politics. But after the former NFL running back’s dramatic fugitive flight, “trial of the century,” and murder acquittal, he would never again be exempt from race in America (as if such an idea was possible). In “The Ride Back to Black,” Elizabeth Axtman’s first solo exhibition in the Los Angeles area, the artist examines media depictions of O. J. before, during, and after his trial with a fascination and lightness that at once capture the spectacle of this not quite “right” body and Simpson’s
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