In 'False Idols' three artists have been selected to present work on the personal, the sacred, and the abject. The phrase "the fish rots from the head down" is applied to both tyrannical administrations as well as disorderly servants, but regardless of the offending party, we are left with a guttural aesthetic representative of a severe disconnect. 'False Idols' brings together the works of Sharareh Khosravani, Joe Speier, and Kristy Kemper to tare at the ideal of righteous dominance and the illusion of a natural order.
As a collaborative effort, these artist-neighbors made and then left prompts on each other's doorstep to initiate a conversation. Similar to passing notes back and forth in the rear of the classroom, the process of this dialog sparked a call and response to their creative practices. How would each artist respond to a prompt? How would another's gesture influence and illuminate the other's creative path? The result is a show of correspondence -- some quiet, even hidden, some serving as private soliloquies, and still more existing as loud, silly jokes. These pieces exist as collections, fusions, inspirations, sabotage, thievings, and mysteries. As a way to continue the call and response among this collective, each week during the run of the show, the artists will slightly alter the installation display, adding or subtracting pieces to prompt the viewer's mindful attention.
Timothy Thomas and Cincinnati’s racial unrest lurks beneath an exteriority of blinded consciousness. The current body of work locates 2001 within the spectrum of polemics of the black body politic. Black masculinity is still curiously negotiated, even precariously fumbled, within our failed system. Projected from within and without, contradictions of the black body politic manifest through images of occurrences immediate and assumed foreign to the brown object. Brown is a multivalent material, standing for and against conclusive definitions of Black. There is no Post-Black, but a Forever Brown.
We find ourselves in a period of history which is marked by tremendous speed. Certain aspects of life have reached a velocity that allows evolutionary processes which used to take generations to unfold many times in a human lifespan. As science fiction writer Bruce Sterling explains, “our entire culture has been sucked into the black hole of computation, an utterly frenetic process of virtual planned obsolescence. But you know - that process needn’t be unexamined or frenetic. We can examine that process whenever we like, and the frantic pace is entirely our own fault. . . there’s an unexpected delicious thrill in the thought that individual human beings can now survive whole generations of media.” The chosen medium of an artist used to be considered permanent, but as is especially obvious with digital media, artworks created on an outdated operating system can become instantly as dead as the eight-track. How does one produce work in such a landscape that can endure, and, moreover, how does one produce work that can navigate and ultimately reflect upon this landscape? Contemplating these questions is the overarching goal of my work and the purpose of this exhibit.