Rewind

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Rewind is an art installation by Paul Rucker who demonstrating the parallels between slavery and the contemporary prison industrial complex through animation, digital stills, sculpture, original music compositions, interactive sound and video. Although slave and convict have different names, these labels share similar limitations and expectations. Both have faced exploitation for labor, a loss of rights and disenfranchisement. Currently over 2.3 million people are incarcerated in the U.S.; 40 percent are African Americans, although they comprise only 12 percent of the country’s total population. In Rewind, Paul Rucker examines the vast numbers affected by both institutions and the disparity in the racial makeup of the prison population.[1]

This art intallation garnered praise from Baltimore Magazine awarding Paul “Best Artist 2015.” Additionally, REWIND received “Best Solo Show 2015” and “#1 Art Show of 2015” from Baltimore City Paper, reviews by The Huffington Post, Artnet News, Washington Post, The Root, and The Real News Network[2]

Installation

Step inside the Baltimore Museum of Art this fall and you could find yourself face to face with a crowd of seven-foot mannequins dressed head to toe in Ku Klux Klan robes.

Of course, they are not your average white hoods.The robes are made from patterns like Kente cloth and camouflage fabric, turning the ghost-like memory of a KKK uniform into a chilling, anachronistic image. Unlike the black-and-white photos of Grand Wizards buried in American history books, these vibrant costumes force the horror of racism in the United States into the present moment. Standing before the imposing statues, you can’t ignore they’re there.[3]

In this installation there are some art who have their own tittle :

  • BIRTH OF A NATION PROJECT

During the course of the year, Paul Rucker will create 1-3 new robes a week

  • EXCESSIVE USE

Excessive Use is a series of works on paper created with a Glock 22 semi automatic pistol. Paper pieces in Excessive Use are named by the city and date of the event.

  • PROLIFERATION

Art can tell stories. For years I would talk about injustice by reciting numbers and statistics. When you say, “We have over 2.3 million people in prison,” it’s too large of a number to comprehend. During a residency around prison issues at the Blue Mountain Center in New York, I found some maps that I felt could help tell the story. This project shows the proliferation of the US prison system from a celestial point of view. Using different colors to indicate different eras, the viewer can clearly see the astonishing growth of this system over time.

  • SOUNDLESS SERIES

Soundless Series is a group of wood sculptures resembling cello bodies, and marked with the date and location of that unfortunate demise.

  • STORM IN THE TIME OF SHELTER

Based on Shelter in the Time of Storm, a hymn my mother knows from her experience as a church organist.

  • STORIES FROM THE TREES

Stories from the Trees re-imagines vintage postcards of lynchings through animation and new musical composition. This project brings to life different scenarios of lynchings—events where communities, including women and children, gathered to proudly watch these atrocities. The images draw from postcards that were commonly made from photographs of lynchings. PART 1 Unknown lynching victim with children surrounding the body.

  • LITTLE KNOWN

Deprived of an adequate diet, slave children were very small by modern standards. Slave mothers suffered high rates of spontaneous abortions, stillbirths, and deaths shortly after birth due to chronic undernourishment. Half of all slave infants weighed less than 5.5 pounds at birth. In addition, slave children received harsh punishments, not dissimilar from those meted out to adults.

  • ONE LESS THING TO WORRY ABOUT

This installation utilizes the image of a widely sold target that has been drastically modified to create the likeness of a hooded individual carrying Skittles and watermelon juice cocktail. The image is rendered in the form of a throw blanket, typically used for comfort and warmth.

  • THROWS

Each of the throw blankets in the stack depicts the image of a lynching or killing. They capture experiences of extreme human atrocity in objects designed for comfort, warmth, and safety.

  • ARTIFACTS

Historic objects that are referenced in the show Rewind[4]

Controversy

During his traveling exhibition REWIND

External Link

See more the installation here

Reference

  1. Rewind. Creative-capital. Retrieved January 21, 2021
  2. Brainard Carey. Paul Rucker. May 7, 2018. Museumofnonvisibleart. Retrieved January 21, 2021
  3. Katherine Brooks. Artist Paul Rucker Is Taking Back The Racist Symbols Of America’s Past. Aug 15, 2017. Huffpost. Retrieved January 21, 2021
  4. Rewindexhibiton. Rewindexhibiton. Retrieved January 21, 2021