シッダールタ・ミッターがコーリーン・スミスの芸術について語る

2017 ホイットニー ビエンナーレを訪れた人は、このバナーを覚えているでしょう。 高さ約 5 フィート、幅約 4 フィートのそれらは、博物館のロビーと展覧会のメインギャラリーの天井から吊り下げられました。 それぞれの片面には、空で血を流す鳥や鉛筆で刺された人間の目などの派手なイメージが表示されていました。 反対側には、（主に）対立的な文章が書かれていました。「私の病理はあなたの利益です。」 私はあなたを盲目にするほど黒人です。 もう何も残っていない。 厳しい言葉は、これらのオブジェクトの豊かな美しさと対照的でした。豊かな生地に描かれた暖かい色、スパンコールやフリンジ、無邪気さと即時性を吹き込む筆記体で刺繍されたフレーズ。 そしてある日、横断幕が博物館から持ち出されて行列に担がれるとき、それは霊歌、つまり自由の歌の楽しい伴奏でした。

コーリーン・スミスは、彼女の横断幕とそのパレードがビエンナーレの一部となる前は、一般の人々、さらにはアート界の多くの人々によく知られていなかったかもしれません。 しかし、アフリカ未来主義者やコミュニティ活動家、黒人主体として、そして全人類として尊厳を保つ生き方を想像する芸術家や作家、理論家といった黒人の先駆者にとって、彼女はその活動の幅広さと寛大さから、ヒロインのような存在だ。 彼女のことを主に映画制作、つまり 1990 年代初頭に UCLA で学んだ独自の技術で多くの人が今でも知っています。 彼女の長編映画『ドライロンソ』（1998 年）は、黒人の独立系カルトの古典で、批評家からは称賛されていますが、見つけるのは困難です。 それ以来、彼女は少なくとも 40 本の実験的な短編映画を撮影しました。

Cauleen Smith, Leave Me for the Crows, 2017, recto\/verso, satin, poly-satin, silk-rayon velvet, metallic thread, polyester fringe, poly-silk tassels, sequins, 78 \u00d7 51 1⁄2\". From the series “In the Wake,” 2017.","copyright":"","pathSquare":false,"pathLarge":"\/uploads\/upload.002\/id13987\/article21_1064x.jpg","path":"\/uploads\/upload.002\/id13987\/article21.jpg","numericKey":1,"crops":{"original":{"270":"\/uploads\/upload.002\/id13987\/article21_270x.jpg","430":"\/uploads\/upload.002\/id13987\/article21_430x.jpg","810":"\/uploads\/upload.002\/id13987\/article21_810x.jpg","1064":"\/uploads\/upload.002\/id13987\/article21_1064x.jpg"}},"pathOriginalCrop":"\/uploads\/upload.002\/id13987\/article21_1064x.jpg","orientation":"landscape"},{"mediatype":0,"item_id":79523,"id":332606,"mimetype":"image\/jpeg","caption":"
*Cauleen Smith, _I Have Nothing Left_, 2017,* recto\/verso, satin, poly-satin, quilted pleather, upholstery, wool felt, embroidery floss, metallic thread, satin cord, sequins, 71 \u00d7 50\". From the series “In the Wake,” 2017.","captionFormatted":"
Cauleen Smith, I Have Nothing Left, 2017, recto\/verso, satin, poly-satin, quilted pleather, upholstery, wool felt, embroidery floss, metallic thread, satin cord, sequins, 71 \u00d7 50\". From the series “In the Wake,” 2017.","copyright":"","pathSquare":false,"pathLarge":"\/uploads\/upload.002\/id13987\/article22_1064x.jpg","path":"\/uploads\/upload.002\/id13987\/article22.jpg","numericKey":2,"crops":{"original":{"270":"\/uploads\/upload.002\/id13987\/article22_270x.jpg","430":"\/uploads\/upload.002\/id13987\/article22_430x.jpg","810":"\/uploads\/upload.002\/id13987\/article22_810x.jpg","1064":"\/uploads\/upload.002\/id13987\/article22_1064x.jpg"}},"pathOriginalCrop":"\/uploads\/upload.002\/id13987\/article22_1064x.jpg","orientation":"landscape"},{"mediatype":0,"item_id":79523,"id":332607,"mimetype":"image\/jpeg","caption":"*Cauleen Smith, _We Were Never Meant to Survive_, 2017,* recto\/verso, satin, poly-satin, wool felt, upholstery, indigo-dyed silk-rayon velvet, metallic thread, embroidery floss, acrylic fabric paint, poly-silk tassels, sequins, 72 \u00d7 52\". From the series “In the Wake,” 2017.","captionFormatted":"Cauleen Smith, We Were Never Meant to Survive, 2017, recto\/verso, satin, poly-satin, wool felt, upholstery, indigo-dyed silk-rayon velvet, metallic thread, embroidery floss, acrylic fabric paint, poly-silk tassels, sequins, 72 \u00d7 52\". From the series “In the Wake,” 2017.","copyright":"","pathSquare":false,"pathLarge":"\/uploads\/upload.002\/id13987\/article23_1064x.jpg","path":"\/uploads\/upload.002\/id13987\/article23.jpg","numericKey":3,"crops":{"original":{"270":"\/uploads\/upload.002\/id13987\/article23_270x.jpg","430":"\/uploads\/upload.002\/id13987\/article23_430x.jpg","810":"\/uploads\/upload.002\/id13987\/article23_810x.jpg","1064":"\/uploads\/upload.002\/id13987\/article23_1064x.jpg"}},"pathOriginalCrop":"\/uploads\/upload.002\/id13987\/article23_1064x.jpg","orientation":"landscape"},{"mediatype":0,"item_id":79523,"id":332608,"mimetype":"image\/jpeg","caption":"*Cauleen Smith, _Fear Looks Back at Me_, 2017,* recto\/verso, satin, poly-satin, upholstery, silk-rayon velvet, acrylic fabric paint, sequins, 62 1⁄2 \u00d7 50 1⁄2\". From the series “In the Wake,” 2017.","captionFormatted":"Cauleen Smith, Fear Looks Back at Me, 2017, recto\/verso, satin, poly-satin, upholstery, silk-rayon velvet, acrylic fabric paint, sequins, 62 1⁄2 \u00d7 50 1⁄2\". From the series “In the Wake,” 2017.","copyright":"","pathSquare":false,"pathLarge":"\/uploads\/upload.002\/id13987\/article24_1064x.jpg","path":"\/uploads\/upload.002\/id13987\/article24.jpg","numericKey":4,"crops":{"original":{"270":"\/uploads\/upload.002\/id13987\/article24_270x.jpg","430":"\/uploads\/upload.002\/id13987\/article24_430x.jpg","810":"\/uploads\/upload.002\/id13987\/article24_810x.jpg","1064":"\/uploads\/upload.002\/id13987\/article24_1064x.jpg"}},"pathOriginalCrop":"\/uploads\/upload.002\/id13987\/article24_1064x.jpg","orientation":"landscape"},{"mediatype":0,"item_id":79523,"id":332609,"mimetype":"image\/jpeg","caption":"*Cauleen Smith, _Black Flesh_, 2017,* recto\/verso, rayon velvet, rayon-polyester ribbon, and sequins, 67 1⁄2 \u00d7 55\". Both from the series “In the Wake,” 2017. From the series “In the Wake,” 2017.","captionFormatted":"Cauleen Smith, Black Flesh, 2017, recto\/verso, rayon velvet, rayon-polyester ribbon, and sequins, 67 1⁄2 \u00d7 55\". Both from the series “In the Wake,” 2017. From the series “In the Wake,” 2017.","copyright":"","pathSquare":false,"pathLarge":"\/uploads\/upload.002\/id13987\/article25_1064x.jpg","path":"\/uploads\/upload.002\/id13987\/article25.jpg","numericKey":5,"crops":{"original":{"270":"\/uploads\/upload.002\/id13987\/article25_270x.jpg","430":"\/uploads\/upload.002\/id13987\/article25_430x.jpg","810":"\/uploads\/upload.002\/id13987\/article25_810x.jpg","1064":"\/uploads\/upload.002\/id13987\/article25_1064x.jpg"}},"pathOriginalCrop":"\/uploads\/upload.002\/id13987\/article25_1064x.jpg","orientation":"landscape"}]" class="mobile-full-width">