Crisis Response
Introduction
Whether through natural disaster, disease, war, terrorism, or political turmoil, crisis reshapes the world as we known it. It may strike quickly, but its effects are lasting. It challenges artists who live and work in its wake. Do they return to their studios and resume labor on pre-crisis projects? Do they alter the nature and content their work? What about artists who live in a time or place continually immersed in turmoil and catastrophe? For them, the luxury of detachment is impossible. Consider such precedents as Francisco Goya’s print series Disasters of War of ca. 1810; George Grosz’s work of the 1910s and 20s; the 1920s murals of Diego Rivera, and Pablo Picasso’s painting Guernica (1937).
The harrowing events of 9/11 have affected not only our view of the world today, but also how we look at art. The issues faced by artists living under difficult circumstances suddenly have become more relevant to many of us. While considering the idea for Crisis Response and examining the Museum’s holdings from this new perspective, it became apparent that many artworks in the collection are visual responses to social and political crises. We went on to search for other such works in artist’s studios, private collections, and galleries.
Although limited to works made after 1960, the scope of this exhibitions is broad and its definition of crisis inclusive. The art on view approaches crisis from diverse viewpoints and various conceptual approaches as represented through a variety of media, including painting, sculpture, printmaking, costume and textiles, and video. All reveal a tension between what is immediately relevant and what is universal. They also share a belief in the ability of art and art-making to change the perception of events, to change behavior, and to aid the processes of recovery and reconciliation. Art lifts our senses, challenges our intellects, thwarts apathy, disturbs our sense of comfort and security, confirms and soothes our own suffering. The works in this exhibition remind us that as individuals we are participants in history, not passive victims.
Karl Schoonover
Exhibition images
