Cotton Field (Broken)

D'Ascenzo Studios

Cotton Field (Broken), 1932

In 2016, this stained-glass panel was broken in an act of protest by Corey Menafee, an African American man who worked in a residential dining hall at Yale University. The painted glass shows two slaves standing in a cotton field with full baskets balanced on their heads. Created in 1932, the image conveys a sanitized version of slavery associated with a romanticized history of the antebellum South. Menafee confronted this representation of enforced labor during his workdays until one day when he decided to stand on a chair and break the glass with his broom handle. His action was not driven by national or local protests, but reflected a response to a work of art that illuminated silent symbolic support for an institutionalized labor system of racial inequity. Label by Kelly Conway

Self Care is Self Preservation

Kimberly Marie Ashby, American

Self Care is Self Preservation, 2020

Self Care is Self Preservation by Kimberly Marie Ashby consists of a black woman surrounded by flowers and marijuana leaves. In this poster, the artist is placing marijuana in an unconventional context that portrays it as a benign and aesthetic plant like any other. This calls attention to the disproportionate number of people of color serving long sentences for nonviolent crimes of marijuana possession. Portraying marijuana in a benign, decorative way, opposes this fact and makes it appear unjust. This message is especially relevant during a time when the legalization of marijuana is highly debated and the U.S. has the highest number of incarcerated citizens in the world. Label by Jordan Stofko

Reclaiming the Monument

Dustin Klein, American

Reclaiming the Monument, 2020

Dustin Klein projected a powerful image of the late George Floyd onto the Robert E. Lee monument in Richmond, VA. In the Reclaiming the Monument series, Klein has projected other victims of police brutality as well as influential BlPOC. The artist’s reasoning for projecting these influential figures is to provide periods of healing and inspiration. The projections have created a positive space for grieving and paying respect for victims. Label by Olivia Falb

COVID-19: Labor Camp Report: June 28, 2020

Piotr Szyhalski, Polish, born 1967

COVID-19: Labor Camp Report: June 28, 2020, 2020

Beginning on March 24th, 2020, Minneapolis-based artist Piotr Szyhalski has created a hand- drawn poster every day for his COVID-19: Labor Camp Report series. Each piece mimics the style of the Polish posters the artist regularly encountered while growing up, but the striking visual language now communicates messages of action and change amid the coronavirus pandemic and widespread protests of deep-seated racial inequality in the U.S. In the entry for June 28th, Szyhalski references the toppling of monuments across the country as part of the effort to unmask past injustices and violence. The term also references the violence of those who refuse to wear a facial mask to protect themselves and others from the virus. In the upper right margin, the artist has included the number of reported coronavirus cases in the U.S. by the date of the piece’s creation, as well as the recorded deaths. Label by Sarah Roberts