Modern Man Followed by the ghosts of his Meat

Sue Coe, English

Modern Man Followed by the ghosts of his Meat, 1990

Sue Coe’s work, Modern Man Followed by the hhosts of his Meat, depicts the desensitization and apathy of modern people about where their food comes from and how it is produced. Coe grew up near a slaughterhouse in Hersham, England, and was, like most people, told not to think or question big agriculture. In the United States, lobbyist groups activity fuel money into Congress and nationwide advertisements to keep in good favor with their consumers as they hide their environmental harm and animal abusive practices. As people continue to wrestle with the concept of “speciesism” and treating animals with respect, artists like Coe force their audiences to at least acknowledge how their consumption of meat is that of an animal, something that once lived and felt. Label by Clarissa Cantacuzene

Untitled (Cow)

July i, Canadian

Untitled (Cow), undated (after 2005)

Street artist JULY i first began doing environmentally-forward street art and murals in 2005, a number of which have addressed speciesist concerns. Pointing out the discrepancies between modern and wild life, her art is used to bring awareness to environmental issues that are often invisible or hypocritical. In this mural, JULY i critiques the meat industry’s focus on creating delicious meat rather than treating animals with care. Anything for a tasty burger, right? Label by Jordan Hadlock

Is it Necessary?

Rocky Lewycky, American

Is it Necessary?, 2014

Groupings of white ceramic fish, turkeys, pigs, and cows sit atop small white boxes reading “Genocide: Is It Necessary?”. When smashed, the animals’ insides are bright red, simulating blood. As a statement on the brutality inherent in factory farming, Lewycky would daily enter the gallery, select a single animal from one of the groups, and smash it before exhibition visitors. Once broken, the lingering shards invoke a sense of unease and undercurrent of potential violence intended to stick with the viewer long after Lewycky departed. To encourage social action against factory farming, viewers could donate $50 to the Humane Farming Association and spare one of the ceramic animals. Label by Lia Deasy

Standing Rock

Jim Denomie, Ojibwe, Lac Courte Oreilles Band

Standing Rock, 2016

Vibrant colors and a surreal landscape mesmerize the viewer in this painting by Jim Denomie. It depicts the artist’s rendition of water protectors at Standing Rock, resisting the Dakota Access Pipeline. The artist draws inspiration from past historical events such as the Battle of Wounded Knee and references to iconic historic artwork such as Bruegel’s The Triumph of Death. While Denomie’s works look fantastical, they serve as a powerful lens through which to consider real world events. He asks the viewer to grapple with what is presented as absurd and horrific scenes being a reflection of our reality. Label by Annabelle Marcais