Since 2001, the Smithsonian American Art Museum has honored one artist annually with the $25,000 Lucelia Artist Award. In order to be eligible, artists must be under the age of 50 and either American or living in the United States. Each of the five distinguished jurors, including artists, critics, curators and scholars, nominate three artists in recognition of their contribution to the art scene in the U.S. and abroad. Following initial selection, the jurors examine the work of the 15 candidates and unanimously select the winner.
The current exhibit was curated by Sidra Stitch and showcases one major work from each of the six winners since 2001: Jorge Pardo, Liz Larner, Rirkrit Tiravanija, Kara Walker, Andrea Zittel, and Matthew Coolidge. Two very different themes resonate through the works of these six artists: political controversy and utilitarianism.
The most recognizable artist in the show is Kara Walker, whose 1998 Virginia’s Lynch Mob, pictured above, spans an entire wall. Walker’s work consists of large-scale silhouetted images depicting racially charged scenes of slavery and violence in the old South. Walker uses silhouettes not only to create ambiguity about the pictured perpetrators of abuse, but to reference traditional art forms of the 18th and 19th centuries. Walker’s work in this series is always quite interesting and well worth visiting. A photographic portrait of Kara Walker is also currently on display at the Adamson Gallery’s Chuck Close exhibit.
Another politically charged piece on display is Liz Larner’s RWBs. The red, white, black, blue and silver sculpture is made out of found, contorted aluminum tubes, wrapped in sewn cloth sleeves. The piece was created in response to statements made by Colin Powell when the current administration was making the case for war on Iraq. Stating that aluminum tubes much like those featured in Larner’s sculpture were found in Iraq, Powell claimed this as evidence of Iraq’s possession of WMDs. Larner’s sculpture, however, appears festive and celebratory, as if this is what remains after a huge Independence Day celebration.
Image of Kara Walker’s Virginia’s Lynch Mob, 1998. Cut paper and adhesive on wall, 10×37 feet. Image courtesy of Sikkema Jenkins & Co.
