Author: Sean Bieri Page 1 of 2

Jefferson Pinder – Weapons and White Music, at the Wayne State University’s Elaine Jacob Gallery

In a lecture given a few years ago, Jefferson Pinder opened by speaking about two luminaries of the Harlem Renaissance: sociologist W.E.B. DuBois, who believed the only worthwhile art a Black artist could make was propaganda that advanced the cause of social justice; and philosopher Alain Locke, who believed Black artists needed the freedom to, as Locke’s biographer Jeffrey C. Stewart puts it, “produce a black subjectivity that could become the agent of a cultural and social revolution.” Weapons and White Music, a compact anthology of Pinder’s art from the last decade or so, on view at Wayne State University’s Elaine Jacob Gallery now through April 27, showcases a body of work that balances aesthetics and activism. It addresses issues of race not with unequivocal slogans, but in an audio-visual language that prompts contemplation, investigation, and soul-searching. There are no handy wall labels here to coach the visitor, so inevitably the nature of that contemplation will vary from one person to the next.

Jefferson Pinder, Bent Spear (after John Brown), 2024

Those averse to violence on principle, for example, might be discomfited by an exhibition that features spears, billy clubs, and Molotov cocktails (never mind that the collection of armor, swords, and firearms in the Great Hall of the nearby Detroit Institute of Arts is one of the museum’s most popular attractions). Some context might help; Bent Spear (after John Brown), a piece comprising a volley of pikes displayed across one wall of the Jacob gallery’s first floor, references weapons once commissioned by the titular white abolitionist, who intended to supply them to freed Black men for use in the uprising he hoped to provoke. The spears here are arrayed behind a vitrine containing the Head of a Man — a human skull with teeth plated in gold. Drawings of a similar skull are superimposed over photos of Black Panther leader Huey Newton in a series of nearby screen prints.

The musical part of the exhibition’s title also appears on the gallery’s first floor. Facing the entrance are five monitors playing a 50-minute loop of videos featuring Black “singers” lip-syncing to a series of songs by white pop-rock bands. Some of the performers onscreen are expressive, some are deadpan, and each takes a different part of the harmonies. Entitled Revival, the piece is described on the artist’s website as a “virtual choir” that “reverses a longstanding tradition of mainstream cultural appropriation.” Some of the songs featured are more mainstream than others, but many share themes of violence that “hit different,” as the kids say, when apparently voiced by Black performers. Consider Born Under Punches by Talking Heads, with its haunted refrain, “all I want is to breathe,” that can’t help evoking Eric Garner’s dying words. (Pinder had incorporated the song into the piece prior to Garner’s killing.) Also featured are Queen’s Bohemian Rhapsody, about an imprisoned youth facing execution; The Flaming Lips’ The W.A.N.D. — short for “The Will Always Negates Defeat” — which boasts, “I’ve got a tricked-out magic stick that will make them all fall / We’ve got the power now, motherfuckers, that’s where it belongs”; even The Smiths’ Girlfriend In A Coma is included. It’s hard to know what someone unfamiliar with these songs will make of the piece, but for those who know, Revival will cast the music in a different light.

The curving stairway to the gallery’s second floor is cleverly incorporated into the exhibit itself.  Toward the bottom of the stairs is a weathered neon sign with a red arrow, that might be from a historical museum’s display about the days of Jim Crow, except that a “d” has been added to turn the phrase “colored entrance” into “colored entranced,” with connotations both of wonder and bewitchment. Hovering above the top of the stairs, where the visitor must pass under it to proceed, is Gauntlet, a menacing cloud of charred billy clubs that threatens to rain harm onto anyone below.

At the top of the stairs is Fire Next Time, a set of four shelves of varying widths arranged in an inverted pyramid, upon which are displayed 25 Molotov cocktails — improvised incendiaries made from bottles, rags, and gasoline, associated with what’s sometimes called irregular warfare. They appear both grubbily utilitarian and oddly compelling in the way weapons often are. Up close, they’re revealed to be adorned with wire, duct tape, packed mud, BBs, matches, hair, shards of glass, and other material. The presentation itself is formal, its ascending shape suggesting escalating conflict or the rising flames themselves.

Projected onto a wall on the other side of the gallery is a new work, a video installation called Greatest Hits (violent pun likely intended); it’s a montage of scenes from movies and television programs in which white actors utter the N-word. The films range from earnest dramas (Roots; Do The Right Thing; In The Heat of the Night) and cop flicks (Dirty Harry; The French Connection; Starsky & Hutch), to satire (Blazing Saddles, a notorious Saturday Night Live sketch featuring Chevy Chase and Richard Pryor), broad comedy (Bad News Bears; The Jerk), and more, including the works of Quentin Tarantino, without which no such compilation would be complete. The montage closes with two musical performances: punk godmother Patti Smith belting her 1978 song “Rock & Roll N—,” adding herself to a long line of white artists who have tried to liken themselves to marginalized minorities in an attempt to set themselves apart from mainstream society; and a 1972 episode of The Dick Cavett Show, in which John Lennon and Yoko Ono remark on the abuse of women across the racial spectrum with their song “Woman is the N— of the World.”

The creators of these films would presumably have justifications for their use of the offensive term, even if it was only for verisimilitude. For viewers familiar with these films, the contexts in which the slur is used will be understood, though not everyone will accept the justifications for its use from one film to the next, or at all. To anyone unfamiliar with them, the piece may not be much more than a litany of hate speech being ejected from anonymous white mouths. Throughout, though, there are intriguing juxtapositions within the montage, such as that of a scene from the Civil War drama Glorymashed up against one from Kubrick’s Vietnam picture Full Metal Jacket, drawing a line between the two conflicts. A theme emerges of white anti-heroes excusing their racism with the claim that they hate everybody equally. And while it’s unclear how Beastie Boys’ song “Sure Shot” relates to the scenes from The Jerk and Roots over which it’s played, putting The Moody Blues’ “Nights In White Satin” over a clip featuring Ku Klux Klan “knights” from Birth Of A Nation makes for a jarring audiovisual pun.

Jefferson Pinder – Weapons and White Music, at the Wayne State University’s Elaine Jacob Gallery on view through April 27, 2024.

When Diego Rivera came to the Detroit Institute of Arts to create the Detroit Industry murals, the communist painter formed an unlikely bond with arch-capitalist Henry Ford over their shared fascination with technology. Ford had zero interest in art, but he was an avid collector of obsolete machinery, relics of the only sort of history he respected. When Rivera heard of Ford’s collection, he had himself driven to Dearborn early one morning and stayed until well after dark, poring over the metal menagerie that would eventually become the Henry Ford Museum of American Innovation.

The intersection of art and technology is on display throughout the Henry Ford Museum: in Charles and Ray Eames’ playful “Mathematica” exhibit, in the quirky product designs of Michael Graves and the Apple graphical user interface created by Susan Kare, and in the array of works displayed in the Modern Glass Gallery. It’s a connection that’s further explored in Lillian Schwartz: Whirlwind of Creativity (open through March), the inaugural exhibit of the Ford’s new Collections Gallery, a space that will feature some of the museum’s more ephemeral objects that seldom go on display.

Schwartz is a pioneer in the field of electronic art. Beginning in the late 1960s, at a time when computer-generated art was still something of an anomaly, Schwartz collaborated with numerous engineers, programmers, and fellow artists to use the emerging technologies of the day in off-label ways to create her work. The Henry Ford recently received Schwartz’s archives and is still in the process of sorting through it all, but the current exhibit of 100-plus items is an exciting distillation of her life story. It features paintings, prints and drawings, sculptures, short films, plenty of ephemera from Schwartz’s long career, and, true to form for this museum, some of the gadgets she worked with, such as film editing equipment and projectors. It’s especially fortunate that this celebration of Schwartz’s work should be mounted while she’s still with us — born in 1927, the artist is now 96 years old.

Art supplies were hard to come by when Schwartz was a child, so she made use of whatever she could get ahold of — scraps of wallpaper, salvaged bits of sidewalk chalk, even leftover bread dough for sculpting. Some of her earlier artworks, from the 1950s, are on display here. Bright and colorful, they are decidedly analog but hint at the improvisatory ethic of her childhood and at the boundary-jumping approach Schwartz would apply to her art throughout her life: some feature collaged elements, others are painted onto overlapping layers of repurposed thin, translucent fabric rather than canvas.

On display nearby are some of her sculptures from the 1960s. They look wonderfully retro-futuristic, like they’d be at home on the set of a classic science fiction movie. In fact, one object called Proxima Centauri, a translucent globe that rises from inside a dark pedestal and flickers with colorful light when the viewer steps on a pressure pad, was used as a prop on the original Star Trek TV series (as well as appearing in the 1968 exhibition at the Museum of Modern Art, The Machine As Seen at the End of the Mechanical Age). Another work, World’s Fair, a glowing box full of spiraling glass tubes that siphon up multicolored fluids, could be the circulatory system for some cybernetic organism. The tubes were trash-picked from a glass factory, and the red and green liquids coursing through them were originally cough syrup and creme de menthe!

Grandma and Grandpa, Etching, 1975

In 1968, Schwartz was invited to come to Bell Labs, the storied incubator of tech innovation, as part of an initiative to humanize computers in the eyes of the public. “Technological pointillism!” she declared upon seeing an image at Bell of a reclining nude woman comprising a grid of hundreds of computer code glyphs. The nude had been printed out by a couple of Bell programmers as a joke, but Schwartz saw the real art-making potential in the technology. Hopping back and forth between the analog and digital worlds, she first drew faces onto graph paper, fed them into computers to be encoded, and then made silkscreen prints of the resulting pixelated portraits.

Later, using Bell’s circuit etching equipment, Schwartz rearranged the mazes and starbursts of circuit boards to create two figures she named Grandma and Grandpa; appearing both high-tech and primordial, they suggest totems erected to ancestors yet to be born. She used the same technique to create a streamlined variation on a Marcel Duchamp masterwork; hers is called Nude Ascending a Staircase. It doesn’t function as a circuit board anymore; it’s “merely” art, an homage that the Dadaist disruptor and creator of Fountain would no doubt have appreciated.

In the center of the exhibit is a small black-box theater showing a number of short animated movies Schwartz made in collaboration with technicians and fellow electronic art and music innovators. Again, she melds the physical with the nascent digital technologies; one film includes abstracted images of a brain scan, while another juxtaposes matrices of growing crystals with distorted laser beams that waft around onscreen like deep sea creatures. In Olympiad, Schwartz animates digitized photos of a running man borrowed from Eadweard Muybridge’s groundbreaking motion photo series of the late 1800s (another technological advance that affected the art that came after). She later created a life-sized analog image of this pixelated athlete using a grid of black and white thumbtacks, once more swerving across the boundaries of different media.

In an era of sophisticated CGI, when video games are nearly as realistic as blockbuster movies and the “uncanny valley” gets narrower every day, it may be too easy to regard Schwartz’s films, with their chunky graphics, vivid color, and bleeping soundtracks as quaint baby steps toward modern computer animation. But they deserve to be appreciated on their own merits. They are by turns whimsical, hypnotic, and disorienting, sometimes like racing at warp speed through a Color Field painting exhibit, other times like drifting into a psychedelic dreamscape in which the acid-colored eyes of swirling galaxies seem to stare back at you.

There’s much more to explore in this exhibit: how her bout with polio while living in post-war Japan affected Schwartz’s art, and how scar tissue in one of her eyes caused her to see “Picasso-like” visions; her pioneering TV spot for MoMA, the first computer animated advertisement to win an Emmy; her attempt to use computers to prove that Leonardo’s Mona Lisa was partially a self-portrait (a dubious theory, but an interesting use of the software). There are also her run-ins with sexism and her sometimes awkward relationship with the suits at Bell Labs. In the mid-1980s, after many years of involvement with Bell, Schwartz was finally given a job title of sorts — “resident visitor,” an appropriately sci-fi-sounding designation. She was also called a “morphodynamicist” in order to make her seem sufficiently scientific to visiting Bell shareholders. Schwartz once half-jokingly referred to herself as a “pixellist.” But whatever her name badge reads and whatever high- or low-tech media she takes up, Schwartz is an artist through and through. In the midst of current debates over how artificial intelligence will disrupt the art world, Lillian Schwartz: Whirlwind of Creativity is proof that it’s the human being wielding the tools that will always make the difference.

Lillian Schwartz: Whirlwind of Creativity @ Henry Ford Museum on display through March 2024.