off the pedestal

off the pedestal is a group exhibition in the Media Art Gallery, comprising contemporary artists whose work addresses the national conversation around monuments featuring visual artists Laura Anderson Barbata, New Red Order, and Paula J. Wilson.

This exhibition is on view in the Media Art Gallery at 25 Avery Street from August 1 – October 5, 2024. The exhibition is free and open to the public Tuesday – Saturday, 12-6 pm. This exhibition is part of Emerson Contemporary’s Regarding Monuments: Visualizing Hidden Histories, a multi-year initiative that includes exhibitions centered on monuments, several public art installations, and a technology incubator. 

Curated by Distinguished Curator-in-Residence Leonie Bradbury and Curator of Special Projects Shana Dumont Garr, off the pedestal speaks directly to the national phenomenon of the removal of Confederate and other racist monuments in the wake of the police murder of George Floyd. Although monuments are generally presented as permanent, timeless, and expressive of universal values, this exhibition proposes that public memory could be more effectively addressed and activated through ephemeral expressions. 

off the pedestal is supported by the City of Boston Mayor’s Office of Arts & Culture (MOAC) program “Un-monument | Re-monument | De-monument: Transforming Boston.” It is a city-wide initiative that aims to transform the nation’s commemorative landscape to ensure collective histories are more completely and accurately represented.  

off the pedestal is further supported by The Andy Warhol Foundation for the Visual Arts 

Laura Anderson Barbata’s multidisciplinary performance work Indigo is a call to action in response to the violence and murder of Black persons at the hands of the police. A group of sixteen resplendent characters clad in hand-dyed fabrics, woven details, and ornate stitching, many standing at the height of stilts, powerfully demonstrate the textile art aspect of Barbata’s vision. 

New Red Order’s large-scale video installation Culture Capture: Crimes Against Reality examines the contradictions inherent in a society built on both the longing for indigeneity and the violent erasure of Indigenous peoples. They base their critique on historical events, and the pacing of the digitized imagery, accompanied by skillful sound design, transports viewers into their speculative reveries. 

Paula J. Wilson’s performative video Living Monument and 2D wall work Thyself monumentalize Black female bodies through dramatic scale and bold gestures. Her work elevates embodied histories and reminds us that joy and celebration are crucial parts of resistance.

Works featured in this exhibition include:

A two-channel video Culture Capture: Crimes Against Reality by New Red Order (NRO), a public secret society that works with networks of informants and accomplices to create grounds for Indigenous futures. Crimes Against Reality focuses on two public sculptures by James Earle Fraser — End of the Trail (1894), a statue originally intended to be installed on the California coast at the scale of the Statue of Liberty, and the statue of Theodore Roosevelt (1939) that was removed from outside the American Museum of Natural History, in New York, in 2022 — both of which commemorate the origin myth of America.

Laura Anderson Barbata Intervention: Indigo presents a call to action to serve and protect in response to police violence. The point of departure is the color Indigo, a dye used around the globe that has been associated with protection, wisdom and royalty.  Created in in collaboration with the Brooklyn Jumbies, Chris Walker and Jarana Beat, Indigo was performed first in Brooklyn and again in Mexico City in 2020 in collaboration with muca Roma, Chris Walker, Los Diablos de la Costa de Guerrero Los Rebeldes de El Capricho, Elizabeth Ross, Danza UNAM and Pro-Alterne Teatro. The work is a call to action to serve and protect, and of protest in response to the violence and murder at the hands of the police of Black people living in the United States and all over the world. 

Paula J. Wilson fuses wide-ranging techniques and media with her observations of the natural world, where it is a matter of survival to make space for oneself to live, love, and make art. Recurring themes of feminine power, natural life systems, and art-making itself converge under the umbrella of regeneration and change. Narrative artworks that place feminine subjects in positions of power. Her expansive practice forcefully proclaims her place in the (art) histories she engages.