Introduction
Derick Adams was born in 1970 in Baltimore, Maryland. The artist graduated from Pratt University, New York, with a degree in art (Derrick Adams, n.d.). Education in the field of culture and art has allowed Adams to successfully apply various techniques in his work to draw the audience’s attention to the problem of racism. Racial and ethnic discrimination are the main motives of the artist’s works.
Using the historical context and the collective memory theory, Adams appeals to a broad audience, calling for a solution to the ongoing problem of racial inequality and discrimination. The artist mainly works in cubism, using clear lines and geometric shapes (Derrick Adams, n.d.). At the same time, Adams most often depicts people, revealing the cultural heritage of African Americans.
Social Position
Through his work, Adams clearly states his social and political position. He actively opposes any manifestations of racism and oppression of the black population. The artist often appeals to the historical context of the development of racism as a social phenomenon and focuses on the intimidation African Americans continue to experience today.
Peers
There are several main social areas in which artists work. For example, Derrick Adams, Jean-Michel Basquiat, and Faith Ringgold articulate clear opposition to racism and any ethnic discrimination through their work (Graf, 2022). Adrian Piper and Barbara Kruger specialize in feminism and gender inequality. Ai Weiwei draws public attention to political issues such as human rights through his installations. Moreover, one of the more popular street artists is Banksy, whose graffiti makes clear political statements against fascism, capitalism, and poverty (Graf, 2022). These and other artists regularly draw public attention to existing social injustices and problems that must be addressed immediately.
Sanctuary
One of the artist’s most famous works is the Sanctuary installation, which Adams is touting as a guide for black people to “move safely” around the United States (Derrick Adams: Sanctuary, n.d.). Inspired by The Negro Motorist Green Book, the artist rethought the ideas of the last century, transferring them to the present. The installation demonstrates that the oppression against African Americans practiced in the mid-19th century continues to exist in the modern world in new forms. Even though it seems to many that the policy of segregation is a thing of the past, many people of color still cannot become part of society and are often not accepted by whites due to widespread biases.
Idea
Drawing inspiration from The Negro Motorist Green Book for his installation, Adams probably wanted to demonstrate how remnants of segregation politics continue to exist in the modern world. Although society is becoming more tolerant and striving to overcome discrimination, people of color are still forced to plan their activities in such a way as to interfere with whites as little as possible. In the first half of the 19th century, The Negro Motorist Green Book was used as a guide for black people, showing them which cities they could visit. Today, the same guidebook could determine which areas of cities African Americans can travel to, how to behave at work, and how to organize their leisure time.
Process and Philosophical Approach
Adams began by researching and studying the theme of shelter and safe places, drawing inspiration from various sources such as African American history, popular culture, and architecture. The installation provides an immersive environment that offers the viewer security and comfort (Salisbury, 2022). One of the remarkable elements of the installation is the doors that divide it into two parts. Entering the doors, the spectators find themselves in a safe space where they can be free, while outside, they must adhere to the established rules.
Historical Perspective
In creating the installation, the artist paid considerable attention to the historical context of the development of racial discrimination in society. Using The Negro Motorist Green Book as the basis, the artist uses the appropriation technique and refers to the first half of the 19th century, when the book was widely circulated among African Americans to guide them during times of segregation. Referring to the historical events of the last century, the artist probably wanted to emphasize that racism in the United States has a long history and manifests itself in different forms. Moreover, Adams’ reference to the past century indicates that racial discrimination is not a relic of the past and continues to exist.
Memory, Collective Memory, and De-familiarization
From a memory perspective, Adams draws on various historical and cultural references, including mid-century modern design, African textiles, and the Green Book. The installation also touches upon collective memory by focusing on refuge and safe places. By creating installations that evoke a sense of homeliness and comfort, Adams invites viewers to imagine and accept the idea of a safe space as a specific form of resistance.
This contributes to the collective memory of black Americans as a community fighting for security in the face of systemic oppression. Adams de-familiarizes familiar objects by presenting them in new and unexpected ways. The artist forces the viewer to see the world through a different lens and question their assumptions about the nature of reality.
Social Context
Understanding the social context is an essential factor in analyzing an exhibition. It touches on topics such as shelter, safe space, and the home sphere that resonate with Black American history and culture. Adams’s work connects with black Americans’ social and cultural experiences and offers a sarcastic critique of the systemic oppression and violence that have shaped their lives. The exhibition’s social context can also be seen in its involvement in contemporary race, inequality, and justice debates. At a time of heightened political and social tensions, Adams’ art offers a powerful and resonant commentary on the ongoing struggle for equality and social justice.
Political Context
The political context of Derrick Adams’ installation Sanctuary is especially relevant, as it deals with themes and issues closely intertwined with politics and power. The installation addresses its political context by exploring the idea of refuge and safe spaces. The need for safe spaces is a political issue as it speaks to the systemic violence and oppression certain groups face in society.
In addition, Sanctuary can be seen as a critique of political structures and institutions perpetuating inequality and oppression. In the face of ongoing social inequalities and injustices, Adams supports African Americans in a common struggle. The installation is a call to action, inviting viewers to reflect on their role and responsibility in creating a more just and equal society.
Geographical Context
The installation was first shown at the Museum of Art and Design in New York, which has a rich cultural and historical significance as a world center for art, commerce, and culture. New York is one of the most populous cities, significantly increasing the likelihood of racism. Holding the installation in New York made it possible to reach a wider audience. Moreover, the physical space of installation is also an essential part of the geographic context. The images of windows and furniture in the installations create a feeling of a closed, protected space.
Economic Context
The Museum of Art and Design, a well-known cultural institution in New York, supported the Sanctuary. The museum provides funding and support for exhibitions and programs that can significantly impact the success and visibility of the artist and the exhibition (Salisbury, 2022). The installation raised essential themes of social inequality and received critical acclaim. Thanks to this, Sanctuary was subsequently presented in various museums in the United States, drawing the general public’s attention to the problems of inequality.
“I Can Show You Better Than I Can Tell You”
In another recent exhibition by Derrick Adams, “I Can Show You Better Than I Can Tell You,” the artist already appears in a more mature age and consciousness. However, the exhibition is still saturated with restoring justice and equality and positioning black people on the same level as whites. Adams “wants to emphasize—to show, not tell—that there is more to black American life than trauma and oppression” (Smith, 2023, para. 4). There are joys of being, of accomplishment, of community, of creativity, which are forms of resistance in their own right, and also the basis for a vast swath of American culture, high and popular. The paintings are sarcastic and ironic, making fun of society and its prejudiced attitude toward African Americans.
Concept
It is pretty challenging to identify a single concept for the entire exhibition. Some of the paintings show joy and unity among members of the black community. Perhaps in this way, the author wanted to demonstrate that regardless of skin color or origin, all people are the same, have similar values, and show emotions similarly. At the same time, in some paintings, African Americans are displayed as exhibits or performers supposed to entertain the audience. It highlights the rejection and prejudices that continue to exist in society. In addition, the author has integrated black people into typical 2000s white pop culture. This action can be regarded as a statement that popular culture has significantly contributed to the formation and development of racial discrimination without showing characters of color. It has formed a superior attitude towards representatives of other races and greatly exacerbated social issues.
“So Much to Celebrate”
Although most paintings express cheerfulness and showcase the happy moments of black people’s lives, they still raise important social issues. For example, the painting “So Much to Celebrate” depicts a white man at a birthday party. Unfortunately, it isn’t easy to understand who the birthday man is in the picture. However, it is notable that all black people are represented as exhibits in the museum. On the one hand, this demonstrates the attitude of whites towards people of color. Even after many years, African Americans seem something extraordinary and outlandish, which is probably worth considering, but not too much. On the other hand, such depictions of black people may emphasize the importance of preserving their cultural heritage. The picture evokes mixed emotions, forcing us to think about the distribution of social roles between races.
Conclusion
I believe that Derrick Adams has the potential to influence my design practice significantly. I am impressed by his appeal to historical experience and its rethinking so that it can be used not as traumatic but as a source of motivation. In addition, the artist puts multiple meanings into his works, which makes them voluminous, forcing viewers to turn to his creations repeatedly and find new concepts. Adams inspires me to create more complex art that has multiple meanings. In addition, I would like to use my practice to touch upon critical social problems, contributing to their solution.
References
Derrick Adams. (2023). Paintings. Web.
Derrick Adams. (n.d.). About. Web.
Derrick Adams: Sanctuary. (n.d.). The Momentary. Web.
Graf, S. (2022). An introduction to activist art. The Collector. Web.
Salisbury, S. (2022). ‘The Green Book’ inspires an artist in a new African American Museum exhibit. The Philadelphia Inquirer. Web.
Smith, R. (2023). Derrick Adams takes off. The New York Times. Web.