Major annual funding is provided by Leslie & Brad Bucher and the John P. Lead annual support for exhibitions and programming at the Blaffer Art Museum is provided by The Andy Warhol Foundation for the Visual Arts and The Farrell Family Foundation. Special thanks go to Catharine Clark Gallery, San Francisco and Ryan Lee Gallery, New York for their extensive assistance and support of this exhibition. Generous support is also provided by Seth Ammerman, Wanda Kownacki, Janet Mohle-Boetani, Nion McEvoy and Leslie Berriman, Tom Schiff, Megan & Paul Segre, and Carlie Wilmans. Stephanie Syjuco: The Visible Invisible is supported in part by an award from the National Endowment for the Arts. Any and all viewers are invited to participate by sending a short video of themselves protesting that will be stitched into a moving collage and included in the live stream. It features an endless stream of virtual “marching” protesters collaged from photographic and video submissions of supporters from across the country. The exhibition showcases the new participatory artwork entitled Public_Public_Address. This continually evolving and expanding project by artists Stephanie Syjuco, Jason Lazarus, and Siebren Versteeg creates a platform for public protest during the pandemic. Hines College of Architecture and Design. Anderson Library and a curtain installation questioning the legibility of citizenship to the atrium of the Gerald D. The Blaffer will also present installations and participatory works by Syjuco across the University, bringing a series of flags representing invented shadow nations to the M.D. The physical and conceptual nexus of the exhibition is Syjuco’s 2019 installation Dodge and Burn (Visible Storage): a room-sized “still life” which interrogates color calibration charts (used to check for “correct” color) as a coded narrative of empire. Looking to supposedly benign applications of gray, white, black, and green, she mines the abuses and projections that color provides within the escalating negotiation of being/belonging. In today’s heightened socio-political environment where one’s ethnicity is taken to presume their allegiance, people are too easily captioned by assumed cultural tropes we regard as “natural.” As color becomes an increasingly fallible, if no less politicized measure of assigning identity there within, this exhibition will focus on Syjuco’s examination of supposedly “neutral” colors and patterns. The Philippines-born, San Francisco-based artist’s insights will all be all the more relevant in 2020, in the lead-up to what promises to be one of the most intense and existential elections of our time. Stephanie Syjuco’s work confronts the media-driven ways in which models of citizenry, immigration, and identity are dramatically evolving in the United States.
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