I use these media because of our familiarity with them. NM I use a lot of cultural images and text, the latter in typographical form because of its authoritative heft. How do strategies of media manipulation intersect with power relationships in the show? NP I was just thinking about power in relation to your work, especially given the context of the Trump presidency, misogyny, racist violence against BIPOC communities, the protests, and the manipulation of media. In this new work I could continue to think about how history is instrumentalized, reinforcing ideas and beliefs about destiny, inheritance, and legacy-how these stories direct our lived performances. But the machinations of the art world are an extension of those of the world at large. Through my fraught relationship to art history I can closely examine cultural intricacies and power structures that, outside the art world, are often too big for me to closely scrutinize. In the frames are obscured images of canonical works of art that can be seen through fractured text that’s been cut out of frosted plexi. They’re a series of plastic, classical frames, partially gilded. Some of the new work in the show, which is actually an offshoot of a larger body of those works, is called Soft Power. NP When you say “mythic tales,” I assume you mean a fictional American history, or at least a sanitized one. So I was really excited to put forth works that were a continuation of ideas and questions related to power, agency, knowledge building, and history. There’s a lot of political rhetoric used to conjure up the mythic tales of our American origin. Right now we’re in the midst of this ideological battle. But when Rose told me about the other two shows she organized, also related to the centennial, I knew she wanted to address the complex politics of that moment and its implications today. I never shared in the joy of that triumphant story. We know the right to vote wasn’t granted to all women. Nyeema Morgan I’d been invited by curator Rose van Mierlo to present an exhibition of works in response to the centennial of Women’s Suffrage, which is a complicated story. Norm Paris Your exhibition at the Boulder Museum of Contemporary Art intertwines several threads in your practice. Bridging the distance between Morgan in her Chicago studio and my studio in New York City, our Zoom conversation touched upon freedom of expression, the power of text, meme culture, and her nuanced relationship to authority. , Morgan re-inspects art historical narratives and probes power relationships through sculpture, printmaking, and drawing. In her current exhibition at the Boulder Museum of Contemporary Art, THE STEM. I have long admired Nyeema Morgan’s work and its convergence of a slow material engagement with a nuanced literary and cultural critique.
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