Can art amend history Titus Kaphar
I love museums.
Have you guys ever been
to the Natural History Museum?
In New York City?
(Applause)
So one of the things that I do
is I take my kids to the museum.
Recently I took them
to the Natural History Museum.
I had my two sons with me,
Sabian and Dabith.
And we go into the front
entrance of the museum,
and there’s that amazing sculpture
of Teddy Roosevelt out there.
You guys know which one I’m talking about.
Teddy Roosevelt is sitting there
with one hand on the horse,
bold, strong, sleeves rolled up.
I don’t know if he’s bare-chested,
but it kind of feels like it.
(Laughter)
And on the left-hand side of him
is a Native American walking.
And on the right-hand side of him
is an African-American walking.
And as we’re moving up the stairs,
getting closer to the sculpture,
my oldest son, who’s nine, says,
“Dad, how come he gets to ride,
and they have to walk?”
It stopped me in my tracks.
It stopped me in my tracks.
There was so much history
that we would have to go through
to try to explain that,
and that’s something
I try to do with them anyways.
It’s a question that I probably
would have never really asked.
But fundamentally what he was saying was,
“That doesn’t look fair.
Dad, that doesn’t look fair.
And why is this thing that’s so not fair
sitting outside
of such an amazing institution.”
And his question got me wondering,
is there a way for us
to amend our public sculptures,
our national monuments?
Not erase them,
but is there a way to amend them?
Now, I didn’t grow up going to museums.
That’s not my history.
My mother was 15 years old
when I was born.
She is amazing.
My father was struggling
with his own things
for most of my life.
If you really want to know the truth,
the only reason I got into art
is because of a woman.
There was this amazing, amazing,
fantastic, beautiful, smart woman,
four years older than me,
and I wanted to go out with her.
But she said, “You’re too young
and you’re not thinking
about your future.”
So I ran on down to the junior college,
registered for some classes,
ran on back,
and basically was like,
“I’m thinking about my future now.”
(Laughter)
“Can we go out?”
For the record, she’s even more amazing.
I married her.
(Applause)
So when I randomly ran down
to the junior college
and registered for classes,
I really wasn’t paying attention
to what I was registering to.
(Laughter)
So I ended up with an art history class,
and I didn’t know a thing
about art history.
But something amazing happened
when I went into that class.
For the first time in my academic career,
my visual intelligence was required of me.
For the first time.
The professor would put up an image,
bold strokes of blues and yellows,
and say, “Who’s that?”
And I’d go, “That’s Van Gogh.
Clearly that is Van Gogh.
I got this.”
(Laughter)
I got a B in that class.
For me, that was amazing.
In high school, let’s just say
I wasn’t a great student. OK?
In high school, my GPA was .65.
(Laughter)
Decimal point first, six five.
So me getting a B was huge, huge,
absolutely huge.
And because of the fact that I realized
that I was able to learn things visually
that I couldn’t learn in other ways,
this became my strategy,
this became my tactic
for understanding everything else.
I wanted to stay in this relationship.
Things were going well.
I decided, let me keep taking
these art history classes.
One of the last art history classes,
I will not forget, I will never forget.
It was one of those survey
art history classes.
Anybody ever have one of those
survey art history classes,
where they try to teach you
the entire history of art
in a single semester?
I’m talking about cave paintings
and Jackson Pollock
just crunched together all in the same –
It doesn’t really work,
but they try anyway.
Well, at the beginning of the semester,
I looked at the book,
and in this 400-page book
was about a 14-page section
that was on black people in painting.
Now, this was a crammed in section
that had representations
of black people in painting
and black people who painted.
It was poorly curated,
let’s just put it that way.
(Laughter)
Nonetheless I was really excited about it,
because in all
the other classes that I had,
we didn’t even have that conversation.
We didn’t talk about it at all.
So imagine my surprise
when I get to class
and on the day that we’re supposed
to go over that particular chapter,
my professor announces,
“We’re going to skip this chapter today
because we do not have time
to go through it.”
“Whoa, I’m sorry,
hold on, professor, professor.
I’m sorry. This is a really
important chapter to me.
Are we going to go over it at any point?”
“Titus, we don’t have time for this.”
“I’m sorry, I’m sorry,
I’m sorry, I’m sorry,
please, I really need to understand.
Clearly the author thinks
that this is significant.
Why are we skipping over this?”
“Titus, I do not have time for this.”
“OK, last question, I’m really sorry here.
When can we talk,
because we need to talk.”
(Laughter)
I went to her office hours.
I ended up getting kicked
out of her office.
I went to the dean.
The dean finally told me,
“I can’t force her to teach anything.”
And I knew in that moment
if I wanted to understand this history,
if I wanted to understand the roles
of those folks who had to walk,
I was probably going
to have to figure that out myself.
So …
above you right here on the slide
is a painting by Frans Hals.
This is one of the kinds of images
that was in that chapter.
I taught myself how to paint
by going to museums
and looking at images like this.
I want to show you something.
I made this.
I –
(Applause)
I made some alterations.
You’ll see there are
some slight differences in the painting.
All this art history
that I had been absorbing
helped me to realize
that painting is a language.
There is a reason
why he is the highest
in the composition here.
There is a reason
why the painter is showing us
this gold necklace here.
He’s trying to tell us something
about the economic status
of these people in these paintings.
Painting is a visual language
where everything in the painting
is meaningful, is important.
It’s coded.
But sometimes, because
of the compositional structure,
because of compositional hierarchy,
it’s hard to see other things.
This silk is supposed to tell us also
that they have quite a bit of money.
There’s more written
about dogs in art history
than there are about
this other character here.
Historically speaking,
in research on these kinds of paintings,
I can find out more about the lace
that the woman is wearing
in this painting –
the manufacturer of the lace –
than I can about this character here,
about his dreams, about his hopes,
about what he wanted out of life.
I want to show you something.
I don’t want you to think
that this is about eradication.
It’s not.
The oil that you saw me
just put inside of this paint
is linseed oil.
It becomes transparent over time,
so eventually what’s going to happen
is these faces
will emerge a little bit.
What I’m trying to do,
what I’m trying to show you,
is how to shift your gaze just slightly,
just momentarily,
just momentarily,
to ask yourself the question,
why do some have to walk?
What is the impact of these kinds
of sculptures at museums?
What is the impact
of these kinds of paintings
on some of our most vulnerable in society,
seeing these kinds of depictions
of themselves all the time?
I’m not saying erase it.
We can’t erase this history.
It’s real. We have to know it.
I think of it in the same way
we think of –
Let me step back a second.
You remember old-school cameras,
where when you took a picture,
you actually had to focus. Right?
You’d put the camera up,
and if I wanted you in focus,
I would move the lens a little to the left
and you would come forward.
I could move the lens
a little to the right,
and you would go back and the folks
in the background would come out.
I’m just trying to do that here.
I’m trying to give you that opportunity.
I’m trying to answer that question
that my son had.
I want to make paintings,
I want to make sculptures
that are honest,
that wrestle with
the struggles of our past
but speak to the diversity
and the advances of our present.
And we can’t do that by taking an eraser
and getting rid of stuff.
That’s just not going to work.
I think that we should
do it in the same way
the American Constitution works.
When we have a situation
where we want to change
a law in the American Constitution,
we don’t erase the other one.
Alongside that is an amendment,
something that says,
“This is where we were,
but this is where we are right now.”
I figure if we can do that,
then that will help us
understand a little bit
about where we’re going.
Thank you.
(Applause)