Cosmo whyte artist

He investigates the effects that leaving one culture behind and trying to assimilate to another has on the construction of identity. His personal experiences as a societally designated black man born in Jamaica act as a point of departure for his work, critiquing concepts of nation-building, migrant displacement, assimilation, appropriation, and the impact this complicated history has on diasporic communities.

In his drawings, Whyte uses references to cultural identity through his use of gold leaf in order to explore displacement, the societal effects of mining gold, and the shaping of community through these histories. He mixes common objects with archival imagery and integrates elements of kitsch in his sculptural work as a way to consider the function of domestic spaces in relation to hospitality and the reality of the migrant experience.

In , Whyte will participate in Prospect 5, New Orleans. Cosmo Whyte's exhibition is open to everyone free of charge. Visit the exhibition at Lux Art Institute by reserving a free time-slot reservation in advance of your visit. Note: There will be no Open Hours from October th. Can you explain its role?

Yes, this is correct. There is one sculptural piece in the show titled Punch Drunk Love. The sugar bowl is filled to the brim with Jamaican rum.

Across from this is a rope buoy with a string of golden beads identical to those in the curtain entangled in it. The legacy of colonialism looms large in this contemporary conversation about Black agency, liberation and lives mattering. Much of the work has been created this year, in what has been a monumental period for Black activism in the US. What kind of pressures do you feel that Black artists have been under to respond to these events, and how do you situate your work—and this exhibition— within this?

I cannot speak on behalf of other Black artists. For me this summer posed a series of existential questions: What is the role of the artist in times of crisis? What are the most effective roles of Black artists at this moment? What are the ethical ways of talking about Black trauma, resistance and resilience without perpetuating trauma or resorting to outdated tropes? How am I reconciling my position as both Jamaican, immigrant and American in this increasingly hostile landscape?

There is a very myopic way the media talks about riots, yet it has persisted for generations as a form of resistance. While I am not endorsing violence, I am curious as to what we are overlooking when we dismiss riots as an unnecessary response to injustice and white supremacy? More info Buy Me. Out Now! Issue 46 This is the hover state for the latest issue. Pigtails, Breadfruit, Courtesy the artist and Anat Ebgi Wading in the Wake references archival images from of the struggle against segregation.

Installation view, All photos by Michael Underwood. Courtesy the artist and Anat Ebgi. Du Boys 1 , Tweet this. Share it on social! We use cookies for all the usual reasons. Click Accept and this message will go away. Accept More Info.