8th St. & Broadway Ave
Downtown LA
You are invited to the intersection of 8th st. & Broadway ave. for the lecture White Gaze Read: William Crawford. In the lecture Brandon Drew Holmes will dispute the presentation of William Crawford's work.
In FARAGO's current exhibit, More Worried Than a Worm in a Bird's Nest, we are presented with a minimal selection of illustrations from the archive of William Crawford. Though these erotic images have been signed with the varying signature of Bill, William and or WM Crawford, they remain the work of an anonymous artist. The third and current owner of the archive, Myles Haselhorst, has concluded what he could of Crawford's identity. Through the claimed assessment of the supposedly forgotten and found archive, he has settled upon the narrative that Crawford was a prison inmate and that these 900+ drawings are remnants of his time spent in California's Prison Industry.
In this lecture, Holmes will speak on how the artist was unlikely a prisoner by presenting new unexplored narratives and realities of the artist's possible identity and history, while acknowledging why it is easy for the dealer, gallerist and viewer to rely on this (racial) trope. Along with challenging the current exhibiting and sale of Crawford's archive, Holmes will assess the comparison many have made of the artist's work to that of Tom of Finland, speak on the aesthetics of Black Manhood through the 70's and 90's as well as discuss the white feminism within one of the critiques of the archive.
The lecture will begin promptly at 3:15PM and takes place outside. Dress for your comfort.
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This will be the second in the WHITE GAZE READ series, wherein the artist Brandon Drew Holmes will give impromptu and unofficial reads in the manner of lectures and performances. Approaching and focusing on varying attributes of Blackness in the form of artwork, Holmes challenges the actions and whiteness of the art industry. By inserting himself into exhibits executed by white artists and or institutes, Holmes takes to task the white gaze and those who attempt to discuss Blackness through it.
The first disruption took place this previous summer within MOCA's Tongue's Untied exhibit, where the artist called out and attempted to correct curator Rebecca Matalon's co-option and erasure of Black identity in Marlon Riggs cinematic work and the discussion of the 80/90's AIDS crisis.
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