I don't remember the date I put on there was. But for people who know who David Walker is he wrote a pamphlet called his address to the colored people of the world, but in particular those of the United States. And what that pamphlet was was a critique, so in its time of the Declaration of Independence and a certain kind of hypocrisy that was operating in the contradiction between the space between the condition of black folks and the promise that the Declaration of Independence was written to articulate for American citizens. And I thought, well, David Walker, well, that's an important-- if you read the document, it's actually a really important document http://casino-games.my/new-bonus/.
And I thought, well, there are no pictures of David Walker. So there ought to be a picture of David Walker so that people at least are clued into who he might have been. And maybe once you know his name and you see that picture, maybe you will look around and see why somebody would have made a picture of him, what was importance in history. In the history of decapitations, of which there are many, what you never see is you never see a black subject as the avenging angel in a decapitation narrative. So we've got lots of Judith and Holofernes pictures. There are lots of David and Goliath pictures. So this is my painting, a portrait of Nat Turner with the head of his master. And so it's that thing, you say, why is it that black subject is never allowed to engage in the same kind of vengeful retaliation that other subjects become heroic for? And likewise, so Harriet Tubman, this is "Still Life with Wedding Portrait." So this is the wedding portrait of John and Harriet Tubman, which is an attempt on my part to give back to Harriet Tubman her femininity, her womanness, her desirability, because she was married. Her name Tubman comes from the fact that she was married to a man named John Tubman at a time. But when you think of Harriet Tubman, you only think of Harriet Tubman as a symbol and a representative of the Underground Railroad. You never think of Harriet Tubman as a woman. And "Who Paints?" You know it's the figure that says I paint. And in all of these paintings it's a way of negotiating the space between stylization, abstraction, representation. So this is one of those works that-- so this break, I mean, in the midst of the kind of diversity that the rest of the works in the slide presentation have demonstrated, this kind of break is further evidence of the way in which you sort of understand the language of representation and the uses to which it can be put to examine certain questions that have to do with the history of the United States and the way in which what has come to be called, since the last Whitney biannual, the Black Death Spectacle, wherein there was a history of postcards of lynchings being made circulating through the postal system, traded amongst people who enjoyed and appreciated them. I mean there was a book called Without Sanctuary. There was an exhibition that came. It was here in Chicago, probably-- was that 10 years ago or so, Cheryl?
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