kiki kogelnik josh kline

EXHIBITION NOTES
MODERN ART
OXFORD
KIKI KOGELNIK
FLY ME
TO THE
MOON
MODERN ART
OXFORD
FREEDOM
JOSH KLINE
EXHIBITION NOTES
CONTENTS
1
What is the exhibition about?
2-3
Upper Gallery Map
4
Extract from The Glory Days of New York City’s Garment District
by Kim Bhasin, 2015
Facebook: Modern Art Oxford
Twitter: @mao_gallery
Instagram: @mao_gallery
5
Extract from Understanding Media
by Marshall McLuhan, 1964
www.modernartoxford.org.uk
6-7
Events
With thanks to the lenders:
Margaret Lee and Oliver Newton at 47 Canal, New York, The Rubell Family Collection, Florida and
Josh Kline.
Modern Art Oxford is grateful to the many individuals, companies and organisations that have
helped to realise this exhibition.
This exhibition guide is available in a large print format. Please ask
for a copy at the Information Desk located in the café.
Modern Art Oxford is a charity and raises 100% of the costs needed to deliver its free programmes.
If you have enjoyed your visit today and believe in free access to exhibitions, please help us to
continue our work by making a donation before you leave.
Modern Art Oxford is a charity and raises 100% of the costs needed to deliver its free programmes.
If you have enjoyed your visit today and believe in free access to exhibitions, please help us to
continue our work by making a donation before you leave.
This exhibition guide is available in a large print format. Please ask
for a copy at the Information Desk located in the café.
Modern Art Oxford is grateful to the many individuals, companies and organisations that have
helped to realise this exhibition.
5
An extract from an interview between Josh Kline and Ryan Trecartin
Artist Interview
4
Middle Gallery Map
3
Piper Gallery Map
2
What is the exhibition about?
1
CONTENTS
Facebook: Modern Art Oxford
Twitter: @mao_gallery
Instagram: @mao_gallery
Extract from This is What The End of Racial Profiling Looks Like by
Tara Lai Quinian and Deborah Ramirez
www.modernartoxford.org.uk
Events
Kiki Kogelnik: Fly Me to the Moon is supported by the Kiki Kogelnik Foundation, Austria and
Bundeskanzleramt Österreich.
6-7
With special thanks to Mono Schwarz-Kogelnik, Dr George Schwarz, Tatjana Okresek and Katya
Taneva from the Kiki Kogelnik Foundation, Elisabeth Koegler, Director, Austrian Cultural Forum
London, Andrew Rinkhy and Simone Subal Gallery, New York.
1
WHAT IS THE EXHIBITION ABOUT?
KIKI KOGELNIK
FLY ME TO THE MOON
22 August – 18 October 2015
Upper Gallery
Please ask our Visitor Assistants
if you have any questions.
“I’m involved in the technical beauty of rockets, people flying in space and people becoming robots.
When you come here [to New York] from Europe it is so fascinating … like a dream of our time. The
new ideas are here, the materials are here, why not use them?”
Kiki Kogelnik
KIKI KOGELNIK
Modern Art Oxford presents the first solo exhibition in the UK of acclaimed Austrian artist Kiki
Kogelnik (1935-1997). Kogelnik first came to prominence in the mid 1950s in Vienna, where she
created paintings influenced by the abstract expressionism movement. Encouraged by fellow artist
Sam Francis, Kogelnik moved to the United States in 1961 where she moved in the same circles as
artists Jasper Johns, Roy Lichtenstein, Robert Rauschenberg and Claes Oldenburg.
Captivated by the vitality of New York City – a far cry from the depressed economic climate of post
war Europe – Kogelnik’s work underwent a dramatic shift. Eschewing abstraction for figuration,
and muted shades for vivid colour, her paintings began to depict a brave new world of space
exploration. She also began to diversify her practice around this time, experimenting with sculpture,
prints, ceramics and performance.
FLY ME TO THE MOON
Fly Me to the Moon presents work by Kogelnik from the 1950s to the 1980s, focusing in particular
on the artist’s treatment of technology and its effect on the body. Kogelnik’s fascination with
intergalactic travel is evident in the exuberant lunar landscapes of Fly Me to the Moon (1964) and
Brutal in Outer Space (1964). Painted just over a year later, works like Untitled (Robot) (1965) reveal a
new direction. Kogelnik’s works from this era continue to represent volatile celestial bodies, though
in a slightly more detached, melancholic manner.
THE SPACE RACE
The majority of the works on display were produced during the Cold War, an era of great upheaval,
when the Space Race was at its height and fears of nuclear annihilation were vivid in peoples’
minds. This reached a climax in 1969 when Neil Armstrong took his first steps on the moon. Kogelnik
marked the occasion with Moonhappening (1969), a live performance in Vienna where the artist
produced a series of lunar screenprints during a live broadcast of the landing of Apollo 11.
HANGINGS
A new decade gave rise to a different focus for Kogelnik’s practice, in which her interest in advanced
high-tech materials came to the fore. She began to create a number of bright vinyl ‘hangings’ from
human stencils, drawing the outline of a supine model onto a large sheet of paper to create a form
which would then be cut out in vinyl. These silhouettes then presented on metal clothes racks, much
like those wheeled through the Garment District of New York where Kogelnik’s studio was based.
By exploring her concerns in a rapidly transforming society, Kogelnik’s work speaks to our own
experiences today. It serves, too, as a timely reminder of the risks of embracing change without
reflecting on the potential impacts for humanity. Kogelnik’s critical stance on the times in which she
lived has rendered her captivating work as vital today as when it was first made.
In Middle Gallery 1 are a series of doughnut sculptures, evoking the New York police both by
recreating a snack stereotypically favoured by cops, and through employing materials such as
handcuffs and bullets and titles like NYPD Cream (2015) and Resisting Arrest (2015). The repetition of
this motif in this context suggests the dehumanising uniformity of armed state power.
POLICE STATES
Crying Games (2015) is a new video in Middle Gallery 2. Here Kline works with actors and face
substitution software to create the uncanny sight of the previous US administration, along with Tony
Blair, apologising emotionally to camera, expressing remorse for unspoken transgressions.
This dark world is relieved by the rousing speech delivered by US President Barack Obama on a
monitor in the installation. This speech is a re-imagining of the 2009 inaugural address. Hope and
Change is written by the artist and one of Obama’s former speechwriters. “Obama” is rendered by
digitally mapping the President’s face onto that of an actor’s. Whilst the speech in Hope and Change
mimics Obama’s oratory, Kline’s message is more provocative than the President’s actual pragmatic
public address in 2009.
HOPE AND CHANGE / CRYING GAMES
Large mobile phone masts disguised as ‘trees’ with credit card ‘leaves’, fill the gallery. They
complete the ominous image of a world driven by profit and technology in which debt is tracked and
the population is placed under surveillance.
The logo of the American National Security Agency – an eagle clutching a key in its claws – is
re-imagined through Patriot Acts (2015). This new animation looks at the rebranding of America by
appropriating multiple graphic identities, from Obama’s 2008 presidential campaign to the opening
titles from the film The Hunger Games.
Four figures, dressed in riot police gear, stand poised around an urban park. Each bears a screen
presenting Privacy (2015); a video in which former police officers read aloud scripts drawn from the
feeds of political activists speaking on social media.
At the heart of this exhibition is Kline’s installation in the Piper Gallery. This environment is modelled
after Zuccotti Park in New York during the Occupy Wall Street protest camp in 2011.
FREEDOM
Modern Art Oxford is pleased to present Freedom, Kline’s first solo exhibition in a public gallery.
With this darkly compelling new exhibition, Kline interrogates the shifting boundaries between
public and private interests.
Josh Kline (b. 1979 Philadelphia) is part of an emerging generation of artists working with the
technology of today. Kline’s work encompasses video, installation and sculpture and addresses the
erosion of privacy and civil rights in the 21st century.
JOSH KLINE
FREEDOM
22 August – 18 October 2015
Piper and Middle Galleries
JOSH KLINE
WHAT IS THE EXHIBITION ABOUT?
1
Please ask our Visitor Assistants
if you have any questions.
1. Untitled (Skull)
3. Bleiburg Skull
Acrylic, India ink and colour pencil on
paper
21.3 x 29.4 cm
c.1963
15. Untitled (Spaceship)
Oil on board
29 x 23.7 cm
c.1963
MAP
PIPER GALLERY
2
Sheet vinyl with mixed media
242 x 70 x 2.5 cm
1972
2. Untitled (Skull)
You are here
Oil on panel
60 x 44.5 cm
1960
All works courtesy of Kiki
Kogelnik Foundation Vienna /
New York
Acrylic, enamel, India ink, ink and foil
wrapper on paper
35.5 x 55.5 cm
c.1963
14. Untitled (Space)
9
11 - 33
5
34
India ink on paper
40.3 x 51 cm
1957
13. Untitled (Skeleton)
8
10
1
7
3
2
Oil and acrylic on canvas
139.3 x 93.4 cm
c.1965
4
9
India ink on paper
51.3 x 40.2 cm
1957
11. Untitled (Skeleton)
6
India ink on paper
40.2 x 51 cm
1958
12. Untitled (Tod mit Schürze)
51
7
49
10. Liquid Injection Thrust
All works courtesy of 47 Canal,
New York unless otherwise
stated.
Freedom, 2015
Installation, various media,
dimensions variable
1. Patriot Acts, 2015
Josh Kline in collaboration
with Jonathan Turner
HD video, colour; 2:00 min
Lightbox Display: Plexiglas, LEDs
and power supply, flat-screen TV,
media player, and wood
2. Courtesy, 2015
LED screen, media player,
HD video, altered mannequin,
plastic helmet, cotton, leather,
nylon, cast resin, paint, steel,
foam, and aluminum
dimensions variable
3. Professionalism, 2015
8. Disappear You, 2015
4. Respect, 2015
Fiberglass, plastic, paint,
aluminum, nylon zip tie riot
handcuffs and foam
dimensions variable
LED screen, media player,
HD video, altered mannequin,
plastic helmet, cotton, leather,
nylon, cast resin, paint, steel,
foam, and aluminum
dimensions variable
9. Talking Back, 2015
Fiberglass, plastic, paint,
aluminum, nylon zip tie riot
handcuffs and foam
dimensions variable
5. Po-Po, 2015
LED screen, media player,
HD video, altered mannequin,
plastic helmet, cotton, leather,
nylon, cast resin, paint, steel,
foam, and aluminum
dimensions variable
10. Hope and Change, 2015
HD video, sound, colour;
17:10 min
Lightbox Display: Plexiglas, LEDs
and power supply, flat-screen TV,
media player, and wood
[2-5 Courtesy of The Rubell
Family Collection, Florida]
9. Untitled (M)
6
45
7. Brutal in Outer Space
6. Imbalance Transfer, 2015
Oil and acrylic on canvas
91.2 x 121.5 cm
c.1963
ABS plastic, paint, aluminum,
vinyl and foam
dimensions variable
2
LED screen, media player,
HD video, altered mannequin,
plastic helmet, cotton, leather,
nylon, cast resin, paint, steel,
foam, and aluminum
dimensions variable
35
36 - 37
38
10
39
52
40
8
50
41
Oil and acrylic on canvas
203 x 142.7 cm
c.1964
48
42
47
43
Oil and acrylic on canvas
180.6 x 120.5 cm
c.1963
46
8. Untitled (A)
44
Oil on canvas
92.2 x 73.7 cm
c.1962–63
5
Oil and acrylic on canvas
244 x 184.3 cm
1963
6. Fly Me to the Moon
4
Oil and acrylic on canvas
244.5 x 184 cm
1963
5. Machine
3
1
4. Death With Sunglasses
7. Some Trees Breathe in
Despair, 2015
You are here
ABS plastic, paint, aluminum,
vinyl and foam
dimensions variable
MAP
UPPER GALLERY
2
3
16. Untitled (Solitude)
28. Untitled (Pump for heart)
Acrylic, India ink, watercolour and
collage on paper
41.7 x 33 cm
1963
India ink and acrylic on paper
35.2 x 27.7 cm
1965
17. Untitled (Nescafe Nescafe)
India ink on paper
35.5 x 27.8 cm
1970
Acrylic, enamel, India ink, colour
pencil, foil and collage on paper
44 x 62.8 cm
c.1963
18. Untitled (Space)
Acrylic, enamel and India ink on
paper
33.1 x 45.1 cm
c.1963
19. Untitled (Spaceship)
Acrylic, India ink and collage on
paper
33.1 x 45 cm
c.1963
20. Untitled (Still life with
robot, skull and hand)
Acrylic, enamel, India ink, ink, cut
paper and collage on paper
43.7 x 63 cm
c.1963
HD video, sound, colour; ~11:51
min
Lightbox Display: Plexiglas, LEDs
and power supply, flat-screen TV,
media player, and wood
Nine cast sculptures in asphalt,
resin and handcuffs
each approx. 4.25” x 4” x 2”
4. Their streets, 2015
1a. Crying Games, 2015
Nine cast sculptures in crystal
clear resin, handcuffs, duck tape,
razor blades, auto glass, pennies,
dollars, plastic shopping bag,
bullets and trash bag
each approx. 4.25” x 4” x 2”
Nine cast sculptures in silicone
and handcuffs
each approx. 4.25” x 4” x 2”
7. Broken Windows, 2015
3. Who do you think you are,
2015
Nine 3D-printed sculptures in
plaster, ink-jet ink, cyanoacrylate
and handcuffs
each approx. 4.25” x 4” x 2”
Nine 3D-printed sculptures
in plaster, ink-jet ink and
cyanoacrylate
each approx. 4.25” x 4” x 2”
2. Rough Rides, 2015
Middle 2
Nine fried doughnuts with allpurpose flour, sugar, vegetable
oil, lard, egg, vanilla extract,
plain yogurt, nutmeg, butter,
cornstarch, water, salt and pig’s
blood.
each approx. 4.25” x 4” x 2”
9. Blood on the hands, 2015
6. Police States, 2015
Nine cast sculptures in concrete
each approx. 4.25” x 4” x 2”
Nine cast sculptures in dirt and
resin
each approx. 4.25” x 4” x 2”
Nine 3D-printed sculptures
in plaster, ink-jet ink and
cyanoacrylate
each approx. 4.25” x 4” x 2”
1. Resisting arrest, 2015
Middle 1
8. This is what democracy
looks like, 2015
5. NYPD Cream, 2015
8
21. Space
Acrylic, India ink, foil and collage on
paper
50 x 65 cm
1963
7
6
9
22. Untitled (Spaceship)
Acrylic, enamel, India ink and foil on
paper
33 x 41.5 cm
c.1963
23. Untitled (Spaceship)
Acrylic, India ink, ink, foil and collage
on paper
50 x 65 cm
c.1963
5
1
24. Robots
2
3
4
Ink on paper
32.5 x 27.5 cm
1967
25. Robots
India ink, ink and colour pencil on
paper
73.5 x 58.5 cm
1966
1a
26. Robots
India ink, ink and colour pencil on
paper
58.9 x 73.5 cm
1966
You are here
27. Robots
Ink and colour pencil on paper
56.2 x 38 cm
1966
29. Ingredients Bags
30. I Feel Like Gone Over
by a Truck
India ink on paper
34.8 x 27.8 cm
1970
31. Where is All the
Beauty Gone?
India ink and colour pencil on paper
34.9 x 28 cm
1970
32. Untitled (Hanging)
India ink on paper
35 x 28 cm
1970
33. Analyst Couch
India ink on paper
35.3 x 43 cm
1970
34. Claes
Sheet vinyl with chromed steel
hanger
143.2 x 57.2 x 4.5 cm
c.1970
35. Untitled (Hanging)
Sheet vinyl with chromed steel
hanger and mixed media
60.5 x 143.5 x 15.1 cm
c.1970
36. Untitled (Flight)
Silkscreen on Plexiglas
64 x 76.7 x 5.4 cm
1968
41. Vibrations on a Composite
Circuit
Oil and acrylic on canvas with mixed
media
136.5 x 102 x 9 cm
1965
42. Artificial Hand
Acrylic with mixed media and
metallic foil on canvas
121.1 x 100.6 cm
1966
43. Documentation of
Moonhappening
Colour 8 mm film
12 min 30 sec, 1969
44. George
Fibreglass, chromed steel and mixed
media
162.9 x 97.5 x 114 cm
c.1966
45. Untitled (Small hanging)
Sheet vinyl, Plexiglas and acrylic on
steel and wood
41.5 x 31.1 x 24.5 cm
1968
46. Untitled (Small hanging)
Sheet vinyl, Plexiglas and acrylic on
steel and wood
41.4 x 37.2 x 22.7 cm
1968
47. Small Seventh Ave People
Sheet vinyl, acrylic hangers,
Plexiglas, steel and acrylic on wood
45.3 x 37.3 x 20.5 cm
1970/1993
48. Plug-in Hand
Acrylic on polyurethane and papier
mache
67.5 x 43.6 x 5 cm
c.1967
37. Untitled (Man with destiny)
49. Chandelier Hanging
38. Transparent Woman
50. Mono
39. Untitled (Robot)
51. Nobody Loves Me
40. Ikarus
52. Hungriger Totenkopf
Silkscreen on Plexiglas
64 x 76.7 x 5.4 cm
1970
Acrylic, ink, enamel and India ink on
paper
76 x 56.2 cm
1965
Acrylic, ink, enamel and India ink on
paper
65.2 x 50 cm
1965
Oil and acrylic on canvas
128.9 x 104.2 cm
1965
3
Sheet vinyl with acrylic hanger
79.1 x 46.2 x 46.5 cm
c.1970
Sheet vinyl with chromed steel
hangers
124.3 x 84.5 x 57.5 cm
c.1970
Sheet vinyl, wire hanger and acrylic
on wood
41 x 30.6 x 15.8 cm
1970
Glazed ceramics, steel and acrylic on
wood
50 x 53 x 19.6 cm
c.1986
MAP
MIDDLE GALLERIES
4
ARTIST INTERVIEW
An extract from an interview between Josh
Kline and artist Ryan Trecartin. Originally printed
in the catalogue for Freedom, New Museum
Triennial, New York, 2014.
In the interview, Josh Kline discusses his
approach to exhibition making and the
development of Freedom.
Kiki Kogelnik , Small Seventh Ave People, 1970/93,
© Kiki Kogelnik Foundation
Josh Kline: Freedom begins a new cycle of
installations that I plan to produce over the next
4-5 years that will explore possible trajectories
of the 21st century—potential futures. While
many of the later works in the cycle will be
more explicitly sci-fi, this first episode is rooted
in the present and recent past. Freedom is set
in the soft dystopia we know and inhabit—the
period that began with the financial crash of
2008 and the election of Barack Obama as
President of the United States. Across these
years, waves of grassroots political activism
have washed through American society—the
most newsworthy of which have been the 2008
Obama campaign, the Tea Party, Occupy Wall
Street, and now the demonstrations ignited by
events in Ferguson, Missouri. Freedom looks at
political speech in our time and poses questions
about its possibilities and uses in a society
where the commons has been privatized and
speech transformed into entertainment capital.
and the majority of its citizens’ economic
circumstances.
Ryan Trecartin: Teletubbies have an incredible
relationship to language. Can you talk about
them and why you are using them in the new
work? It seems like they have strong formal
and conceptual functions in the piece.
JK: I first encountered the Teletubbies while
I was in film school in the late 90s. The
children’s show accidentally presented a
possible postindustrial future—a world that’s
truly on the other side of manufacturing and
work. Since I first read about nanotechnology
while in college—a potential technology that
would involve machines built out of molecules
and the ability to manufacture objects from
the atom up—I’ve been obsessed with the
question of what happens to working people
in a future where distributed, personalized,
fully automated manufacturing can provide the
basics of life without the need for factories or
jobs. What do you do with all of the unskilled
labor—with all the people unsuited for the
relatively tiny portion of Silicon Valley jobs that
will be left if (and when) software becomes
smart enough to drive cars, handle white-collar
admin work, and practice medicine and law.
Many economists think that the poor incomes
and lackluster jobs on the other side of the
Great Recession are really representative of
structural changes in the economy brought
about by technological progress. That this is
when all the 1950s Jetsons automation dreams
start coming true. Employees were fired after
the crisis hit and replaced by software and
machines. The people left work like dogs to
keep up. If Silicon Valley’s plans come to fruition
and most of our jobs are replaced by software
over the next 40 years, what happens to all the
people permanently out of work and unable to
adapt to tomorrow’s technologies?
Martin Braunstein supervises loading of garments in
the Garment District on Jan. 31, 1967.
Photographer: Arther Browes / The New York Times
If Occupy was an attempt to steer America
on a new course from outside our political
system, much of its momentum may have
arisen out of deep disappointment with the
earlier attempt to transform the country from
within the system through President Obama’s
election in 2008. The video Hope and Change
(2015)—the installation’s other gravity well—
reimagines President Obama’s 2009 inaugural
address as a progressive call to action in the
style of the speeches he gave during that first
campaign. I wanted to imagine Obama as the
transformational political figure that America’s
youth voted for in 2008—a Franklin D. Roosevelt
or Martin Luther King Jr for the 21st century.
Freedom is really about the squandered
transformational energy generated by the 2008
campaign and later during Occupy Wall Street.
On the one hand, everyone knows what’s
wrong with the system and is free to speak their
mind via the Internet, but America’s political
system keeps any of this potential energy from
going kinetic and actually changing the country
This text is sourced from www.bloomberg.com/
news/features/2015-02-13/new-york-city-s-garmentdistrict-photos
Kim Bhasin is a reporter for Bloomberg
Business.
New York City’s Garment District was once
a bustling hub of American manufacturing.
After World War I, many of the city’s garment
factories moved to the area, carving out a plot
of Midtown Manhattan from Sixth Avenue to
Ninth Avenue and 35th Street to 40th Street.
During the district’s heyday from the 1920s to
the 1950s, vehicles jammed the roadways as
they prepped to ship clothes across the country.
Workers pushed and pulled around hand trucks,
clothes hanging all over as they scrambled to
haul materials to the next factory. “The streets
were packed,” says Andrew Scott Dolkart, a
professor of historic preservation at Columbia
University, “At lunchtime you could barely
move the streets were so congested. Trucks
were parked and double-parked.”
This excerpt explores the location that inspired
Kiki Kogelnik’s ‘hanging’ works in New York’s
Garment District.
EXTRACT FROM THE GLORY
DAYS OF NEW YORK CITY’S
GARMENT DISTRICT BY KIM
BHASIN, 2015
4
5
EXTRACT FROM THIS IS
WHAT THE END OF RACIAL
PROFILING LOOKS LIKE BY
TARA LAI QUINIAN AND
DEBORAH RAMIREZ, 2015
This extract, from an article published in the
Guardian, reflects on the contentious issue
of racial profiling, a theme explored in Kline’s
installation Freedom.
This extract is taken from Marshall McLuhan
(1911-1980), Understanding Media, London, 1964.
Marshall McLuhan (1911-1980) was a Canadian
philosopher of communication whose work has
had a lasting impact on media theory.
After three thousand years of specialist
explosion and of increasing specialism and
alienation in the technological extensions of our
bodies, our world has become compressional
by dramatic reversal. As electrically contracted,
the globe is no more than a village. Electric
speed in bringing all social and political
functions together in a sudden implosion has
heightened human awareness of responsibility
to an intense degree. It is this implosive factor
that alters the position of the teenager, and
some other groups. They can no longer be
contained, in the political sense of limited
association. They are now involved in our lives,
as we in theirs, thanks to the electric media.
Kiki Kogelnik, Transparent Woman, 1965,
© Kiki Kogelnik Foundation
Western man acquired from the technology of
literacy, the power to act without reacting. The
advantages of fragmenting himself in this way
are seen in the case of the surgeon who would
be quite helpless if he were to become humanly
involved in his operation. We acquired the
art of carrying out the most dangerous social
operations with complete detachment. But our
detachment was a posture of noninvolvement.
In the electric age, when our central nervous
system is technologically extended to the whole
of mankind and to incorporate the whole of
mankind in us, we necessarily participate, in
depth, in the consequences of our every action.
It is no longer possible to adopt the aloof and
dissociated role of the literate Westerner.
EXTRACT FROM
UNDERSTANDING MEDIA
BY MARSHALL MCLUHAN,
1964
It was 12 years ago when we first argued that
constitutional protections can be balanced
against national security interests, and that
racial profiling is bad policing practice because
it’s ineffective and hurts law enforcement’s
legitimacy in communities. Sadly, racial
profiling is used in 2015 as much as it was in
2003, and too often with deadly consequences.
The deaths of Michael Brown and Eric Garner
reminded those who don’t experience racial
profiling that many police in America still
regularly treat African-Americans differently
than White people.
The biggest problem is that the federal profiling
guidelines don’t address the profiling actions
of local law enforcement: they only apply to
federal law enforcement agencies and local
officials working with them on federal projects.
The new guidelines are merely supposed to
inspire local police to design their own – but
local police departments pride themselves
on their autonomy and aren’t interested in
the federal government telling them how to
operate.
A growing body of science tells us that police,
like the general public, associate
African-Americans with crime and violence:
studies, including ones by 2014 MacArthur
Foundation “genius” grant winner Jennifer
Eberhardt and researcher Joshua Correll, show
that police officers still often associate black
faces with criminality. But science also shows
that racial bias is often unconscious, not overt
race-based decision making – and making
decisions based on stereotypes one isn’t
conscious of, is difficult to change. But people,
and law enforcement agents, can change. Police
officers who get better training to counteract
implicit racial bias can potentially see its effects
reduced in their day-to-day decision-making.
Josh Kline, Freedom, 2015, Courtesy of 47 Canal,
New York. Photo courtesy of Joerg Lohse
President Obama’s recently-established Task
Force on 21st Century Policing is an important
opportunity to make long-needed changes to
police departments that still use explicit or
implicit racial profiling, and it shouldn’t be
squandered. The Task Force should recommend
the creation of, and carve out a budget for, a
national police training centre for local police
that would host mandatory training for local
police officers focused on ending racial profiling
and repairing eroded police legitimacy.
Tara Lai Quinlan is a lawyer and transnational
policing expert conducting doctoral research at
the London School of Economics and Political
Science in post-9/11 counterterrorism policing
and public policy.
Deborah Ramirez is a professor at the
Northeastern University School of Law with an
expertise in criminal law, racial profiling and
policing and a law enforcement consultant who
has testified before Congress on racial profiling.
This text is sourced from http://www.theguardian.
com/commentisfree/2014/dec/12/end-racial-profilingfederal-guidelines
5
EVENTS
Talks:
Tours:
Films:
Music:
Friday 21 August, 6:00pm
Josh Kline in conversation with Amy Sherlock,
Reviews Editor at Frieze Magazine.
Short informal tours of the exhibitions are
hosted by members of Modern Art Oxford’s
Programme Team.
A series of film screenings inspired by the
themes explored in the exhibitions.
Thursday 27 August, 7:30pm, £8 / £10
Nest Collective Residency: Piers Faccini &
Vincent Segal
Join artist Josh Kline and Amy Sherlock for
a discussion of his work and the current
exhibition, Freedom.
Free, Booking Essential
Thursday 3 September, 6:30pm
Ciara Moloney, Curator of Exhibitions and
Projects, leads a tour of the exhibitions
Freedom and Fly Me to the Moon.
Free, Booking Essential
Thursday 24 September, 7:00pm
Perspectives: Surveillance
Thursday 17 September, 6:30pm
Ben Roberts, Curator of Education and Public
Programmes, leads a tour of the project Film
Studio.
Free, Booking Essential
The next in the series of Perspectives talks
focuses on ideas and manifestations of
surveillance in society. From how technology
can enhance privacy, to the ethics of
surveillance and the uses of artificial
intelligence.
Free, Booking Essential
Thursday 8 October, 6:30pm
Paul Teigh, Production Manager, leads a
tour discussing the design and production of
Freedom and Fly Me to the Moon.
Free, Booking Essential
Thursday 1 October, 7:00pm
On Kiki Kogelnik
Elisa Schaar, Leverhulme Early Career Fellow
at the Ruskin School Art, University of Oxford,
will present an illustrated talk on the work of
Kiki Kogelnik to accompany the exhibition at
Modern Art Oxford; Fly Me to the Moon.
Free, Booking Essential
Thursday 10 September, 7:00pm
Metropolis
(Dir. Fritz Lang, 1927)
In a futuristic city sharply divided between the
working class and the city planners, the son
of the city’s mastermind falls in love with a
working class prophet who predicts the coming
of a savior to mediate their differences.
Music Residency
One Note Forever
Independent record label One Note Forever take
up residency at Modern Art Oxford with a series
of gigs in the Basement.
Tuesday 1 September, 7:30pm, £4 / £6
Lowws / Catalano
Thursday 17 September, 7:00pm
Dr Strangelove
(Dir. Stanley Kubrick, 1964)
An insane general triggers a path to nuclear
holocaust that a war room full of politicians and
generals frantically try to stop.
Formerly ‘The Sea The Sea’, Oxford’s Lowws
bring their electro-tinged indie-pop to the
Basement ahead of the release of their new EP.
Tuesday 22 September, 7:30pm, £6 / £8
James Blackshaw / Jali Fily Cissokho
Thursday 8 October, 7:00pm
Blow Up
(Dir. Michelangelo Antonioni, 1966)
A mod London photographer seems to find
something very suspicious in the shots he has
taken of a mysterious beauty in a desolate park.
Multi-instrumentalist James Blackshaw fuses
folk and minimalist traditions in his extended
compositions for 12-string acoustic guitar.
Friday 9 October, 7:30pm, £6 / £8
Sauna Youth / Poledo
Free, Booking Essential
Post-punk band Sauna Youth will showcase their
new album Distractions, released on Upset the
Rhythm, at this, their debut Oxford gig.
The Value of Making Symposium, Modern Art Oxford,
10 May 2014, Image: Hannah Wilmshurst
Sauna Youth Promotional Photo, Courtesy Sauna Youth
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