Edwards’ installation emphasizes the duality of representation and convincingly calls attention to W.E.B. Suspended from the ceiling in front of the face and monitors is a pair of headphones playing Kendrick Lamar’s song “FEAR.” off his latest album DAMN. On the right, the screen shows images taken from the news portraying Black men as criminals, defendants in court, and the like. On the left, the screen displays personal footage taken by the artist of friends and himself traveling, laughing, and graduating from college. Behind the cut-out eyeholes are two television monitors. The lights are displayed on a freestanding, removable wall, the other side of which is the backdrop for Nathan Edwards’ mixed-media installation Who Do You See?, 2017, which is made up in part by an oversized white canvas sheet hanging from the ceiling with facial features drawn in charcoal. Upon entering the space, I was greeted by Glenn Ligon-esque neon lights of the words “We hold these truths to be SELF EVIDENT” by artist Ti-Rock Moore. Predator” question who is the predator and who is the prey in today’s America. Taking the Violent Crime Control and Law Enforcement Act of 1994-the largest crime-control bill in American history, which provided funds to hire 100,000 police officers and $9.7 billion for prisons-as its point of departure, the artists in “Alien vs. Aziz in response to the criminalization and mass incarceration of Black and Latino populations in the United States.
The exhibition was conceived by curator Nicolas B. Displayed in a large, raw gallery space, the artworks mostly consisted of mixed-media pieces and installations, while photography, painting, and textile art rounded out the collection. Predator” at the New Orleans Art Center, there was a lot to see. With 26 artists represented in the recent exhibition “Alien vs.