Cover of Fred Wilson Objects and Insallations 1797-2000 [published on the Occasion of the Exhibition Held at the Center for Art and Visual Culture, University of Maryland, 11 October 2001-12 January 2002, Tang Teaching Museum and Art Gallery, Saratoga Springs, 26 October 2002-7 January 2003, Berkeley Art Museum, California, 22 January - 3 March 2003, Blaffer Gallery, University of Houston, 3 May - 3 August 2003, Addison Gallery of American Art, Andover, 3 September - 8 November 2003, Santa Monica Museum, 5 December 2003-8 February 2004, Studio Museum in Harlem, New York, 28 April - 4 July 2004, Chicago Cultural Center, Chicago, July - September 2004]

Fred Wilson Objects and Insallations 1797-2000 [published on the Occasion of the Exhibition Held at the Center for Art and Visual Culture, University of Maryland, 11 October 2001-12 January 2002, Tang Teaching Museum and Art Gallery, Saratoga Springs, 26 October 2002-7 January 2003, Berkeley Art Museum, California, 22 January - 3 March 2003, Blaffer Gallery, University of Houston, 3 May - 3 August 2003, Addison Gallery of American Art, Andover, 3 September - 8 November 2003, Santa Monica Museum, 5 December 2003-8 February 2004, Studio Museum in Harlem, New York, 28 April - 4 July 2004, Chicago Cultural Center, Chicago, July - September 2004]

Maurice Berger

Published2001

Pages176

Formatpaperback

PublisherCenter for Art and Visual Culture, University of Maryland

History Career Culture California Art Military History

Synopsis

If social justice is Fred Wilson's subject, the museum is his medium. By placing meticulously rendered objects in environments that carefully recreate the details of a museum setting, down to their wall colors, lighting, display cases and wall labels, Wilson incisively explores the question of how the museum consciously and unconsciously perpetuates racist beliefs and behavior. From Egyptian and classical Greek and Roman sculpture to African-American memorabilia, from the primativist painting of Picasso to the uniforms worn by often black museum guards, Wilson's provocative juxtapositions speak to a complex history of museological omission, manipulation and oversight. This book marks the artist's first mid-career survey.

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