by James A. Bacon
If you visit the latest exhibit at the University of Virginia’s Ruffin Gallery, “EscapeRoom,” it takes no more than five or ten seconds for the artists’ message to sink in — the amount of time it takes to read the signage at the entrance:
The University of Virginia (UVA) is a site of reckoning. The legacies of slavery and white supremacy reverberate throughout its built environment. EscapeRoom confronts the frameworks of injustice that contemporary audiences inhabit and inherit in relation to this UNESCO World Heritage Site. … EscapeRoom charts critical routes through a maze of predatory systems.
Inside, the exhibits contributed by multiple artists elaborate upon the white-supremacy theme. Five 3D-printed pieces of porcelain, for instance, are described as giving “materiality, scale and dimension to the many ‘tools’ that mediate state violence visited upon Black victims: horses, batons, guns, tear gas, and more.”
A mobile made of steel sheet metal “examines violence visited upon Black people at the hands of the American state. It attends to the paradoxes of Black life and death in this anti-Black world.”
To set foot in the EscapeRoom is to enter a world of victimhood that would have been entirely justified a century or two ago but seems tragically out of date 60 years after the passage of Civil Rights legislation, the enactment of the Great Society’s war on poverty, and the dramatic transformation of attitudes toward race in America — not to mention the implementation of Racial Equity Task Force recommendations at UVA itself that made the exhibit possible in the first place. Continue reading
by James A. Bacon
