erome Morgan was wrongfully incarcerated at the age of 17 in Angola State Penitentiary for 20 years before he was fully exonerated in 2016. He is an entrepreneur and organizer, mobilizing communities to confront systems of oppression and to create spaces to heal from the traumas caused by the criminal legal system.
Montoya's image-making quest is about the discovery and articulation of Chicano culture, as well as the icons which elucidate the dense history of New Mexico. Her work is an autobiographical exploration that has far-reaching implications for both her community and the preservation of its unique history.
In Plain Sight is a coalition of 80 artists, led by Cassils and esparza, united to create an artwork dedicated to the abolition of immigrant detention and the United States culture of incarceration. On July 4, 2020, skytyping fleets spelled out artist-generated messages in white vapor over detention centers across the U.S. This action made visible what is otherwise purposefully obscured: the immoral and appalling treatment of imprisoned immigrants, exacerbated by the Covid-19 pandemic. For this Traction: Art Talk, Cassils and rafa discussed In Plain Sight, from its conception to implementation, and consider the role of art, collaboration, and community in ending the government’s unjust treatment of immigrants while providing material support for those most affected.
Against the present’s seemingly endless backdrop of deep political unrest, environmental emergency, and racialized injustice, Just Futures highlights poignant creative experiments in futurity and justice, directed at emancipatory worlds-to-come. With artworks by Black Quantum Futurism, Arthur Jafa, and Martine Syms, Just Futures considers how time itself is a site of struggle and a horizon of liberation. The centerpiece of the exhibition, Arthur Jafa's Love Is The Message, The Message Is Death (2016), was screened simultaneously over 48 hours across art museums in 2020 as an international response to racial justice uprisings and civil unrest. Far from homogenous, inherently progressive, or equitable, dominant time expresses the 24/7 chronologies of capital, long synchronized to racialized, gendered violence and oppression. The seemingly endless meter of production encloses people in temporal holds, defuturing communities, and imposing time-traps of debt and deadlines.
