Break Glass . The Art of V. L. Cox A Conversation to End Hate
Personal conversations, with respect to one another, need to be had before we can move forward together. There used to be a time when people could agree to disagree with civility, yet still have things in common. We need to find that place again. — V. L. Cox
Fear fuels mistrust, repression, and hatred among neighbors … Truth is the key to our safety, security, and happiness. — V.L. Cox
By truthfully looking in the mirror at ourselves, we take the first step in accepting the fact that we are all part of the link that needs to be repaired. — V.L. Cox
Break Glass . The Art of V. L. Cox A Conversation to End Hate
IT’S TIME WE START OVER AND TALK ABOUT HATE 2015. glass, metal, plastic, natural fiber, paint, wood. 23.25 x 17.75 x 5.5 inches Courtesy of the artist
Break Glass . The Art of V. L. Cox A Conversation to End Hate 4 NOVEMBER 2017 — 18 FEBRUARY 2018 LONgWOOd CENTER FOR ThE VisUAL ARTs
CONTENTS 1
Acknowledgments Rachel Talent ivers
5
introduction Rachel Talent ivers
7 A Conversation with V. L. Cox Rachel Talent ivers V. L. Cox
17
her story Art in the Exhibition with Commentary by V. L. Cox
116
LCVA Mission
118
Colophon
Place caption here ...
Place caption here ...
ACKNOWLEDGEMENTS V. L. Cox first came to our attention in early 2016, when Julia J. Norrell, a prolific collector of southern art and Civil War photography, shared a catalogue of Cox’s newly published A Murder of Crows. her work, peppered with painful antique racist paraphernalia, is bold, provocative and tinged with a bittersweet nostalgia or woeful anger and regret. Collectively, it pleads with us to embrace one another, regardless of our differences. We found her emphasis on coming together with civility to share differing experiences and perspectives both compelling and relevant, particularly within the context of an increasingly divided political landscape. Cox’s art also reflects the LCVA’s mission, anchored in inclusivity and accessibility, to present work that is relevant to our daily lives. After a brief discussion with V. L., we were delighted to move forward with Break Glass: The Art of V. L. Cox— A Conversation to End Hate at the LCVA.
We are deeply humbled by the number of
Alex grabiec and Tyrel Vaughn in the execu-
individuals and organizations that embraced
tion of an installation equal to the artist’s vi-
this project and helped us bring it to life at
sion. Carson Reeher (community engagement
the LCVA. Their enthusiastic participation
coordinator) and Lisa Tharpe (community
and guidance at each point in its develop-
engagement director) brought their enthusi-
ment was invaluable. Foremost of among
asm and energy to the marketing and pro-
these are V. L. Cox and Julia J. Norrell.
motion of the exhibition and its related
The exhibition and program series would not
programs. david Whaley, (director of design,
have been possible without their inspired vi-
Longwood University) created this beautiful
sion and unmatched energy. The exhibition’s
catalogue as well as the exhibition brand.
robust program series was made possible
Beverley Roberts and Lucy Carson coordi-
with the generous support of many in our di-
nated administrative and event logistics, lay-
verse community. We are extremely grateful
ing the foundation for an exceptionally
for their belief in this project and for the rich
smooth process of bringing both exhibition
tapestry of their experiences and opinions
and programming to our community.
that informed the series as it was developed. Emily grabiec (director of education and Mackenzie Lenhart led the LCVA exhibitions
outreach) and Cainan Townsend (education
team for Break Glass, and was supported by
director at the Robert Russa Moton Museum)
BREAK GLASS
•
THE ART OF V. L. COX
1
developed an innovative outreach program
and Moton Museum. she provided invaluable
series of exceptional quality, including work-
guidance, support and encouragement
shops, films, lectures and panel discussions.
throughout the exhibition’s development.
Their passion for community engagement was matched by that of Martha Butler (edu-
The LCVA could not do what it does without
cation assistant) and Mindy Pierson (school
our advisory board and the unwavering
programs educator), who coordinated count-
leadership of dr. helen Warriner-Burke.
less details and logistics associated with pro-
Their dedication to the LCVA and our com-
gram presentation. Jonathan Page (director,
munity are unrivaled, and their thoughtful
Longwood Office of Citizen Leadership and
consideration and advice ensured that
social Justice Education), Cameron Patter-
Break Glass was received as it was intended.
son (managing director, Moton Museum),
We are also deeply appreciative of the
the Virginia Center for inclusive Communities
support and encouragement of Longwood
and the Virginia holocaust Museum were
University’s administration, particularly
wonderful partners.
President W. Taylor Reveley iV, dr. Joan Neff and Justin Pope, who cultivated our
We are particularly grateful to dr. Larissa
desire and courage to take such a risk.
smith Fergeson (interim provost and vice president for academic affairs), who has been a tireless advocate for both the LCVA
RAChEL TALENT iVERs ExECUTiVE diRECTOR
WHITEWASH 2015, wood, metal, paint, 65 x 52 x 9 inches. Courtesy of the artist
2
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
3
KKKRACKER KAR 2017, metal, vintage toy, 4 x 4.5 x 4.5 inches. Courtesy of the artist
INTRODUCTION “ Personal conversations, with respect to one another, need to be had before we can move forward together. There used to be a time when people could agree to disagree with civility, yet still have things in common. We need to find that place again.”— V.L. Cox
Break Glass shines a light on hate and its
in support of their own greed or hateful
attributes of bigotry, racism and injustice,
personal agendas.
and urges viewers to confront its ugly legacy as well as recognize all of the comfortable
The Longwood Center for the Visual Arts
places in which hate hides. Through her art,
believes that art can inspire people to lead
Cox aspires to spark conversation about civil
more hopeful, creative and participatory
rights and equality, while also exploring the
lives within the community for the greater
persistence of hate and injustice in America
good. We are dedicated to developing and
today. her work is often born in cathartic
supporting inclusive programming that
response to contemporary events and
reflects the diversity of our community
shaped by her own personal experiences
and creates an attractive, vibrant museum
growing up in Arkansas.
where everyone feels at home. Present-day Farmville itself is a town born of reconcilia-
Cox first began working on this series in
tion and hope. it occupies a unique geo-
January of 2015 in response to a changing
graphic place in history: in early April 1865
political climate that she believes set
generals Robert E. Lee and Ulysses s. grant
a dangerous precedent of discrimination
marched past the north end of town on Lee’s
in American society. she creates her work
retreat to Appomattox just days before the
from found objects (such as old Ku Klux Klan
end of the American Civil War; the former
regalia), appropriating them to make pointed
Robert Russa Moton high school, site of the
criticisms about some of today’s most trou-
historic 1951 student strike that became one
bling topics, while often delivering a mes-
of the five court cases culminating in the
sage that is in direct opposition to the
historic Brown v. Board of Education deci-
objects’ original messages or intended uses.
sion, lies at the south end.
Additionally, she shines a light on the misuse and corruption of institutions, offices and
in response to the increasingly divisive public
artifacts by those who manipulate them
rhetoric surrounding the 2016 U.s. presiden-
BREAK GLASS
•
THE ART OF V. L. COX
5
Place caption here ...
tial campaign, the LCVA began organizing
The alarming white supremacist rallies
this poignant and timely exhibition.
staged in July and August 2017 in nearby
The spirit of reconciliation informed our
Charlottesville, and the subsequent nation-
intention to serve as a space that facilitates
wide reactions, strengthened our resolve to
thoughtful conversation and deep self-
present art that is relevant to both our time
reection and to unite our community.
and place. — R.T.i.
6
LONGWOOD CENTER FOR THE VISUAL ARTS
A CONVERSATION WITH V. L. COX RAChEL TALENT iVERs One of the most rewarding aspects of working with an artist like V. L. Cox is the opportunity for conversation— questions, answers, musings and sharing. i’ve learned something new in each conversation as V.L. and i discussed our life experiences, perspectives and opinions. Each of these conversations was initially sparked by her artwork, an intended outcome of its creation. V.L.’s work and this exhibition are rooted in a belief in the importance of conversation and its potential to help mend our increasingly polarized communities. sharing one’s experiences and perspectives with civility and respect, as well as listening to those of others (especially those we may perceive as being different), can strengthen us. The LCVA’s belief in the importance of conversation also informs the format and content of this exhibition catalogue. The following interview with V. L. provides both an overview of her work as well as context, and is complemented by an artist-led piece-by-piece “tour” discussing each work in Break Glass.
some might categorize your work as “activist
henderson state University at the age of 10.
art.” do you agree or disagree with that
The instructor was Joe scott, who many
assessment?
years later actually became my college professor, advisor and dear friend. interesting
i would agree to that to some extent. i do
story … After my grandmother died, i was
consider myself a civil rights/human rights
going through her cedar chest and discov-
artist and an advocate of justice.
ered the old clothbound album from that class. inside were drawings, paintings and
You’ve described your work as being very
the stories of an active, ambitious 10-year-
personal and rooted in your life experience.
old that i still have in my possession today.
Would you discuss what is was like to grow
it was my very first portfolio, you could say.
up and live as a working artist in Arkansas? i was always encouraged with my art. My grandmother signed me up for a kids’
My great-grandmother was an artist out of
summer program for my first art lesson at
Old Washington, Arkansas, whose pieces
BREAK GLASS
•
THE ART OF V. L. COX
7
are now in the historic Arkansas Museum,
i remember as a child, my father had
and my father was an illustrator and engineer
made me a toy with two tin cans and
who taught me to draw. My senior year in
a string that i would often play with. it was
high school i joined Future Teachers of
a simple means of communication that, due
America only so i could take two art classes
to the length of the string, put you in close
my senior year, then enrolled at henderson
proximity to the person on the other end.
state University, and graduated in 1991 with
i have recently realized that other than
a five-year BFA degree. i made the dean’s
a keyboard or a cell phone, people are not
list that year and remember my grand-
talking to each other face-to-face anymore.
mother, a second-grade schoolteacher,
i feel this disconnection contributes to mis-
cut the local newspaper article out and
communication and distrust. distrust then
sent it to all her friends.
often evolves into fear, which can then unfortunately turn into hatred. Our society, thanks
After college, i hit the road and ended up
to intentional self-serving political division,
in dallas, Texas, working in the scenic indus-
has gotten more aggressive and polarized;
try for the Los Colinas Film studios, the
therefore, when hate escalates to violence
dallas Opera and the dallas Ballet. i worked
it is an emergency.
the art circuit there for a while, and then i moved to Memphis, Tennessee, and worked
it’s time to go back to the basics, start
in graphic design, marketing and advertising.
from the beginning and learn to talk to one
it was during this time i received a phone
another again. This is why i used an image
call from Cranford, Johnson, Robinson and
of a simple child’s toy for the subject matter.
Woods (CJRW), an advertising firm in Little
The antique communion lock protecting the
Rock, Arkansas, and was offered a graphics
primitive form of communication shows
job. so i returned to Arkansas in 1997.
how precious it is. That being said, talking
i was still doing my own paintings in my
and trying to understand each other is ex-
free time, and they started consistently sell-
tremely important, but you also have to use
ing, so it wasn’t long after that i decided
every form of communication possible to
to take the risk, put my notice in and became
speak out against intentional hatred, bigotry,
a full-time artist. i’m not going to lie, it has
xenophobia and injustice.
always been feast or famine in Arkansas, but i have been fortunate enough to be
Which comes first—the concept or the object?
able to pay my bills and continue to evolve creatively and as a person on this incredible,
i have had many concepts before, but it’s
artistic journey.
always the objects that i seem to connect to that inspire me the most. sometimes
Would you discuss the representative exhibi-
i’ll have these objects for a very short time,
tion image, It’s Time We Start Over ... ?
and sometimes i’ll have them for over a year
8
LONGWOOD CENTER FOR THE VISUAL ARTS
Place caption here ...
BREAK GLASS
•
THE ART OF V. L. COX
9
or two before the concept comes together—
Would you discuss your creative process for
but it always seems to do so.
such works? Which of these were particularly significant for you?
You’ve worked in a museum in addition to your work in film, performing arts and adver-
The Klan robe is one of the most significant
tising. did your experience working with mu-
pieces i have ever worked with. i actually or-
seum collections influence your work?
dered the robe from an arms and antique dealer online. it’s a dark, scary world online
i would definitely say that working with
with objects like this, so i did a background
a museum collection influenced my work.
check with some other dealers i knew to
i am passionate about preserving historical
make sure he was legitimate before deciding
objects and their stories, and often catch
to work with him. i had planned on only
myself feeling humble in their presence.
using the material for a project i had in mind,
standing in front of or touching a piece of
but when it arrived and i pulled it out of the
history teaches you a lot. it teaches you
box, it was then i noticed the smeared and
about the lessons of the past, a lost or for-
spattered stains, including a stained “woven
gotten way of life, and it teaches you to ap-
rope” imprint on the back.
preciate the past, present and the future. Working with a museum collection ignited
To say it was shocking is an understatement.
my curiosity to a level that i could barely
i quickly followed up with the dealer and was
control. i would put in a full day’s work, and
told that a family had found the robe in a box
then come home from the museum and im-
in an attic after a male family member had
mediately start looking things up on my
died. They wanted nothing to do with it so
computer trying to find out more about an
they sold it to him as an historical object,
object, or a timeline to satisfy my hunger
which he then in turn quickly sold to me.
for historical knowledge. Every object has
The blood stains were never mentioned to
a story, and we must try and remember and
me before purchase. it was so moving and
learn from the past if we’re ever going to
disturbing that i was looking at a 100-year-
advance as a civilization—or history will
old crime scene that i could not bring myself
continue to repeat itself over and over again.
to cut the material up as previously planned.
i also know that a strong, simple, visual res-
After carefully documenting and confirming
onates deeply with people. You will notice
the stains with numerous experts, i decided
that the combination of a historical narrative
to keep the piece intact for two reasons: to
through the arts can be traced all the way
show who these individuals who claim to be
back to the stone Age.
a “Christian organization” truly are, and out of respect for the victim. Out of respect to
You have described the creation of many
the victim, i also took the robe to a local min-
of the works in this exhibition as cathartic.
ister to have the sordid fabric blessed.
10
LONGWOOD CENTER FOR THE VISUAL ARTS
You’ve spoken about a shift in your work
Christianity, with no guidelines or boundaries
beginning in 2015. Was this a sudden pivot
to protect innocent citizens.
or a more gradual transition? it was an unjust bill that needed to be i would definitely say it was a sudden pivot.
stopped. it was then i realized as an Ameri-
i woke up one morning with the news that
can citizen i could not be silent. it was then
the Arkansas legislature was considering
i decided to take a stand and speak with the
a Religious Freedom Restoration Act (RFRA)
loudest most forceful voice that i had:
in response to the supreme Court ruling over
through my work. i created and prominently
gay marriage. it didn’t hit me how serious
displayed my “End hate” door series, based
that was until i read the details of the bill
on the shameful doors of our past, to remind
that was in committee. it was horrifying.
people that we’ve been down this road be-
house Bill 1228, a cruel and poorly written
fore and that separate is never equal.
Religious Freedom Restoration Act purchased from ALEC [American Legislative
Would you discuss how you approach the
Exchange Council, an out-of-state bill mill]
religious themes in your work? Would you
by our lawmakers (they didn’t even write it),
describe yourself as a spiritual person?
was presented early 2015 by the Arkansas 90th general Assembly.
i am very spiritual. i am also an ordained Presbyterian elder. i was raised by my south-
This bill was so recklessly written that it
ern grandmother, who was sitting in a pew
would’ve literally brought back Jim Crow
every time the church doors were open.
laws overnight. it would’ve not only denied
she taught me the words and actions of
a person a sandwich in a restaurant, it would
“love thy neighbor”—not saying any deroga-
have also denied employment, housing and
tory words against anyone else based on the
life-saving medical care to individuals if
color of their skin or because they were dif-
someone else claimed they didn’t want to
ferent. Nor was i allowed to treat others with
serve them or treat them due to their “sin-
disrespect because of physical disabilities or
cerely held religious beliefs.” it’s wording
economic status. i was also taught to stand
was so dangerously vague that it would
up for myself against bullies and to speak
have taken our state back to days when
out against injustice, which i continue to do.
honest, tax-paying Americans were separated for no reason other than the color
You won’t see me sitting in a pew these days
of their skin, their religious preference or
though. i feel my place is in the streets and
who they decided to live with. This time,
with the average individual who has been os-
however, it would have included not just
tracized, judged or forgotten. The words and
different races, but gender, sexuality
actions of Christ today are rarely spoken and
and even different religions, including
lost in the deafening noise of hateful speech,
BREAK GLASS
•
THE ART OF V. L. COX
11
aggressive actions, and the crushing loss of
Believe it or not, the man claiming to be
humanity due to a fad reality TV mentality
a Christian was more vile and aggressive.
based on nothing more than greed, self-
i turned the Klansman in to the FBi, and just
professed superiority and power. That being
ignored the other guy until he finally grew
said, i now know why Christ turned the
weary of hearing himself talk and went away.
tables over in the temple. One of my most positive, memorable in my work, i address the “grifters,” the peo-
moments was when i placed the doors at
ple who use religion as a weapon instead of
the base of the Lincoln Memorial in 2015.
a tool. i’m calling out the bullies that hide be-
There were over 250,000 people there that
hind the Bible, yet never darken the doors of
day. i had a man walk up to me that had
a homeless shelter. The people who say they
white supremacist tattoos all over his body.
“have found Christ again,” yet who have
i instantly froze. i knew full well what those
never sat down and broken bread with those
tattoos meant and thought this encounter
that have never lost him though they are
was not going to go well. Much to my sur-
poor and hungry; the hypocrites who inten-
prise, i was wrong. he extended his hand
tionally line their pockets off the fears of the
to me and in a soft voice thanked me for the
broken and downtrodden. These are things
door installation. he then began to tell me
i address because i truly feel that, if Christ
his story. he was born into the Klan in south
came back today, he would be scorned as
georgia, and his father and brother were still
a poor homeless person, given some kind of
in the Klan there. he had fled south georgia
derogatory label, imprisoned or given a ride
under the cover of darkness with his wife
to the edge of town with a $10 bus ticket
and child because the Klan had threatened
and told to never come back.
to kill his transgender son. As he shook my hand and thanked me for the work and the
As human beings, we have a responsibility
message, he told me he was in the process
to treat each other better. And we need to
of getting his white supremacist tattoos
do it now.
removed and becoming a man of peace. i realized something very important that day.
how has your work been received? What are
i realized that if this man could change his
some of the responses you’ve seen when
heart, anyone could.
they are exhibited? i also met people from the country of Jordan The entire collection has been very well-
that same day who talked about discrimina-
received. in the past two years, i have only
tion in their region. They asked me to prom-
had one threat from a Klansman in harrison,
ise to never mention their names or show
Arkansas, and one from a man proclaiming
their faces in my photographs for fear of
to be a Christian from Conway, Arkansas.
death if anyone ever found that they spoke
12
LONGWOOD CENTER FOR THE VISUAL ARTS
Place caption here ...
BREAK GLASS
•
THE ART OF V. L. COX
13
out. it made me realize just how important
support. When they were at the Lincoln
and cherished our freedom of speech truly is.
Memorial and Arkansas state Capitol, the re-
i met people from all over the world, and we
sponse for them was overwhelming. in fact,
talked calmly about our differences, and how
between social media, Yahoo and the Associ-
at the end of the conversation we realized
ated Press, the images of them while fighting
that we are all the same. The doors were not
hB1228 were seen as far away as south
just an art exhibition; they were a catalyst of
Korea and india. They were also welcomed
history, education, conversation and of hope.
and embraced at the LgBT Center in New York City and at the Fayetteville Under-
Another time, i had an evangelical minister
ground gallery in Fayetteville, Arkansas.
from northern Arkansas come to my exhibi-
People can relate to them and their simple,
tion in Little Rock, Arkansas, and, after walk-
historical message against division.
ing through the exhibition twice, he told me he realized that he’s “been doing it wrong
For me, Whitewash is among the highlights
and was very disappointed in the behavior of
of the exhibition. it is relatively subtle, with
[his] congregation and was going to address
multiple layers of meaning. i was struck with
that in [his] next sermon.”
how it succinctly conveyed the way white supremacists have hidden in plain sight for so
Lastly, during my exhibition at the Fayet-
long and recalled stories of their stunned
teville Underground gallery, sponsored by
families’ claims that they just didn’t see the
a Walmart Foundation grant, there were
signs that one of their own was part of such
people that cried because the work moved
an extreme organization. Would you discuss
them so much. African Americans who had
its imagery in depth?
never seen a Klan robe in person before, discovered newfound courage to walk up and
That piece originated after a road trip
stand next to the symbol of injustice and ha-
through harrison, Arkansas. harrison, while
tred that had haunted them for generations.
trying really hard to clean up its dark past, is
it’s moments like this, through an artistic vi-
still the National headquarters of the Ku Klux
sual, that voices are heard, courage is found
Klan. While driving through the area not too
and a bond of humanity from different walks
long ago, i passed several billboards claiming
of life is formed against injustice. i will never
“diversity is White genocide” and a dusty
forget these moments.
compound on the edge of town with a large gate and numerous Confederate flags mark-
how were the doors received at the various
ing the surrounding property lines, as well
places they have been exhibited?
as the gate entrance. it’s hard to miss these disturbing images.
The doors have always drawn a huge crowd with nothing but positive comments and
14
With the gate and the Confederate flags
LONGWOOD CENTER FOR THE VISUAL ARTS
being such a strong visual to me, i ran across
year-old piece of sandstone into a stone
an old wooden gate in an antique shop in the
heart. A friend of mine mentioned one of her
area and wanted to create a piece that re-
favorite biblical quotes that went along with
flects the entrance into the dark world of
the stone heart concept, and i actually liked
white supremacy— antiquated, but still
it. The quote is: “And i will give you a new
standing, in secrecy and anger intertwined
heart, and a new spirit i will put within you.
with hatred, ignorance and fear. The two
And i will remove the heart of stone from
wood boards on each end, as well as the
your flesh and give you a heart of flesh.”
hinges and barbed wire, were not original to
—Ezekiel 36:26.
the gate but were added. i then cut the flat tops of the gate pickets into a “hood” image
Bottom line, regardless of your beliefs it’s up
and carved a faded white Confederate flag
to all of us to make the efforts to open our
into the wood to represent the same flags
hearts to others before any change can take
i observed from the compound. The big
place. The stone came from my home state
surprise came when i took the piece in to
of Arkansas and the old, rusted barbed wire
be professionally photographed. When the
came from property blessed by a church.
lighting was placed at a 45-degree angle,
The base is an antique craftsman-style porch
it created sinister, hooded “ghosts” standing
column representing the foundations and
behind the gate, lending an element of
lessons of the south. The light represents
recognition to the old term “invisible Empire”
hope. There’s always hope.
from back in the day. it was ominous. The old, dried paintbrush wedged down in the gate shows that the white supremacy
V.L. COx RAChEL TALENT iVERs
mind-set is still being cultivated and spread through those that chose to enter this dark and secretive world. in fact, Klan Camp is still being held in harrison, Arkansas, annually. Over 30 kids were registered last year. Which of these works was the most difficult for you to make? Why? As far as labor goes, Pillar was by far the most difficult. After observing the coldhearted, convenient loss of humanity toward others in this digital age, i used a pneumatic air hammer and hand-carved a 300-million-
BREAK GLASS
•
THE ART OF V. L. COX
15
16
LONGWOOD CENTER FOR THE VISUAL ARTS
HER STORY Art in the Exhibition with Commentar by V. L. Cox
BREAK GLASS
•
THE ART OF V. L. COX
17
THE FOUR PILLARS OF FREEDOM 2017 original 1910 Charles Thompson (historical architect) wooden columns, steel, paint, putty 124 x 18 x 18 inches Courtesy of the artist
This piece was inspired by my visit to the National Archives in Washington, d.C., earlier this year. While reading george Mason’s papers, i noticed a small paper illustration on display next to his material. it was from 1941-45 and was distributed during a time when our country was fighting the dark cloud of tyranny. The image deeply affected me, and, at that very moment, i realized something. No matter how dire things appear at times, our country is set up so that no one person or political party can ever have enough power to destroy it, as long as we keep these foundations intact. My spirit felt renewed, for this little illustration gave me back the one thing i had lost over the horrific election season and the never-ending inundation of strife. it gave me hope. We need to be reminded that we are more than just individuals. We are a united front and the keepers of something much more important: freedom. And it’s not for the timid or lighthearted to preserve. i now have over 210 hours of labor in this project with moving, prep, sealing, repair, wood carving, painting and stabilizing. The columns are over 10 feet tall and together they weigh over 550 pounds. Each wooden letter has been individually modified, cut and re-formed to fit the curved base of the columns. i highly encourage anyone who has doubts or fears about our country “falling apart” to make the trip to the National Archives. it will restore your faith in America and in humanity. We are all in this together, and to let our individual differences pour out onto the streets of despair is fruitless. Remember, we are the United states, and, while you’re at it, also remember the wise words of Benjamin Franklin: “United we stand, divided we fall.” stay strong, and go shake your neighbor’s hand. Together you are the keepers of something very precious, and you need each other more than you know.
—V.L. Cox 18
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
19
OLD GLORY 2015 metal, cloth, paint 41 x 48 x 5 inches Courtesy of the artist
Old Glory is a sculptural piece made out of vintage steel and cloth. This old blue steel has been knocked around until it appears ruined and damaged but it is still as strong as ever. i couldn’t even bang out some of the dents with a sledgehammer. it was then i decided to use it for this piece. i, for one, am sick and tired of all the crazy, narcissistic “Reality TV” drama that has torn our country apart. i wanted to do a piece to show that even though we take a pounding, regardless of our stance or differences, i still believe that we are Americans, that our country is strong, and that freedom, equality and justice for all will prevail.
—V.L. Cox
20
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
21
FOX IN A BALLOT BOX 2017 tin, paint taxidermy fox, fabric 36 x 26 x 27 inches Courtesy of the artist
The orange, taxidermied “wild” fox is jumping out of an authentic mule-mounted ballot box that was used in rural America in the 1860s, and decorative material representing the American flag, the fabric of America, being deliberately torn in two. Pretty self-explanatory for the election of 2016, where aggressive, cunning divisiveness pitted family members and friends against each other like no other modern-day election.
—V.L. Cox
22
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
23
FREEDOM FIGHTER 2017 steel, glass, paint, leather 42 x 26 x 4 inches Courtesy of the artist
This Art deco metal-and-glass sign, mounted next to a piece of striped pattern steel with vintage metal school bell and leather boxing gloves, represents how every generation has to fight for their rights.
—V.L. Cox
24
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
25
USS DEFIANCE 2017 tin, wood, plaster, cloth, epoxy putty, paint 40 x 11 x 38 inches Courtesy of the artist
i found her in an antique shop in New York City when i was exploring one day on my way to Chinatown. We connected immediately, and i found her strikingly beautiful. “how much?” i asked the woman behind the counter. “$45,” she replied. i hastily plunged my hand in my pocket and pulled out the wadded bills and counted them out. i placed her on a shelf next to a vintage homemade boat i had acquired last year, and it was then that the idea hit me. i saw her strength as a woman sailing through difficult times. i reflected on all the women who are now stepping out of the shadows in unity to take their place in history as we fight against repression and injustice toward a better tomorrow. she leads head forward, wearing the gloves of a modern woman, with the stars and bars of a country that can be “just and fair” with the right leader, a leader who will face the headwinds unafraid and steer a wayward ship to a safe port.
—V.L. Cox
26
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
27
HOME OF THE BRAVE 2015 wood, metal, epoxy 74 x 34 x 21 inches Courtesy of the artist
Being a rational, concerned individual is one thing. Reckless panic is another. Created out of an old craftsman-style front porch column, “home of the Brave” represents the ridiculous level of fear that is being intentionally streamed into our homes to separate us as Americans today. Fear fuels mistrust, repression and hatred among neighbors. Yes, there are things we need to take care of, but keeping a level head, checking facts and not taking direction from emotionally charged individuals or media sources that are bent on monetary or personal gain is the solution. Truth is the key to our safety, security and happiness. America doesn’t need to “be great again.” it never stopped being great, and don’t let anyone motivated by self-interest or fear tell you otherwise.
—V.L. Cox
28
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
29
DARK HORSE 2017 mixed media 25 x 35.5 x 13.5 inches Courtesy of the artist
A Trojan horse. A horrific mind-set that has successfully slipped back into our society under the hollow guise of professed superiority and narcissistic grandeur. A nation intentionally deceived by cruel self-serving charlatans who have parked their toxic facade of greed and power outside our doors. Yet we can now see through the deceptive cracks who they really are. i’ve been working on this difficult piece for weeks. According to old fragments of a hungarian newspaper i discovered under the damaged fabric that once covered the object, the carved European piece dates back to 1942, when extreme nationalism, racism, hatred and bigotry was on the rise. The words “Roosevelt,” “Paratrooper” and “Competent Camps” were just four of the words translated. This is a stark reminder that we’ve been down this heinous road before. A road that we cannot allow ourselves to go down again. For in the midst of blind, divisive, intentional misdirected aggression the words of george santayana still ring true today: “Those who cannot remember the past are condemned to repeat it.” (And the little metal door i cut and took from an antique rodent trap raises and lowers as well. i thought it was perfect for this project.)
—V.L. Cox
30
LONGWOOD CENTER FOR THE VISUAL ARTS
SUPER NATURAL
•
SUSAN JAMISON
31
WAR 2016 authentic Civil War iron cannonballs and artillery, antique wooden podium 12 x 12 x 48 inches Courtesy of the artist
When i was in New York, i observed full-grown, expensively well-dressed men standing in front of Trump Tower, screaming and yelling, “Testosterone … get used to it … Testosterone” (as well as many other horrible things) over and over at the top of their lungs to women and children in strollers as they passed by. i was shocked. it was uncalled for, intimidating, demeaning and rude. i don’t care what “political team” you are on or who you vote for. Any individual who chooses to perpetuate an antiquated social and cultural “Civil War” mentality on this level with such crass, unacceptable behavior is not part of the solution. They’re part of the problem. After observing this firsthand, i think this piece is pretty self-explanatory.
—V.L. Cox
32
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
33
FORGE 2016 steel 16 x 16 x 14 inches Courtesy of the artist
This piece represents beating swords into plowshares. Change is inevitable, and even hardened, tempered steel can evolve and change into something shiny and beautiful.
—V.L. Cox
34
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
35
JOURNAL 2016 Vintage wooden parts from old church pew, antique steamboat trunk found stored in back of Cotton Building on Front street in Memphis, Tennessee, and vintage 1930s Buck Rogers ray gun dug up from backyard. Wood, metal, cloth. 16.25 x 10.25 x 2.5 inches Courtesy of the artist
guns in church? hmm ‌
—V.L. Cox
PHENOMENA 2016 wooden parts from old vintage church pew, antique steamboat travel trunk found stored in the back of the Cotton Building on Front street in Memphis, Tennessee, vintage plumb bob 16.25 x 10.25 x 2.5 inches Courtesy of the artist
36
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
37
BLESSED ASSURANCE 2015 glass, metal, wood 57 x 47 x 5.5 inches Courtesy of the artist
The Charleston Massacre devastated me. i could not believe the level of evil a young person was capable of due to the venomous indoctrination of hate. This piece was created after reading about the numerous black churches being horrifically burned down through the south after the Charleston Massacre. The stained glass window is from 1896, and the brass fire extinguisher is from the 1920s. Both come from old churches in south Arkansas. The wooden background is made from an old church pew from off Roosevelt Road in Little Rock, Arkansas, and burned along with old wallpaper attached to it.
—V.L. Cox
38
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
39
ALT RIGHT 2016 Klan hood, circa 1870, from Carthage, Arkansas, vintage typewriter, paper, glass 13 x 22 x 15 inches Courtesy of the artist
The antiquated mind-set of anger, hatred and self-fabricated white supremacist superiority are represented by the worn and tattered 1870 “flour sack” Klan hood and outdated typewriter. Long gone are the dark sinister moonless nights of terrorizing people on horseback. The letters on the typewriter spell out the words of intent, as a vicious coward’s keyboard becomes the most dangerous weapon in today’s society. A toxic message can then enter our home and invade our lives. As the incessant clicking of the keys fuels the fires of hatred, you then see behind the hood a mirror that, if you look closely, reveals the reflection of an unsuspecting, misinformed messenger. We all have a part in spreading anger, deceit and half-truths. stopping the deadly virus of hatred begins with us, and it all starts with a conversation—one held preferably in person and not behind a faceless keyboard. There are only two emotions in life: love and fear. Kindness, compassion and empathy stem from love. Anger, angst, bitterness and hatred stem from fear. it’s time to take a good hard look at ourselves and decide if we want to easily belong to a dark, antiquated world where we blend into obscurity with petulant hearts, or one where we take the more difficult road and challenge ourselves to treat each other with kindness, respect and understanding. Only then will we able to move forward into a new and better day.
—V.L. Cox
40
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
41
SOILED 2015 authentic circa 1919 Klan robe, natural fiber rope, metal, wood 80 x 47 x 34 inches Courtesy of the artist
i acquired this piece from an antique dealer who had a family bring it in after another family member died. i had no idea it was stained with blood before the acquisition. i believe, after historical research, that this was used in the summer of 1919 (“Red summer”) somewhere in the south. The blood stains and the time period are almost identical. i kept the robe intact, created the hood to complete it and purchased the vintage metal signage to show the true level of hatred this robe and installation represents. The rope is an old bell tower church rope.
—V.L. Cox
42
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
43
WHITEWASH 2015 wood, metal, paint 65 x 52 x 9 inches Courtesy of the artist
While driving through harrison, Arkansas, i passed a dusty “compound” on the edge of town with a large gate and numerous Confederate flags marking the surrounding property lines as well as the gate entrance. it’s hard to miss. With the gate and the Confederate flags being such strong visuals to me, i picked up this old wooden gate in an antique shop around the area, and i wanted to create a piece that reflects the entrance into the dark world of white supremacy. it is antiquated, but still standing, in secrecy and anger intertwined with hatred, ignorance and fear. The two wood boards on each end and the hinges and barbed wire were not original to the gate. i then cut the flat tops of the gate pickets into a “hood” image and carved a faded white Confederate flag into the wood to represent the same flags from the compound. When i positioned the lighting at a 45-degree angle, it then created “ghosts” behind the gate, lending an element of recognition to the old term “invisible Empire” from back in the day.
—V.L. Cox
44
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
45
EVER WHITE HANKERCHIEFS 2017 remnants of an 1870 Klan robe made out of old flour sacks from Carthage, Arkansas, wood, paint, steel 54 x 32.5 x 14.5 inches Courtesy of the artist
i remember, as a child, every saturday morning was ironing day. Women throughout our community would all make a hot pot of coffee in an old percolator coffee pot and pop up the ironing board to iron the laundry for the week. i always found it interesting that small hankies were ironed with as much time and detail as a pressed shirt, and i was taught as a very young child how to iron and fold these hankies with precision. it's these little details in life that i notice are sometimes the hardest to change. hankies are harmless, but i wanted to show how a discriminatory mind-set can become as normal as a daily routine, one that is passed down to younger generations as a normal tradition. When i saw the metal display case that stated “Ever White” on the front, it reminded me of the ironing ritual. it made me think of how long we have been fighting the concept of race superiority based on the color of skin or even represented in the color of a cloth worn in demeaning intimidation. The old, heavy flatiron represents an archaic mind-set whose actions leave a dark stain of fear and ignorance ingrained in society. The cloth hankies made out of the Klan robe represent the normality of everyday hatred and bigotry.
—V.L. Cox
46
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
47
ABSENCE OF COMPLICATION 2017 Early 1900s Topsy Turvey doll, rusted metal back, vintage plaster, wooden frame 12 x 14 x 4 inches Courtesy of the artist
This piece represents the innocence of children and how they see each others as equals until they are taught otherwise.
—V.L. Cox
48
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
49
WHITE BREAD 2015 wood, metal, paint 70 x 28.5 x 4 inches Courtesy of the artist
This piece was created after i read about “Klan Camp” for kids, held this summer at the National Ku Klux Klan headquarters in harrison, Arkansas. The teddy bear is facing backwards to represent the loss of innocence, and addresses children and early indoctrination. This screen door is also part of my Images of the American South screen door series. This long-running, 24-year narrative body of work is registered with the Library of Congress and tells the story of the south.
—V.L. Cox
50
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
51
SOLES 2015 1896 wooden church dormer vent, natural ďŹ ber, 1930s rope, leather, rubber shoes 42.5 x 13.75 x 3.75 inches Courtesy of the artist
This piece was created from a 1896 church roof dormer from south Arkansas, wood from an old church pew, 1930s rope and worn leather shoes. in the 1920s, the Klan used to request full church services and show up in all their regalia. The only way people could recognize the Klansmen was by their hands or their shoes. A little side note: My great-grandfather was almost killed by the Klan. he was pulled out of his house and bed by his ankles, tied to a tree and horsewhipped within an inch of his life after being falsely accused by a man who was sour over a horse sale. My grandfather and great-grandmother had to cut him down and nurse his bloody wounds. My great-grandfather later recognized the shoes of a cousin that was involved in the whipping on Main street Arkadelphia, Arkansas, and swore revenge. They never spoke again.
—V.L. Cox
52
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
53
JIM 2015 vintage crow decoy, rusted barbed wire, paint, epoxy, wood 66 x 20 x 20 inches Courtesy of the artist
After working with incarcerated youth and seeing firsthand the unjust imbalance of mass incarceration of minorities in our country today, i find this piece haunting and sad, but painfully true. The white column is taken from an old craftsman-style front porch, where a lot of time is spent during the hot summer months due to the sweltering heat. sitting on the front porch watching the world go by is a relaxing, cherished moment here in the south. Unfortunately, due to socioeconomic status, lack of opportunity or the color of their skin, many individuals never get the opportunity to go very far past this setting before being funneled into the lucrative and politically controlled “cradle to prison” pipeline. They literally spend a lifetime, from birth to death, “looking out” into the real world.
—V.L. Cox
54
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
55
CRACKER CRUMBS 2016 antique gum ball machine, kinetic bank, metal, paint, clay 10 x 14 x 38 inches Courtesy of the artist
The antique bank is a part of Black Americana, and the word “cracker” is a derogatory term against people that force white privilege and white supremacy upon people of color. The bank represents the judgmental “crumbs” that are reluctantly tossed to people of color by narrowminded and boastful, racist, ignorant individuals who build their facts on underlying mistrust, lies and deceit. When a lever is pressed on the back of the shoulder, his arm raises to his mouth and the eyes and ears move as if being forced to “ingest” the cracker.
—V.L. Cox
56
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
57
11TH HOUR 2015 wood, shingles, metal, paper, paint, cloth robe, electric lighting 34 x 20 x 22 inches Courtesy of the artist
dr. Martin Luther King Jr. once said that sunday morning at 11 o’clock was the most segregated hour of the week. Religion is a personal and cultural thing, and i can understand wanting to worship with those you feel the most comfortable with, but my thought is that there is no reason that we all can’t get together and talk several times a year to break down barriers of distrust and communication. This piece is made out of an old vintage handmade bird house that i altered and rebuilt. A Bible is inside, with contrasting pages turned to Mark 12:31: “Love your neighbor as yourself. There is no commandment greater than this.” The choir robe is from second Baptist Church in downtown Little Rock, Arkansas, where dr. dale Cowling was one of a few leading white clergymen who stood against the tide of unreason that swept Arkansas in the late 1950s. in the celebrated Little Rock school crisis, Cowling voiced his stance on the wrongs of segregation.
—V.L. Cox
58
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
59
LET THERE BE LIGHT (The Curse of Those Who Do Nothing in the Face of Evil) 2016 Cloth, wood, metal, paper 21.75 x 14.5 x 7.5 inches Courtesy of the artist
This piece was inspired by the story of dante’s “cowardly angels” as he entered hell. sometimes called neutrals or opportunists, “fence straddlers” were guilty of the sin of cowardice in its most basic form. Fearing to commit or to act in the face of evil, and unwilling to shed their blood for any worthy cause in life, they remained spectators to life, and in death they had nowhere to go. The Klan cross is wrapped with material from an authentic “flour sack” Klan robe, circa 1870, from Carthage, Arkansas: a veil of hatred over 146 years old. i find the fragile, worn material striking, since it mimics the same worn-out mentality of today. The knife has a more interesting background. i have had it for a while now in my personal collection. i had purchased it for its story: Legend has it that it was the first thing removed from a cruel, dead Klansman’s body and was passed down through the same family for several generations. The AfricanAmerican family that owned it finally decided to part with it and sell it. Evil has come out from the shadows and shown its face openly again in our society, disguised as “salvation.” This is what it looks like.
—V.L. Cox
60
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
61
NO VACANCY 2015 wood, metal, plastic, electrical lighting, paint 109 x 60 x 25 inches Courtesy of the artist
i created No Vacancy from an old 9-foot-tall church steeple from the delta after reading the story the Arkansas Times did on a young man in northern Arkansas who received a letter in the mail from his church telling him he was immediately being removed from their membership records because he was gay. i then read another story about a man who had to actually move his deceased partner’s grave due to threats in Baxter County. The worker for the monument company who was moving the tombstone was even approached and threatened by a man with a bowie knife in a Walmart parking lot, who asked why he had that “faggot’s” headstone in the back of the truck. stories like this are all too common today, and i don’t think this is what Christ had in mind when he told people to “love thy neighbor.”
—V.L. Cox
62
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
63
READY, AIM, FIRE AND BRIMSTONE 2015 metal, wood, paper, 24K gold leaf 25.5 x 33.5 x 10 inches Courtesy of the artist
This work represents how carelessly, recklessly and forcefuly the Bible can be thrown around these days here in the south. At times, it’s as casual as shooting a sign as you drive by it or hitting the sign with a beer bottle. The original vintage Bible cover is mounted on wood with gold leaf, embedded on the end of a 1939 Coca-Cola box cooler.
—V.L. Cox
64
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
65
PILLAR 2015 wood, rusted barbed wire, stone, electric lighting, epoxy, wood 54 x 15 x 14 inches Courtesy of the artist
“And i will give you a new heart, and a new spirit i will put within you. And i will remove the heart of stone from your flesh and give you a heart of flesh.” — Ezekiel 36:26. This piece represents the “convenient” loss of humanity toward others in this digital age. While talking at great length to a friend one day about an idea i had for a project on this subject, she mentioned that one of her favorite Bible quotes went along with the stone heart i had just carved. i actually liked it. Bottom line: Regardless of your beliefs, it’s up to all of us to make the effort to open our hearts to others before any change can take place. i chiseled the stone heart with an air hammer, and the old rusted barbed wire came from property blessed by a church. The base is an antique craftsman-style porch column, representing the foundations and lessons of the south. The light represents hope. There’s always hope ...
—V.L. Cox
66
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
67
THE MARK 2016 authentic carnival game disassembled and reconstructed with metal, wood, rubber 97 x 54 x 32 inches Courtesy of the artist
“ Confidence tricks” exploit typical human characteristics such as greed, dishonesty, vanity, opportunism, lust, compassion, credulity, irresponsibility, desperation and naïvety. The Mark is heavy, uncomfortable imagery, and a powerful response to those political and religious leaders, as well as other individuals, who use such tricks to trivialize the Christian faith to divide, marginalize and damage people. They have succeeded in turning the true message of Christ into a “circus” or “carnival game” in which they target those that are easily misled. The goal is to achieve quick cash, status and personal gain, while joyously, intentionally and violently beating the hell (and the love) out of Jesus. And, unfortunately, they have mastered the ability to encourage others to do so as well. The chalk handprints on the wooden mallet are a reminder of when dishonest carnival game operators called “grifters” found someone they could entice to keep playing their “rigged” or “gaffed” game. They would “mark” the player by patting their back with a hand that had chalk on it. Other game operators would then look for these chalk marks and entice the individual to also play their rigged game. This is the same thing that’s going on with society today. good people are being dangerously misled by these political and religious grifters, full of self-serving arrogance, picking and choosing Bible passages that are not read in full context to inflict or direct harm on others for no other reason than financial gain—or to make themselves seem, and feel, superior to others. The powerful words of Christ are now lost, forgotten and buried under the stench of pride.
—V.L. Cox
68
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
69
THE GREED TRAP 2017 mixed media 8.25 x 5.5 x 1.25 inches Courtesy of the artist
i’m not saying churches shouldn’t make enough money to pay their bills, but after seeing certain affluent churches have the greedy, callous audacity to pass an offering plate while sheltering the downtrodden and most vulnerable, who only came with the clothes on their back during the last natural disaster, was shocking. This piece speaks volumes.
—V.L. Cox
70
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
71
RFRA 2016 Wood, paper, rocks, paint, steel 70 x 18 x 21 inches Courtesy of the artist
This piece represents the panicked and distorted push of the RFRA movement in today’s society. The stark white bird feeder/church is full of “bird seed” from stones that are cast, and hard paper “pellets” made from actual pages of the Old Testament, which feeds the bird’s hysteria while blocking the sanctuary doors and structure. The old column and foundation are cracked and worn with time, showing deterioration. The vintage black crow decoys, which are symbolic of the Jim Crow era, once again find a way to repress others with fear and intimidation, guarding the key that keeps the door locked in deceit. The crooked cross at the top is made out of an old church pew to show how the definition of the law has been cruelly twisted from its original shape and intent. Finally, the letters “RFRA” are scrawled into the front of the column in a childish manner, showing the recklessness and closedmindedness which, unfortunately, always leads to prejudice.
—V.L. Cox
72
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
73
BEFORE A MIDNIGHT BREAKS IN STORM 2016 wood, string, concrete, paint, steel 54.25 x 12 x 12 inches Courtesy of the artist
This work and its title are inspired by a poem of the same name by Rudyard Kipling, one of my favorite authors. Kipling’s poem addresses his personal anxieties and his frustration with those in power to acknowledge the threat from germany and their imperial ambitions. These words resonate strongly with me in today’s social and political climate. A foreign threat is not as dire to me as a separate nation and the separatist mentality from a select few in power. As our nation struggles to move forward toward the future, the punishing kneejerk pushback of oppression toward those who only want safety, protection and equal rights, is the weakest link in our country today. in the words of Julian Bond, “The humanity of all Americans is diminished when any group is denied rights granted to others.” The antiquated string represents the perception of whitewashed perfection and oppression as it holds down the stone infant’s head, directing the plumb bob straight down with no room for innovation or diversity. The pedestal is a wooden porch column from the early 1900s.
—V.L. Cox
74
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
75
I KNOW WHICH ONE YOU ARE 2016 wood, paper, metal, glass, string, cicada exoskeleton sitting on dirt from south Arkansas 21 x 13 x 10 inches Courtesy of the artist
When i found this old photograph in an antique store, i fell in love with it. i was then told by someone, who apparently saw a resemblance after i brought it home, “i know which one you are.” This piece represents a tomboy’s youth filled with wonder, growth, sexuality and transformation.
—V.L. Cox
76
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
77
LIBERTAS 2016 wood, metal, paint 13 x 13 inches Courtesy of the artist
Libertas is constructed with an antique metal statue of Liberty souvenir and old wooden billiards rack. The triangle shape represents the symbol that originated from the Nazi concentration camp badges that male homosexuals were required to wear on their clothing. There were an estimated 15,000 gay men and lesbian women imprisoned in concentration camps who died during the holocaust. Many tried to come to America but were refused entry and sent back to Europe where they perished.
—V.L. Cox
78
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
79
12 TABLETS 2017 steel, paint, black tea, glue 25 x 12 x 1.25 inches Courtesy of the artist
The pink and red triangles on this altered vintage game board represent the symbols used to label homosexuals and immigrants and give them a second-class status during the holocaust. The push by the gOP to once again separate these two groups of people, in a cruel and distasteful manner by demeaning and dehumanizing their existence, is reminiscent of how that horrific movement all began. The black tea “balls” represent elephant manure and the vintage aspirin tin represents the headache brought on by such reckless behavior.
—V.L. Cox
80
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
81
I AM 2017 steel, paint, chrome 15.25 x 34 x 4.25 inches Courtesy of the artist
This piece was created after my father’s death, while remembering his life and legacy. it was during this time of grief that i had to remind myself to still fly. This piece includes an old Radio Flyer wagon, Nugrape metal sign from the 1940s-’50s and vintage “flying woman” chrome hood ornament.
—V.L. Cox
82
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
83
HANDS OFF IT 2017 steel, leather, cloth 32 x 16 x 12 inches Courtesy of the artist
Hands Off It represents a woman’s strength and protective right to her own body. it is constructed from an antique steel dress form and vintage leather boxing gloves, and inspired by the election of 2016. There was an earlier version of this work (Hands Off #1) that was carried over my head during the Women’s March this year in the crowd of over 7,000 women to the Arkansas state Capitol steps. it sold to a collector soon after. This second one has not been shown in public yet and still resides in my studio.
—V.L. Cox
84
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
85
END HATE DOORS 2015 solid wooden doors from the 1950s, paint 82 x 238 x 5 inches Courtesy of the artist
The series was created in response to Arkansas’ hB1228, which made it out of committee in March 2015. This discriminatory bill would have brought back the Jim Crow days when hatred and repression were the law of the land. The End Hate Doors were installed twice on the steps of the Arkansas state Capitol as a First Amendment protest of the reckless and unjust behavior by the 90th general Assembly. Through social media and the Associated Press, the series helped bring worldwide attention to the struggle. With enormous pressure now being forced on government officials, hB1228 was defeated. With similar bills being considered and passed across the country, the End hate installation was then taken to the Lincoln Memorial in Washington, d.C. The power and simplicity of the historic content strongly resonated through the crowd. it brought people who were visiting from all over the world together in conversation in peace and camaraderie. And that is where change begins.
—V.L. Cox
86
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
87
STOP HATE 2015 paper, wood, glass, metal, paint 42 x 70 inches Courtesy of the artist
Stop Hate features an old church chalkboard from the 1930s with a vintage school bus “stop” light. it represents how early we need to teach our children about stopping hate.
—V.L. Cox
88
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
89
AMERICAN BEAUTY 2016 Wood, string, concrete, paint, steel 55.5 x 24 x 11 inches Courtesy of the artist
The food tasted bland with anticipation. After finally being excused from the dinner table, with the last rays of summer light lingering in the sky, we ran outside as the old screen door slammed a noisy goodbye. With sweaty hands, we grabbed our wagons and headed up the steep hill in front of the house. As we reached the top, with burning legs and heart-pounding courage, we sat down, feet splayed out on each side for balance (and an emergency brake if needed) and leaned forward to launch our trusty rockets into flight. There were big wagons, small wagons, old wagons, new wagons; some were steered with a rope, while others had bent handles intact, but, with wide-eyed blistering speed, we all had one thing in common: We flew back down toward the house, bouncing up and down as the wheels careened over and around rocks, trusting our very lives to a friend to yell out directions and guide us so we didn’t hit a parked car or two in the driveway, as we steered carefully and confidently to a final stop. We knew that if we didn’t listen and trust each other at those top speeds, a trip to the emergency room (or the dentist) would be imminent. But, despite those scary risks, we kept climbing right back up that hill, and kept doing it again and again, laughing with each other, trusting each other, caring for each other, and even riding in each other’s wagons until the sunlight faded on the horizon and our parents’ voices called us in for the night. American Beauty represents lessons of courage, trust, balance and, most importantly, freedom. despite our differences, we must continue to navigate “over and around” those obstacles that discourage us from working together, trusting each other and finding happiness, as the wheels of time roll forward toward a better tomorrow.
—V.L. Cox
90
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
91
SET YOUR SITES AND DREAM 2017 steel, paint, wire, lighting, glass, paper 43.5 x 15 x 15 inches Courtesy of the artist
i am a firm believer that no matter how lofty your dreams, if you stay focused on your target, you will achieve them.
—V.L. Cox
92
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
93
HWY 8 2015 Vintage 1950s steel Chevrolet logo from an old car, metal pieces from old signs, paint 36 x 60 inches Courtesy of the artist
This piece represents the road that runs through the Ouachita Mountains area, where i was raised.
—V.L. Cox
94
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
95
FACTS OF EXISTENCE 2017 Vintage wooden panels from an early mercantile store seed bin, vintage darts, old barbed wire and a rusted coffee can used for target practice found buried on my grandfathers property, antique mason jar with summertime cicada shells i have collected over the years 9 x 22.5 x 2.25 inches Courtesy of the artist
This piece represents a personal journey of growth, struggle and transformation while living in the south. All these pieces but one came from my grandfather’s property that has now fallen into disrepair.
—V.L. Cox
96
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
97
AMERICAN DREAMS 2017 fence post from a working Arkansas Century Farm and a wooden handmade airplane from the south mounted on a piece of worn shovel handle 58 x 21 x 16 inches Courtesy of the artist
Rural America. it’s where i come from. The people there are real. They work hard, they appreciate the little things in life, and they have dreams just like everyone else. have they really been left behind? Yes, they have. By a society that is changing quickly due to global technology and advanced automation with very little opportunity for the past manufacturing population to advance due to lack of training and a modern-day skill set. Personally, i believe corporations are missing the boat. This is an untapped resource of fierce, hard-working, institutional knowledge that is not being utilized.
—V.L. Cox
98
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX
99
BENEATH A SOUTHERN MOON 2017 painted from my own photos on five vintage steel 55-gallon-drum lids 80 x 34 x 3.5 inches Courtesy of the artist
This year has been full of changes for me professionally and personally. i catch myself visiting more and more the memory vaults of my past, and i wonder about the future and what it may hold. during these precious moments of reflection and solitude, i’ve grabbed my camera and walked out into the night next to my studio to capture the moon and her beautiful, neverending dance across the sky. it’s given me peace.
—V.L. Cox
10 0 LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX 101
CEASE 2017 Antique human medical skeleton 36 x 10 x 6 inches Collection of the artist
i was deeply aected by the Pulse Nightclub Massacre in Orlando, and i stayed up three days until this piece was completed as i struggled through the intense range of emotions. it is a powerful visual that addresses forgotten rationality, the exaggerated sense of virility and unadulterated idolization of guns over humanity.
—V.L. Cox
102 LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX 103
CONFORMITY 2017 Authentic human skull (medical skeleton), 24k hand-hammered gold leaf, antique vise 17 x 11 x 9 inches Courtesy of the artist
When i was a little girl i had a dream. i dreamed i was in a rocket flying through space while millions of bright twinkling stars whizzed past me. i smiled in my dream in wonder as i floated without the restrictive boundaries of gravity. The next day i woke and excitedly ran in to the kitchen to tell my parents of my dream. After spilling the prophetic details of my high ambitions they had only one response: “girls can’t be astronauts, now go clean your room.” i was crushed and have never forgotten that dream or that moment. As devastating and painful as that felt, it was a life lesson for me. i noticed more and more as i grew the restrictions that society placed on individuals who just wanted to be free to be themselves. As a child i dreamed. As an adult i fight. For the right to be who i truly am is a precious thing.
—V.L. Cox
10 4 LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX 1 05
STAINED 2016 paper, paint, black tea, string, wood 36 x 56 x 2.5 inches Courtesy of the artist
This work represents the damage that the extreme faction of the Tea Party has done to our country, specifically when the pages of the Bible are “ripped” out of context and used to harm others. Stained is created with 606 individual pages of the Bible made into tea bags with real tea leaves inside. i started at the bottom with Leviticus, with an entire Bible, as well as part of another one, being used in this piece.
—V.L. Cox
10 6 LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX 1 07
KLAN CHURCH 2017 wood, metal, stone dimensions needed Collection of Julia J. Norrell
My entire body of work on this journey has been addressing an antiquated mentality, craftily concealed under the thin veil of religion, that is now showing itself again. The Klan hoods, rocks sewn below the surface, are “growing” from the ground and congregating in front of the church. The old vintage church appears “slapped together” with various scraps of wood and metal representing the hand-picked quotes in religion that support vile discriminatory behavior. The slab of hand-hewn wood from the slave quarter underneath it all represents the foundation that the white supremacy movement grew from and stands on today. discrimination never stops with only one group. Ever.
—V.L. Cox
10 8
LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX 10 9
KKKRACKER KAR 2017 metal, vintage toy 4 x 4.5 x 4.5 inches Courtesy of the artist
i cut the crackers out of an old saltines metal sign and built up the inside of the “hoods” with jeweler’s epoxy. The car was a broken vintage toy i repaired and had in a box.
—V.L. Cox
110 LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX 1 11
IT’S TIME WE START OVER AND TALK ABOUT HATE 2015 glass, metal, plastic, natural fiber, paint, wood 23.25 x 17.75 x 5.5 inches Courtesy of the artist
When hate escalates to violence, it is an emergency. it’s time to go back to the basics, start from the beginning and learn to talk to one another. This is why i used an image of a simple child’s toy for the subject matter. The glass front is a resized 1950 wooden window, mounted on a vintage mercantile display case from the 1940s.
—V.L. Cox
112 LONGWOOD CENTER FOR THE VISUAL ARTS
BREAK GLASS
•
THE ART OF V. L. COX 1 13
116 LONGWOOD CENTER FOR THE VISUAL ARTS
LCVA MISSION The Longwood Center for the Visual Arts is a collaborative forum for students and faculty of Longwood University and the people of south Central Virginia to explore visual art and its relevance to everyday life. The LCVA fosters creativity, intellectual curiosity and involvement in the visual arts through its exhibitions, educational programs, permanent collection, and volunteer and internship programs. The LCVA is committed to improving the quality of life in the region by providing full access to the visual arts and to the ways art exempliďŹ es beauty, hope and the power of human imagination.
BREAK GLASS
•
THE ART OF V. L. COX 11 7
Longwood Center for the Visual Arts 129 North Main Street Farmville, Virginia 23901
Copy editing: Sabrina Brown • Beverley Roberts Design: David Whaley Printing: Worth Higgins & Associates Printed on recycled stocks containing 100% post-consumer waste. No state funds were used to print this publication. © 2018 Longwood Center for the Visual Arts. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage or retrieval system, or otherwise without written permission from the Longwood Center for the Visual Arts. Pictured on cover: xxx, 20XX. All photos are by Alex Grabiec ’07 or courtesy V.L. Cox.
ISBN: XXXXXXXXXXXXXXXXXXXXXXX Library of Congress Control Number: XXXXXXXXXXXX
118 LONGWOOD CENTER FOR THE VISUAL ARTS
LONGWOOD CENTER for the V I S U A L A RT S