开始10月1日，塔斯基吉大学的遗产博亚博国际在线物馆将举办临时展览特色的画家和雕塑家的作品泰特斯·卡尔。 Kaphar uses his art to encourage activism, transformation and freedom — and to challenge the world to achieve self-liberation in new and self-affirming ways.
这次展览，题为“淘汰赛”，在拳击比赛中的背景帧Kaphar的神奇和神秘的艺术作品 - 更具体地说，著名的20世纪拳王阿里。 Just as Ali was more than a prize fighting boxer, Kaphar is more than a painter. Ali, a quintessential American cultural icon, had bedrock convictions about religious faith and race. Like Ali, Kaphar has deeply felt convictions. His paintings and sculpture deliver that same kind of Ali one-two punch that has made global audiences pay attention.
“Kaphar的艺术几乎无法描绘，” Jontyle罗宾逊博士遗产博物馆的馆长说。 “He is a shaman and polymath. His modes and media include prints, paintings, collages and sculptures. He's a man of many seasons.”
他的作品被挪用其风格和媒介与艺术史交互。 He cuts, bends, sculpts and mixes historic painting, creating new works between fiction and historic sampling. It combines aspects of the downtrodden with majestic elements that cannot be put down — conjuring Maya Angelou’s inspirational phrase, “and still I rise,” according to Robinson.
的Kaphar的工作重心在由偏见的社会和刑事司法系统的受害者个人的主题。 In some works, he uses black tar that signifies the stereotyped imagery that paints us with one brush and stifles the truth of black experiences. In other paintings, his figures are shredded or covered with pale layers of linseed oil to show how false representations of black people have covered reality.
“Kaphar鼓励我们冒险进入自己，重新考虑在绘画的黑色数字表示，”罗宾逊解释。 “Confronting themes that are critical to our survival requires plunging into hurtful places. Kaphar pokes and prods us through his art to illuminate important ideas for viewers to consider and comprehend.”
展品包括六件，其中三个是大幅面件，即警察暴力和大规模监禁的地址的问题。 It also will include photography showing the artist connecting with HBCU students and mentors as part of his collaboration with the HBCU Alliance of Museums and Galleries. The organization, which was founded at Tuskegee University, seeks to increase diversity in the cultural heritage sector, focusing on preservation and conservation, through its collaborations with educational institutions, museums and artists.
“敲除”还同时连接“中的黑人男梅肯县的美国公共卫生服务梅毒未经治疗研究从1932-1972”常设展览的看法，在遗产博物馆。 “Knockout” provides a critical and creative framework to understand the story of the 599 African American men and their families who were part of the longest non-therapeutic study in American medical history. Together, these exhibitions demonstrate the lack of regard for black life in America.
“阐明需要教育，柔韧性，力量和坚韧在美国生存，‘淘汰赛’的喊声，“我们没关系！ TKO!’,” Robinson concluded.
Kaphar的工作已被列入在纽约的杰克Shainman画廊，布鲁克林博物馆和工作室博物馆在哈莱姆展览; Washington’s Seattle Art Museum; and The Legacy Museum, recently founded in Montgomery, Alabama. His art is also in the collections of New York’s Museum of Modern Art.在2014年，“时代”杂志委托Kaphar响应弗格森，密苏里州的抗议活动创造一个艺术品。
卡拉马祖，密歇根州，本土赢得了由圣何塞州立大学博鳌亚洲论坛，并从艺术耶鲁大学的MFA - 以及最近的一个2018麦克阿瑟基金会奖学金，俗称从约翰和凯瑟琳·麦克阿瑟基金会“天才奖”。 He currently lives and works in New Haven, Connecticut.
“Knockout,” funded through grants from the National Endowment for the Arts and the Alabama Bicentennial Commission, will be on view at The Legacy Museum through March 30, 2020. It — along with the museum’s permanent exhibits, “The Patient, The Project, The Partnership: The Mass Production and Distribution of HeLa cells at Tuskegee University” and “The United States Public Health Service Untreated Syphilis Study in the Negro Male, 1932-1972” — can be viewed during its operating hours from 10 a.m. to 4 p.m. Monday through Friday.