bri hayes at swords into plowshares peace center and gallery
The Revolution Will Not Be Televised
“Bri Hayes researches and addresses social and political ideologies as well as the history of marginalized groups in America throughout her multi-media series. The series title was inspired by Gil Scott-Heron’s song written in 1971 in response to social and political unrest. The issues Heron addressed in the 1970s are similar to the struggles many Americans still face today.
Throughout this series Hayes explores themes of identity, social justice and restorative justice from a regional and national perspective. She aims to educate her viewers and challenge them to redefine the idea of what it means to be a revolutionary and live in a just world because, ‘You will not be able to stay home, brother. You will not be able to plug in, turn on and cop out . . . because the revolution will not be televised.’”
The unsettling and inconvenient imagery compels the viewer to recognize society’s predilection to quickly judge based on race then remove the offenders’ humanity along with their freedom with bars that obliterate <windows to> their souls. The mostly illegible words scribed in the background are quotes from Angela Davis’ book Are Prisons Obsolete? providing context as well as depth to the smoothness of the stylized figures. The muted coloration places the focus on skin tone and symbolic tattoos.
This installation invites the visitor to investigate Detroit’s revolutionary history. The walls are plastered with documentation of significant events such as the Sojourner Truth Housing Riot and the decimation of Black Bottom while integrated with poems by jessica Care moore. Several of these articles mention some of the Detroit art community’s most ardent contributors like George N’Namdi and Tyree Guyton indicating their longevity.
This tiny piece describes Hayes’ art practice in the words allowed to remain. What is it about wanting to know what’s been redacted?
Always appreciative of an artist’s foundational skills, particularly when the body of an exhibition is multimedia and/or conceptual.
Hayes grew up White in the 313—the original area code for all of Metro Detroit that was adopted as a moniker to indicate the city’s geographical borders that still carry it—where she learned and absorbed Black culture and oppression firsthand. This imprint is clear in her passion for social justice. Newly graduated from college, she exemplifies this generation’s determination to non-violently effect definitive change to an all-inclusive, truly democratic society.
On view through September 16th at Swords into Plowshares 33 E Adams Detroit
*images are mine
direct quote from gallery materials
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