The recently reopened detroit contemporary, now located at 487 West Alexandrine in Midtown Detroit, proudly presents new work by Taurus Burns in Defensive. Taurus Burns’ primary focus is on figurative realism and the influence of race, politics and history on the self, family and community. His autobiographical scenes describe systematic racism through the use of portraiture, anthropomorphism and allegory. The black and white palette was chosen to represent Burns’ biracial heritage as well as a distinctively divisive world view resulting from society’s relentless subjugating treatment of the Black race. In this show Burns explores his personal experiences and struggle to get through that oppressive societal wall.
Burns was 17 and had just graduated from high school when Rodney King was brutally beaten. Shortly after, the LA riots ignited when a jury acquitted four police officers for the use of excessive force during the arrest of King. As a young biracial man lacking enough life experience and wisdom to fully process these incidents, they were mentally stored until the events of last summer erupted to bring them back to the fore. The Graduate begins to unpack the terror and trauma of what happened in Burns’ youth. In a snapshot he describes utter hopelessness while an apparent necessity for self-defense takes root. Attention to detail, such as right-handed brass knuckles and a metal railing painted in perfectly executed perspective, allows the viewer to meditate on this life altering account.
Burns has been using the panther image, inspired by the Black Panther Party, in recent works. The Panther in Me II is heavily textured in thick layers of paint. The reflections in the sliding glass doors are so well rendered, the viewer sees the front yard as well as a glimpse of shelving and pictures inside the house. The panther icon is subtly placed on a T-shirt while the subject examines a rifle, preparing himself, mentally as much as physically, to protect himself and his home.
Triggered’s double entendre fires both bullets and trauma in quick succession. This piece moves; the shots rolling across the paper. Ink and gouache’s light touch reveals the artist’s hand at work. The stop-action sequencing suggests the shooter is following a moving target. The work appears unfinished yet effortlessly delivers its warning.
The figurative studies are lovely in that they afford a window into how Burns works. With very little material, gestural lines with a quick wash of shadow demonstrate the artist’s skill. The figure is in perfect proportion, gently resting her knee on the chair. A swipe of black behind her head grounds the space. The finished artwork is the culmination of years of study and practice. Figurative being one of the most complicated subjects to render well, these drawings indicate Burns is in command of his subject.
After an immersion into theater production and socially conscious endeavors, Aaron Timlin and detroit contemporary return, installed in a gorgeous indigenous house in the heart of Midtown Detroit. He’s put together his opening season with artists he’s known and respected for years: Diana Alva exhibited in August, currently showing Taurus Burns, followed by Clinton Snider in October, Ray Katz takes over in November and fan favorite the Biennial Actual Size Show is on for December. The gallery is on the first floor of this architectural gem with plans for theater and multi-media pursuits coming soon to the second floor. This new space is set to be a hive of creative thinking, making and exhibiting.
As Detroit, and the rest of the country, regains consciousness from not only the pandemic but our collective societal impact on both the physical and mental health of our communities, these two innovators don’t just talk about change, they make it happen.
On view through September 26th at detroit contemporary 487 West Alexandrine, Detroit
Artist talk September 25th 4P-6P
*images are Kim Fay except Triggered which is courtesy of the artist
**read the full review at Detroit Art Review
SHOWS OPEN THIS WEEKEND