The American Dream’s marketing pitch of attaining happiness via wealth and fame conveniently conceals the toxicity of celebrity worship and living beyond one’s means through a steady barrage of glittering, professionally whitened smiling imagery. In contradiction, Americans like to exude strong moral fiber by revering the nuclear family and championing the perceived weak. In our dichotomy, which gods do we serve? The gods of consumerism or compassion?
Rave’s self-title ‘East Side Warhol’ is substantiated in an obvious riff on Andy Warhol’s silk-screened portraits of the infamous. Rave has chosen the influencer Lori Harvey, adopted daughter of Steve Harvey, for his muse because she’s known for exemplifying and promoting the gravitational pull of sex appeal and money driven attention. Rave has successfully appropriated repeated image bombardment while harkening to Andy Warhol’s photography as there is little variation between cells.
In SANDERS, the stronger lure of cheap, tasty, but wildly unhealthy food is superimposed over the faint, universally sanctioned, whitewashed center of the world’s largest religion. The piece refers to Sunday Services followed by KFC as much as it addresses opposing philosophies of spiritual versus material.
Rave challenges the association between whiteness and righteousness by painting portions of a dated portrayal of Jesus black. The stark line strikes across the face yet preserves The Bluest Eye. White stigmatized hands offer eternal peace from a darkened cloak adorned with Swarovski crystals and Michael Jordan’s Jumpman.
A plastic mayonnaise jar, complete with best by date, wears a Renaissance-esque label while flecks of gold float in its resin casted space.
In the post pandemic landscape, these depictions aren’t as explosive as might have been a few years ago since society is currently questioning everything from race and gender definitions to religion and its antiquated applications. Humans have always been enthralled with power. America doesn’t have a monarchy so we chose the rich and often absurdly ridiculous, especially in their accumulation of stuff. Nothing wrong with a little bling. It’s the love of money—Gucci, the perfect selfie or affluent arm candy—that’ll get you into trouble.
On view through July 30th at Norwest Gallery 19556 Grand River Ave, Detroit
*images are mine
**Tony Rave is intentionally cagey in offering a definitive narrative preferring viewers arrive at their own conclusions. No artist statement is readily available. Nor is an image of the artist himself. If one is determined, this intel can be procured via the internet, although data is minimal. This reviewer prefers to have some sense of intent rather than impose her own views likely resulting in misinterpreting the message. Thank you to Asia Hamilton for the insightful chat.
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