A Proof Of Being | Renée Cox
Renée Cox, The Signing, 2017. Digital chromogenic print. 28 7/8 x 84 5/8 inches. © Renée Cox
Text: Max Wiener
It seems as if Renée Cox keeps a foot in two different schools of thought. On one hand, she uses her camera to create a stunning cacophony of flamboyant decadence, showcasing her unmatched ability to set the scene and deliver. The other side of the coin, however, presents her as an intimate storyteller with the euphoric touch of an artisan. When paired together, it seems slightly odd at first, bouncing back and forth between worlds that are leagues apart. But with Cox, her voice is far too unique and her blend of mastery appears in her work in the best of ways. At East Hampton’s Guild Hall, her exhibition “A Proof of Being” is perhaps the finest showing of her true breadth as an artist and creator, displaying some of her most prominent pieces from 1993 to the present. What it shows, amongst other things, is that she is an undisputed master and should be treated as such. Curated independently by Monique Long, the series is on view until September 4th.
Renée Cox. Yo Mamadonna and Chile, 1994. Archival digital inkjet print on Cotton Rag. 48" × 72". © Renée Cox
Cox - and her vision - have remained constantly dynamic, and this exhibition is aimed at exploring her evolution through the use of performative self portraits. Perhaps the true testament to Cox’s talent lies in the fact that her work has consistently remained at the forefront of national attention for more than three decades, constantly provoking our imaginations to speculate far beyond our known capacities. Speaking on her curation, Monique Long says that “Renee Cox’s intrepid gaze has been a part of the zeitgeist for nearly thirty years. Her work has been influential across disciplines including popular culture, music, fashion, and of course, visual art.” Few are such prolific multi-hyphenates.
Renée Cox, Soul Culture, 2022. Digital installation with an original score by Donald Sturge Anthony McKenzie II Courtesy of the artist and the Mattress Factory, Pittsburgh, Pennsylvania. Renée Cox: A Proof of Being, Guild Hall, 2023. Photo: Gary Mamay © Gary Mamay
“The Signing” is perhaps the most stunning work in the series, with a production value that seemingly rivals Shakespeare in Love. You are drawn in by its orbit and can’t look away; you have to take everything in slowly. Every American is familiar with the iconic portrait of the Founding Fathers signing the Declaration of Independence, but this puts an entirely new political and artistic spin on it. Cox, instead of showing the Americans included in the document, shows the ones that were entirely overlooked: Black Americans. Their personalities are shown in stunning displays of artistic freedom. Although no words can be heard, we can hear the shouts echoing off of the image. Due to this presentation, we don’t rush through it, but rather wait to hear every voice. It’s one of the most important images in the modern psyche of political artwork.
Renée Cox, Cousins at Pussy Pond, 2001. Archival digital c-print on aluminum. 120 x 144 inches. Renée Cox: A Proof of Being, Guild Hall, 2023. Photo: Gary Mamay © Gary Mamay
Some of her more delicate work, especially those in black and white, show Cox’s innate ability to capture her world with an unfiltered lens. While her image “My Son” might have been staged, it feels approachable and familiar, with nothing about it appearing overwhelming. The kind eyes of the subject ease us closer to the image and comfort us, serving as an emotional benchmark in an incredible series. It is just one of the many incredible displays from a true master.
