ABOUT THE SPEAKER
Sanford Biggers - Conceptual artist
Sanford Biggers creates art that upends traditional narratives about topics ranging from hip hop to Buddhism to American history.

Why you should listen

An LA native working in NYC, Sanford Biggers creates artworks that integrate film, video, installation, sculpture, drawing, original music and performance. He intentionally complicates issues such as hip hop, Buddhism, politics, identity and art history in order to offer new perspectives and associations for established symbols. Through a multi-disciplinary formal process and a syncretic creative approach, he makes works that are as aesthetically pleasing as they are conceptual.

The significance of Biggers' work within contemporary society has been celebrated through solo exhibitions both nationally and internationally, most recently at the Brooklyn Museum, Sculpture Center and Mass MoCA. He has participated in prestigious residencies and fellowships including: Akademie Schloss Solitude, Stuttgart, Germany; Ujazdowski Castle, Warsaw, Poland; Headlands Center for the Arts, Sausalito, California; ARCUS Project Foundation, Ibaraki, Japan; and the Art in General/ Trafo Gallery Eastern European Exchange in Budapest, Hungary. He has been a fellow of the Creative Time Global Residency, the Socrates Sculpture Park Residency, the Lower Manhattan Cultural Council World Views AIR Program, the Eyebeam Atelier Teaching Residency, the Studio Museum AIR Program, the P.S. 1 International Studio Program and the Skowhegan School of Painting and Sculpture residency.

Biggers' installations, videos and performances have appeared in venues worldwide including Tate Britain and Tate Modern in London, the Whitney Museum and Studio Museum in Harlem, New York and the Yerba Bue a Center for the Arts in San Francisco, as well as institutions in China, Germany, Hungary, Japan, Poland and Russia. The artist's works have been included in notable exhibitions such as: Prospect 1 New Orleans Biennial, Illuminations at the Tate Modern, Performa 07 in NY, the Whitney Biennial and Freestyle at the Studio Museum in Harlem. His works are included in the collections of the Museum of Modern Art, Walker Art Center, Whitney Museum, Brooklyn Museum and Bronx Museum.

Biggers has won awards including: the American Academy in Berlin Prize, Greenfield Prize, New York City Art Teachers Association Artist-of-the-Year, Creative Time Travel Grant, Creative Capital Project Grant, New York Percent for the Arts Commission, Art Matters Grant, New York Foundation for the Arts Award, the Lambent Fellowship in the Arts, the Pennies From Heaven/ New York Community Trust Award, Tanne Foundation Award and Rema Hort Mann Foundation Award Grant.

Biggers is Assistant Professor at Columbia University's Visual Arts program and a board member of Sculpture Center, Soho House and the CUE Foundation. He has also taught at Virginia Commonwealth University’s Sculpture and Expanded Media program and was a visiting scholar at Harvard University's VES Department in 2009.

More profile about the speaker
Sanford Biggers | Speaker | TED.com
TED2016

Sanford Biggers: An artist's unflinching look at racial violence

Sanford Biggers: En artists kompromissløse blikk på rasevold

Filmed:
1,158,104 views

Konseptuell artist og TED Fellow Sanford Biggers bruker malerier, skulpturer, video og opptredener til å igangsette utfordrende samtaler om historien og traumene til det svarte Amerika. Bli med ham når han forklarer detaljene rundt to av hans utrolige verker og forklarer bakgrunnen for motivasjonen bak kunsten sin. "Bare gjennom mer gjennomtenkt dialog om historie og rase kan vi utvikle oss som individer og samfunn", sier Biggers.
- Conceptual artist
Sanford Biggers creates art that upends traditional narratives about topics ranging from hip hop to Buddhism to American history. Full bio

Double-click the English transcript below to play the video.

00:12
As a conceptualkonseptuelle artistkunstner,
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Som konseptuell kunstner
00:14
I'm constantlystadig looking for creativekreativ waysmåter
to sparkgnist challengingutfordrende conversationssamtaler.
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leter jeg etter den kreative gnisten som
kan skape interessante utvekslinger.
00:18
I do this thoughselv om paintingmaleri, sculptureskulptur,
videovideo and performanceopptreden.
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Jeg gjør det gjennom billedkunst, skulptur
video og performance.
00:22
But regardlessuansett of the formatformat,
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Men uavhengig av format
00:23
two of my favoritefavoritt materialsmaterialer
are historyhistorie and dialoguedialog.
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er historie og dialog to av mine
favorittmaterialer.
00:27
In 2007, I createdopprettet "LotusLotus,"
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I 2007 skapte jeg "Lotus",
00:30
a seven-and-a-half-footsyv og en halv fot diameterdiameter,
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en, i diameter to og en halv meter
00:32
600-pound-pund glassglass depictionfremstilling
of a lotuslotus blossomBlossom.
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og nesten 300 kg tung fremstilling i glass
av en lotusblomst.
00:35
In BuddhismBuddhisme, the lotuslotus is a symbolsymbol
for transcendencetranscendens
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I buddhismen er lotusen et symbol på
trancendens
00:39
and for purityrenhet of mindsinn and spiritånd.
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og renhet i sinn og ånd.
00:41
But a closernærmere look at this lotuslotus
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Men et nærmere blikk på min lotusblomst
00:44
revealsavslører eachHver petalpetal
to be the cross-sectiontverrsnitt of a slaveslave shipskip.
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avslører at hvert kronblad er et
tverrsnitt av et slaveskip.
00:47
This iconicikoniske diagramdiagram was takentatt
from a BritishBritiske slavingslaving manualHåndbok
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Dette ikoniske diagrammet ble hentet
fra en britisk håndbok i slaveri
00:51
and laterseinere used by abolitionistsabolitionists to showforestilling
the atrocitiesgrusomhetene of slaveryslaveri.
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og senere brukt av slaverimotstandere
for å vise slaveriets grusomhet.
00:56
In AmericaAmerika, we don't like
to talk about slaveryslaveri,
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I USA liker vi ikke å snakke om slaveri,
00:58
noreller do we look at it as a globalglobal industryindustri.
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og vi ser heller ikke på slaveriet
som en global industri.
01:01
But by usingved hjelp av this BuddhistBuddhistiske symbolsymbol,
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Men ved å bruke dette buddhistiske symbolet,
01:03
I hopehåp to universalizeuniversalize and transcendoverskride
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håper jeg å gjøre historien og traumene til
de svartes Amerika universelle
01:05
the historyhistorie and traumatraumer of blacksvart AmericaAmerika
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og overførbare
01:08
and encourageoppmuntre discussionsdiskusjoner
about our shareddelt pastforbi.
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som utgangspunkt for samtaler om vår felles fortid.
01:12
To createskape "LotusLotus,"
we carvedskåret over 6,000 figurestallene.
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I skapelsen av "Lotus"
skar vi ut over 6000 figurer.
01:16
And this laterseinere led to a commissionkommisjon
by the CityByen of NewNye YorkYork
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Og dette ledet senere til en bestilling
fra New York by
01:19
to createskape a 28-foot-fot versionversjon in steelstål
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på å skape en åtte og en halv meter
høy versjon i stål
01:21
as a permanentfast installationinstallasjon
at the EagleØrn AcademyAcademy for YoungYoung MenMenn,
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som en permanent installasjon
ved Eagle Academy for Young Men,
01:24
a schoolskole for blacksvart and latinolatino studentsstudenter,
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en skole for svarte og latinamerikanske
studenter,
01:27
the two groupsgrupper mostmest affectedberørt
by this historyhistorie.
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de to gruppene som er mest berørt av
denne historien.
01:30
The samesamme two groupsgrupper are very affectedberørt
by a more recentnylig phenomenonfenomen,
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De samme to gruppene er også dypt berørt
av et nyere fenomen,
01:33
but let me digressdigress.
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men la meg forlate temaet litt.
01:35
I've been collectinginnsamling
woodentre AfricanAfrikanske figurestallene
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Jeg har samlet afrikanske trefigurer
01:38
from touristturist shopsbutikker and fleaBruktmarked marketsmarkeder
around the worldverden.
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fra souvenirbutikker og loppemarked
verden rundt.
01:40
The authenticityautentisitet and originopprinnelse
of them is completelyhelt debatablediskutabel,
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Deres opphav og ekthet kan klart
diskuteres,
01:43
but people believe these
to be imbuedyret with powermakt,
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men folk tror at disse er gjennomsyret
av en kraft
01:46
or even magicmagi.
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eller til og med magi.
01:47
Only recentlynylig have I figuredtenkte out
how to use this in my ownegen work.
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Jeg har ikke funnet noen måte å
bruke dette i mitt eget arbeid før nå.
01:51
(GunPistol shotsshots)
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(Pistolskudd)
02:05
SinceSiden 2012, the worldverden has witnessedbevitnet
the killingsdrap of TrayvonTrayvon MartinMartin,
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Siden 2012 har verden vært vitne til
drapene på Trayvon Martin,
02:09
MichaelMichael BrownBrown, EricEric GarnerSamle,
SandraSandra BlandBland, TamirTamir RiceRis
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Michael Brown, Eric Garner,
Sandra Bland, Tamir Rice
02:13
and literallybokstavelig countlessutallige other
unarmedubevæpnede blacksvart citizensinnbyggere
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og bokstavelig talt talløse andre
ubevæpnete svarte innbyggere
02:16
at the handshender of the policepolitiet,
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begått av politiet,
02:17
who frequentlyofte walk away
with no punishmentavstraffelse at all.
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som ofte blir løslatt ustraffet.
02:20
In considerationbetraktning of these victimsofrene
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Til minne om disse ofrene
02:22
and the severalflere timesganger that even I,
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og alle de gangene selv jeg,
02:24
a law-abidinglovlydige, IvyEføy LeagueLeague professorprofessor,
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en lovlydig, Ivy League-professor,
02:27
have been targetedmålrettet and harassedtrakassert
at gunpointpistol by the policepolitiet.
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har blitt siktet på med våpen og krenket
av politiet,
02:30
I createdopprettet this bodykropp of work
simplyganske enkelt entitledhar krav på "BAMBAM."
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skapte jeg dette kunstverket
som rett og slett heter "BAM".
02:36
It was importantviktig to eraseviske ut
the identityidentitet of eachHver of these figurestallene,
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Det var viktig for meg å viske ut
identiteten til disse figurene,
02:39
to make them all look the samesamme
and easierlettere to disregardignorering.
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for å gjøre dem alle like ansiktsløse
og lettere å overse.
02:43
To do this, I dipdukkert them in a thicktykk,
brownbrun waxvoks
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For å oppnå dette dypper jeg dem i en
tykk, brun voks
02:45
before takingta them to a shootingskyting rangeområde
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før jeg tok dem med på skytebanen
02:47
where I re-sculptednytt skulpturerte them usingved hjelp av bulletspunktmerking.
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og ga dem ny form med skudd av kuler.
02:51
And it was funmoro,
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Det var gøy
02:52
playingspiller with bigstor gunsvåpen and
high-speedhøyhastighets- videovideo cameraskameraer.
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å leke med store våpen og
videokameraer med rask bildefrekvens.
02:55
But my reverenceærefrykt for these figurestallene
keptholdt me from actuallyfaktisk pullingtrekke the triggeravtrekker,
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Men min ærbødighet for disse figurene
holdt meg fra avtrekkeren,
02:58
somehowen eller annen måte feelingfølelse as if I would
be shootingskyting myselfmeg selv.
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fordi det på en måte føltes som
om jeg skjøt mot meg selv.
03:01
FinallyEndelig, my cameramankameramann, RaulRaul,
firedsparken the shotsshots.
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Det endte med at kameramannen min,
Raul, fyrte av skuddene.
03:06
I then tooktok the fragmentsfragmenter of these
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Så tok jeg fragmenter av disse
03:08
and createdopprettet moldsmuggsopp,
and caststøpt them first in waxvoks,
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og laget former,
og støpte dem først i voks
03:12
and finallyendelig in bronzebronse
like the imagebilde you see here,
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og til slutt i bronse
som bildet du ser her,
03:15
whichhvilken bearsbjørner the marksmerker
of its violentvoldelig creationopprettelse
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som bærer preg av dets voldelige
tilblivelse
03:18
like battleslag woundssår or scarsarr.
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som krigsskader eller arr.
03:20
When I showedviste this work recentlynylig in MiamiMiami,
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Da jeg nylig viste mitt arbeide i Miami,
03:22
a womankvinne told me she feltfølte
everyhver gunvåpen shotskudd to her soulsjel.
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sa en kvinne at hun følte hvert skudd
treffe henne i sjelen.
03:25
But she alsoogså feltfølte that these artworkskunstverk
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Men hun følte også at disse kunstverkene
03:28
memorializedminnet the victimsofrene of these killingsdrap
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var minner om disse drapsofrene
03:30
as well as other victimsofrene of
racialrase violencevold throughoutgjennom US historyhistorie.
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så vel som andre ofre for rasistisk vold
gjennom amerikansk historie.
03:33
But "LotusLotus" and "BAMBAM" are largerstørre
than just US historyhistorie.
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Men "Lotus" og "BAM" omfatter mer
enn bare amerikansk historie.
03:36
While showingviser in BerlinBerlin last yearår,
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Ved utstillingen i Berlin i fjor,
03:38
a philosophyfilosofi studentstudent askedspurte me
what promptedbedt om these recentnylig killingsdrap.
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spurte en filosofistudent meg hva som
var foranledningen til disse drapene.
03:42
I showedviste him a photobilde
of a lynchinglynsjing postcardpostkort
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Jeg viste ham et bilde av et
postkort av en lynsjing
03:44
from the earlytidlig 1900s
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fra tidlig 1900-tall
03:46
and remindedpåminnelse him that these killingsdrap
have been going on for over 500 yearsår.
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og minte ham på at disse drapene har
pågått i mer enn 500 år.
03:51
But it's only throughgjennom questionsspørsmål like his
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Men det er bare gjennom spørsmål
som hans
03:53
and more thoughtfulomtenksom dialoguedialog
about historyhistorie and raceløp
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og mer gjennomtenkt dialog
om historie og rase
03:56
can we evolveutvikle seg as individualsenkeltpersoner and societysamfunn.
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vi kan utvikle oss som individer
og samfunn.
03:59
I hopehåp my artworkkunstverk createsskaper a safesikker spacerom
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Jeg håper min kunst skaper et trygt rom
04:02
for this typetype of honestærlig exchangeUtveksling
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for denne type ærlig utveksling
04:05
and an opportunitymulighet for people
to engageengasjere one anotheren annen
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og en mulighet for folk til å engasjere
hverandre
04:07
in realekte and necessarynødvendig conversationsamtale.
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i en virkelig og nødvendig samtale.
04:10
Thank you.
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Takk for meg.
04:11
(ApplauseApplaus)
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(Applaus)
Translated by Julie Sikin Jynge
Reviewed by Martin Hassel

▲Back to top

ABOUT THE SPEAKER
Sanford Biggers - Conceptual artist
Sanford Biggers creates art that upends traditional narratives about topics ranging from hip hop to Buddhism to American history.

Why you should listen

An LA native working in NYC, Sanford Biggers creates artworks that integrate film, video, installation, sculpture, drawing, original music and performance. He intentionally complicates issues such as hip hop, Buddhism, politics, identity and art history in order to offer new perspectives and associations for established symbols. Through a multi-disciplinary formal process and a syncretic creative approach, he makes works that are as aesthetically pleasing as they are conceptual.

The significance of Biggers' work within contemporary society has been celebrated through solo exhibitions both nationally and internationally, most recently at the Brooklyn Museum, Sculpture Center and Mass MoCA. He has participated in prestigious residencies and fellowships including: Akademie Schloss Solitude, Stuttgart, Germany; Ujazdowski Castle, Warsaw, Poland; Headlands Center for the Arts, Sausalito, California; ARCUS Project Foundation, Ibaraki, Japan; and the Art in General/ Trafo Gallery Eastern European Exchange in Budapest, Hungary. He has been a fellow of the Creative Time Global Residency, the Socrates Sculpture Park Residency, the Lower Manhattan Cultural Council World Views AIR Program, the Eyebeam Atelier Teaching Residency, the Studio Museum AIR Program, the P.S. 1 International Studio Program and the Skowhegan School of Painting and Sculpture residency.

Biggers' installations, videos and performances have appeared in venues worldwide including Tate Britain and Tate Modern in London, the Whitney Museum and Studio Museum in Harlem, New York and the Yerba Bue a Center for the Arts in San Francisco, as well as institutions in China, Germany, Hungary, Japan, Poland and Russia. The artist's works have been included in notable exhibitions such as: Prospect 1 New Orleans Biennial, Illuminations at the Tate Modern, Performa 07 in NY, the Whitney Biennial and Freestyle at the Studio Museum in Harlem. His works are included in the collections of the Museum of Modern Art, Walker Art Center, Whitney Museum, Brooklyn Museum and Bronx Museum.

Biggers has won awards including: the American Academy in Berlin Prize, Greenfield Prize, New York City Art Teachers Association Artist-of-the-Year, Creative Time Travel Grant, Creative Capital Project Grant, New York Percent for the Arts Commission, Art Matters Grant, New York Foundation for the Arts Award, the Lambent Fellowship in the Arts, the Pennies From Heaven/ New York Community Trust Award, Tanne Foundation Award and Rema Hort Mann Foundation Award Grant.

Biggers is Assistant Professor at Columbia University's Visual Arts program and a board member of Sculpture Center, Soho House and the CUE Foundation. He has also taught at Virginia Commonwealth University’s Sculpture and Expanded Media program and was a visiting scholar at Harvard University's VES Department in 2009.

More profile about the speaker
Sanford Biggers | Speaker | TED.com

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