ABOUT THE SPEAKER
Paul Rucker - Visual artist, cellist
Paul Rucker creates art that explores issues related to mass incarceration, racially-motivated violence, police brutality and the continuing impact of slavery in the US.

Why you should listen

Paul Rucker is a visual artist, composer, and musician who often combines media, integrating live performance, sound, original compositions and visual art. His work is the product of a rich interactive process, through which he investigates community impacts, human rights issues, historical research and basic human emotions surrounding particular subject matter. Much of his current work focuses on the Prison Industrial Complex and the many issues accompanying incarceration in its relationship to slavery. He has presented performances and visual art exhibitions across the country and has collaborated with educational institutions to address the issue of mass incarceration. Presentations have taken place in schools, active prisons and also inactive prisons such as Alcatraz.

His largest installation to date, REWIND, garnered praise from Baltimore Magazine awarding Rucker "Best Artist 2015." Additionally, REWIND received "Best Solo Show 2015" and "#1 Art Show of 2015" from Baltimore City Paper, reviews by The Huffington Post, Artnet News, Washington Post, The Root and The Real News Network. Rucker has received numerous grants, awards and residencies for visual art and music. He is a 2012 Creative Capital Grantee in visual art as well as a 2014 and 2018 MAP (Multi-Arts Production) Fund Grantee for performance. In 2015 he received a prestigious Joan Mitchell Painters & Sculptors Grant as well as the Mary Sawyer Baker Award. In 2016 Paul received the Rauschenberg Artist as Activist fellowship and the Smithsonian Artist Research Fellowship, for which he is the first artist in residence at the new National Museum of African American Culture.

Residencies include MacDowell Colony, Blue Mountain Center, Ucross Foundation, Art OMI, Banff Centre, Pilchuck Glass School, Rauschenberg Residency, Joan Mitchell Residency, Hemera Artist Retreat, Air Serembe, Creative Alliance and the Rockefeller Foundation Study Center in Bellagio, Italy.  In 2013-2015, he was the Robert W. Deutsch Foundation Artist in Residence and Research Fellow at the Maryland Institute College of Art. He was most recently awarded a 2017 John Simon Guggenheim Fellowship, a 2018 TED Fellowship and the 2018 Arts Innovator Award from the Dale and Leslie Chihuly Foundation and Artist Trust. Rucker is an iCubed Visiting Arts Fellow embedded at the Institute for Contemporary Art at Virginia Commonwealth University.

Rucker's latest work, Storm in the Time of Shelter, an installation of 52 custom Ku Klux Klan robes and related artifacts, is featured in the exhibition "Declaration," on view at the new Institute for Contemporary Art at Virginia Commonwealth University in Richmond, Virginia through September 9, 2018.

More profile about the speaker
Paul Rucker | Speaker | TED.com
TED2018

Paul Rucker: The symbols of systemic racism -- and how to take away their power

Paul Rucker: Os símbolos do racismo sistêmico e como tirar o poder deles

Filmed:
1,451,941 views

O artista multidisciplinar e bolsista TED Paul Rucker está descosturando o legado de racismo sistêmico nos Estados Unidos. Colecionador de artefatos relacionados à história da escravidão - de ferros de marcar e grilhões a cartões postais retratando linchamentos - Rucker não conseguiu encontrar um robe intacto do Ku Klux Klan para a coleção dele. Então, ele começou a fabricar seu próprio robe. O resultado: peças de roupa chamativas em tecidos não tradicionais como o tecido colorido de Gana, camuflagem e seda que confrontam a normalização do racismo sistêmico nos EUA. "Se nós, enquanto sociedade, analisarmos esses objetos e percebermos que eles fazem parte de nossa história, poderemos encontrar uma maneira de não terem mais poder sobre nós", diz Rucker. (Esta palestra contém cenas fortes.)
- Visual artist, cellist
Paul Rucker creates art that explores issues related to mass incarceration, racially-motivated violence, police brutality and the continuing impact of slavery in the US. Full bio

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

00:12
[This talk contains graphic images
Viewer discretion is advised]
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[Esta palestra contém cenas fortes.
Aconselhamos a discrição do telespectador]
00:17
I collect objects.
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Coleciono objetos.
00:19
I collect branding irons that were used
to mark slaves as property.
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Coleciono ferros usados para marcar
escravos como propriedade.
00:25
I collect shackles for adults
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Coleciono grilhões para adultos
00:29
and restraints for adults
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e aparelhos para restringir adultos
00:31
as well as children.
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e também para crianças.
00:37
I collect lynching postcards.
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Coleciono cartões postais de linchamento.
00:40
Yes, they depict lynchings.
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Sim, eles retratam linchamentos.
00:42
They also depict the massive crowds
that attended these lynchings,
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Também retratam as enormes multidões
que presenciavam esses linchamentos,
00:46
and they are postcards
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e são cartões postais
00:48
that were also used for correspondence.
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também usados para correspondência.
00:52
I collect proslavery books
that portray black people as criminals
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Coleciono livros a favor da escravidão
que retratam os negros como criminosos
00:58
or as animals without souls.
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ou como animais sem alma.
01:02
I brought you something today.
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Trouxe uma coisa para vocês hoje.
01:07
This is a ship's branding iron.
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Um ferro de marcar de um navio negreiro.
01:10
It was used to mark slaves.
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Era usado para marcar escravos.
Na verdade, eles não eram escravos
ainda quando eram marcados.
01:15
Well, they actually were not slaves
when they were marked.
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Estavam na África,
mas eram marcados com um "S"
01:17
They were in Africa.
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01:19
But they were marked with an "S"
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01:21
to designate that they
were going to be slaves
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para mostrar que seriam escravos
quando fossem levados para os EUA
01:23
when they were brought to the US
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01:25
and when they were brought to Europe.
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e para a Europa.
01:32
Another object or image that captured
my imagination when I was younger
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Outro objeto ou imagem que ficou
em minha mente quando eu era mais jovem
01:35
was a Klan robe.
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foi uma veste do Klan.
01:37
Growing up in South Carolina, I would see
Ku Klux Klan rallies occasionally,
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Criado na Carolina do Sul,
eu via os encontros do Ku Klux Klan
de vez em quando,
01:41
actually more than occasionally,
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na verdade, mais do que de vez em quando,
01:43
and the memories of those events
never really left my mind.
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e as lembranças daqueles eventos
nunca saíram da minha cabeça.
01:46
And I didn't really do anything
with that imagery until 25 years later.
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Realmente, não fiz nada com elas
até 25 anos depois.
01:51
A few years ago,
I started researching the Klan,
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Há alguns anos,
comecei a pesquisar o Klan,
01:53
the three distinct waves of the Klan,
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os três movimentos distintos do Klan,
01:56
the second one in particular.
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o segundo, especialmente.
01:58
The second wave of the Klan
had more than five million active members,
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O segundo movimento do Klan tinha
mais de 5 milhões de membros ativos,
02:03
which was five percent
of the population at the time,
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correspondente a 5% da população na época,
02:06
which was also the population
of New York City at the time.
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que também era a população
da cidade de Nova York na época.
02:10
The Klan robe factory in the Buckhead
neighborhood of Georgia was so busy
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A fábrica de vestes do Klan em Buckhead,
bairro da Geórgia, ficava tão ocupada
02:14
it became a 24-hour factory
to keep up with orders.
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que funcionava por 24 horas
para acompanhar os pedidos.
02:18
They kept 20,000 robes on hand at all time
to keep up with the demand.
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Eles mantinham 20 mil vestes disponíveis,
o tempo todo, para atender à demanda.
02:24
As a collector of artifacts
and as an artist,
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Como colecionador de artefatos e artista,
02:26
I really wanted a Klan robe
to be part of my collection,
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eu queria realmente uma veste
do Klan para minha coleção,
02:29
because artifacts
and objects tell stories,
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porque os artefatos e os objetos
contam histórias,
02:33
but I really couldn't find one
that was really good quality.
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mas não conseguia achar uma veste
realmente de boa qualidade.
02:36
What is a black man to do in America
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O que faz um negro nos EUA
02:38
when he can't find the quality
Klan robe that he's looking for?
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quando procura e não consegue achar
uma veste do Klan de qualidade?
02:41
(Laughter)
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(Risos)
02:45
So I had no other choice.
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Então, eu não tinha outra escolha.
02:47
I decided I was going to make
the best quality Klan robes in America.
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Decidi que iria fabricar as vestes
do Klan de melhor qualidade dos EUA.
02:53
These are not your traditional Klan robes
you would see at any KKK rally.
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Estas não são vestes do Klan tradicionais
que vocês veriam
em qualquer encontro do KKK.
02:57
I used kente cloth,
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Usei tecido colorido de Gana,
02:59
I used camouflage,
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camuflagem,
03:01
spandex, burlap, silks,
satins and different patterns.
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elastano, juta, seda,
cetim e padrões diferentes.
03:07
I make them for different age groups;
I make them for young kids
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Eu as faço para diferentes faixas etárias,
para crianças jovens e pequenas.
03:10
as well as toddlers.
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03:12
I even made one for an infant.
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Fiz até um para um bebê.
03:19
After making so many robes,
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Depois de fabricar tantas vestes,
03:21
I realized that the policies
the Klan had in place
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percebi que as políticas
que o Klan havia estabelecido,
03:25
or wanted to have in place
a hundred years ago
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ou queria ter estabelecido há 100 anos,
03:28
are in place today.
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estão em prática hoje.
03:30
We have segregated schools,
neighborhoods, workplaces,
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Segregamos escolas,
bairros, locais de trabalho,
03:35
and it's not the people wearing hoods
that are keeping these policies in place.
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e não são as pessoas vestindo capuz
que mantêm essas políticas em prática.
03:41
My work is about
the long-term impact of slavery.
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Meu trabalho é sobre o impacto
a longo prazo da escravidão.
03:44
We're not just dealing
with the residue of systemic racism.
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Não estamos apenas lidando
com o que restou do racismo sistêmico.
03:47
It's the basis
of every single thing we do.
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É a base de tudo o que fazemos.
03:50
Again we have intentionally
segregated neighborhoods,
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De novo, segregamos, intencionalmente,
bairros, locais de trabalho e escolas.
03:53
workplaces and schools.
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03:56
We have voter suppression.
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Temos a supressão de voto.
03:57
We have disproportionate representation
of minorities incarcerated.
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Temos representação desproporcional
de minorias encarceradas.
04:03
We have environmental racism.
We have police brutality.
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Temos racismo ambiental,
temos brutalidade policial.
04:08
I brought you a few things today.
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Trouxe a vocês algumas coisas hoje.
04:13
The stealth aspect of racism
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O aspecto furtivo do racismo
04:16
is part of its power.
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é parte de seu poder.
04:19
When you're discriminated against,
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Ao sofrer discriminação,
nem sempre podemos provar
que estamos sendo discriminados.
04:21
you can't always prove
you're being discriminated against.
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04:25
Racism has the power to hide,
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O racismo tem o poder de ocultar,
04:28
and when it hides, it's kept safe
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e, quando ele oculta,
ele fica em segurança,
04:31
because it blends in.
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porque ele se mistura.
04:34
I created this robe to illustrate that.
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Criei esta veste para ilustrar isso.
04:38
The basis of capitalism
in America is slavery.
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A base do capitalismo
nos EUA é a escravidão.
04:46
Slaves were the capital in capitalism.
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Os escravos eram o patrimônio
do capitalismo.
04:50
The first Grand Wizard in 1868,
Nathan Bedford Forrest,
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O primeiro Grand Wizard de 1868,
Nathan Bedford Forrest,
04:54
was a Confederate soldier
and a millionaire slave trader.
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era soldado confederado
e negociante de escravos milionário.
05:07
The wealth that was created
from chattel slavery --
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A riqueza criada a partir
da escravidão de bens móveis,
05:10
that's slaves as property --
would boggle the mind.
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ou seja, escravos como propriedade,
era surpreendente.
05:14
Cotton sales alone in 1860
equalled 200 million dollars.
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As vendas apenas do algodão, em 1860,
totalizavam US$ 200 milhões.
05:18
That would equal
five billion dollars today.
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Isso equivaleria hoje a US$ 5 bilhões.
05:23
A lot of that wealth can be seen today
through generational wealth.
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Muita dessa riqueza pode ser vista hoje
por meio da riqueza de gerações.
05:28
Oh, I forgot the other crops as well.
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Ah, esqueci as outras colheitas.
05:30
You have indigo, rice and tobacco.
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Temos anil, arroz e tabaco.
05:38
In 2015, I made one robe a week
for the entire year.
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Em 2015, fiz uma veste por semana
durante o ano inteiro.
05:43
After making 75 robes, I had an epiphany.
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Depois de fazer 75 vestes,
tive uma revelação.
05:45
I have a realization
that white supremacy is there,
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Tenho a percepção
de que a supremacia branca está lá,
05:51
but the biggest force
of white supremacy is not the KKK,
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mas sua maior força não é o KKK,
05:55
it's the normalization of systemic racism.
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é a normalização do racismo sistêmico.
05:59
There was something else I realized.
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Percebi outra coisa.
06:01
The robes had no more power
over me at all.
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As vestes não tinham mais poder sobre mim.
06:05
But if we as a people collectively
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Mas se nós, enquanto sociedade,
06:09
look at these objects --
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analisarmos esses objetos,
06:11
branding irons, shackles, robes --
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ferros de marcar, grilhões, vestes,
06:13
and realize that they
are part of our history,
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e percebermos que eles
fazem parte de nossa história,
06:16
we can find a way to where they have
no more power over us.
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poderemos encontrar uma maneira
de não terem mais poder sobre nós.
06:21
If we look at systemic racism
and acknowledge
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Se analisarmos o racismo
sistêmico e reconhecermos
06:26
that it's sown into the very fabric
of who we are as a country,
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que ele é semeado no próprio tecido
de quem somos como nação,
06:31
then we can actually do something
about the intentional segregation
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poderemos realmente fazer algo
sobre a segregação intencional
06:35
in our schools,
neighborhoods and workplaces.
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em nossas escolas,
bairros e locais de trabalho.
06:40
But then and only then
can we actually address
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Mas então, e somente então,
poderemos realmente abordar
06:43
and confront this legacy of slavery
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e confrontar esse legado de escravidão
06:45
and dismantle this ugly legacy of slavery.
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e destruir esse hediondo
legado de escravidão.
06:49
Thank you very much.
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Muito obrigado.
06:50
(Applause)
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(Aplausos) (Vivas)
Translated by Maurício Kakuei Tanaka
Reviewed by Maricene Crus

▲Back to top

ABOUT THE SPEAKER
Paul Rucker - Visual artist, cellist
Paul Rucker creates art that explores issues related to mass incarceration, racially-motivated violence, police brutality and the continuing impact of slavery in the US.

Why you should listen

Paul Rucker is a visual artist, composer, and musician who often combines media, integrating live performance, sound, original compositions and visual art. His work is the product of a rich interactive process, through which he investigates community impacts, human rights issues, historical research and basic human emotions surrounding particular subject matter. Much of his current work focuses on the Prison Industrial Complex and the many issues accompanying incarceration in its relationship to slavery. He has presented performances and visual art exhibitions across the country and has collaborated with educational institutions to address the issue of mass incarceration. Presentations have taken place in schools, active prisons and also inactive prisons such as Alcatraz.

His largest installation to date, REWIND, garnered praise from Baltimore Magazine awarding Rucker "Best Artist 2015." Additionally, REWIND received "Best Solo Show 2015" and "#1 Art Show of 2015" from Baltimore City Paper, reviews by The Huffington Post, Artnet News, Washington Post, The Root and The Real News Network. Rucker has received numerous grants, awards and residencies for visual art and music. He is a 2012 Creative Capital Grantee in visual art as well as a 2014 and 2018 MAP (Multi-Arts Production) Fund Grantee for performance. In 2015 he received a prestigious Joan Mitchell Painters & Sculptors Grant as well as the Mary Sawyer Baker Award. In 2016 Paul received the Rauschenberg Artist as Activist fellowship and the Smithsonian Artist Research Fellowship, for which he is the first artist in residence at the new National Museum of African American Culture.

Residencies include MacDowell Colony, Blue Mountain Center, Ucross Foundation, Art OMI, Banff Centre, Pilchuck Glass School, Rauschenberg Residency, Joan Mitchell Residency, Hemera Artist Retreat, Air Serembe, Creative Alliance and the Rockefeller Foundation Study Center in Bellagio, Italy.  In 2013-2015, he was the Robert W. Deutsch Foundation Artist in Residence and Research Fellow at the Maryland Institute College of Art. He was most recently awarded a 2017 John Simon Guggenheim Fellowship, a 2018 TED Fellowship and the 2018 Arts Innovator Award from the Dale and Leslie Chihuly Foundation and Artist Trust. Rucker is an iCubed Visiting Arts Fellow embedded at the Institute for Contemporary Art at Virginia Commonwealth University.

Rucker's latest work, Storm in the Time of Shelter, an installation of 52 custom Ku Klux Klan robes and related artifacts, is featured in the exhibition "Declaration," on view at the new Institute for Contemporary Art at Virginia Commonwealth University in Richmond, Virginia through September 9, 2018.

More profile about the speaker
Paul Rucker | Speaker | TED.com