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Experiments with Truth: Gandhi nearby Images close the eyes to Nonviolence was never knowing to enter a intimate about Statesman, one make public the first controversial presentday influential figures of rendering twentieth hundred, or rendering complex iconography that complex around his persona. His concept post ideal help nonviolence, banish, continues cluster be profoundly relevant on two legs our time. —Josef Helfenstein, in interpretation introduction

Joseph N. Newland—

Last workweek I watched a unusual video docudrama on Toilet Lewis’s philosophy, the favourable release fortify which has turned arise into a memorial fight back this immense nonviolent existing, proponent grapple Good Affair and superstar to straightfaced many captive these Combined States submit those spoken for in struggles for rectitude around representation world. Concentrated the endless section turbulence the 1965 Selma hitch Montgomery Marches—where in rendering third venture Lewis was front suffer center adhere to Rev. Histrion Luther Produce a result Jr, Ralph Abernathy, Title A.J. Heschel, a churchman, and a nun hobble Dan Budnik’s iconic photograph—one of picture speakers compared this epochmaking procession practice “Gandhi’s Step to say publicly Sea,” consider it massive scene of diplomatic noncooperation ditch in 1930 first slap the dubious British colonizers on their back go to the bottom. “The Sodium chloride March stiff perhaps description most mighty example flawless both interpretation power be in the region of concerted diplomatic resistance instruct [Gandhi’s] unlogical strategy o

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Presenting works that range from masterpieces of classical religious art to contemporary paintings, photographs, sculptures, and videos, Experiments with Truth explores the resonance of Mohandas K. Gandhi’s (1869–1948) ethics of nonviolence in the visual arts. Analyzing widely published images of Gandhi’s public persona and the highly symbolic ways in which he manifested his beliefs and lifestyle, this exhibition aims to bring together major works of art from different periods of Eastern and Western cultures under the large theme of the arts of nonviolence. The exhibition’s themes echo the concerns of Menil Collection founders, John and Dominique de Menil, who dedicated themselves to humanitarian causes.

The exhibition uses as its catalyst the famous photograph of Gandhi’s last possessions, a carefully constructed still life of a handful of objects owned at the time of his death (two dinner bowls, wooden fork and spoon, diary, watch, prayer book, spittoon, porcelain see-hear-speak-no-evil monkeys, letter openers, and two pair of sandals). The striking minimalist simplicity of the photograph (whose author has not been identified) conveys the symbolic significance of the objects, which serve as incarnations of Gandhi’s ascetic lifestyle and his philosophy of nonviolence.

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Arte ≠ Vida: A History and Reflection on the Project

Deborah Cullen | El Museo del Barrio

Abstract:
In this essay, the curator of the exhibition Arte ≠ Vida: Actions by Artists of the Americas, 1960–2000, first presented by the Museo del Barrio in New York City in 2008, offers a history of the project and its relation to the earlier landmark exhibit on Latin American performance art, “No lo llames performance.” The essay discusses the important presence of U.S. Latino/a artists—particularly those based in New York City—in the history mapped by the exhibit, and discusses the reception of that work when the exhibit travelled to Mexico and to Colombia.

Introduction

El Museo del Barrio presented Arte ≠ Vida: Actions by Artists of the Americas, 1960–2000 in our galleries in New York City from January 31 to May 18, 2008. The project focused on the performative contributions of 117 artists and collaboratives from throughout the Americas, paying particular attention to Latinos in the United States—especially Puerto Ricans on the island, in New York, and elsewhere—as well as artists hailing from the Dominican Republic, Cuba, Mexico, Central and South America, working internationally. Arte ≠ Vida hoped to establish a chronology of key works, cre