With more urgency than a headline, Titus Kaphar’s artworks capture the spirit of social justice and change in America today (exemplified in his TIME cover portrait of the Ferguson protests). Working from personal history toward a wider lens—revealing the historically marginalized and erased—he exposes racism, inequality, and a criminal justice system that is anything but just.
Titus Kaphar works with history—history writ large, as well as his own story, familial and personal—to offer a stirring portrait of the here and now. As a result, his body of work is diverse, in both form and substance.
In recognition of his powerful vision, TIME magazine commissioned him to create an artwork in response to the protests in Ferguson, Missouri—freezing in time an unforgettable moment of potential, protest, and civil rights upheaval. In The Jerome Project, he explores the overwhelming volume of men trapped in our criminal justice system bearing his own father’s name. The mug shots of these ‘Jeromes,’ all African-American, are re-imagined as gilded, devotional subjects submerged in tar—signaling how much time they’ve lost in prison as well as a historical form of torture. For Drawing the Blinds, Kaphar cuts, bends, sculpts, and re-mixes the work of Classical and Renaissance painters, creating formal games between fiction and quotation, interrogating the history of aesthetics while revealing marginalized, forgotten figures. And yet in all his work, Kaphar speaks to the most vital discussions happening around race, diversity, and reconciliation in the U.S.
His most recent solo exhibitions include Shifting Skies, Selections from Asphalt and Chalk, 99 Jeromes, Drawing the Blinds, The Vesper Project, The Jerome Project, Beyond a Veil of Beauty, Classical Disruption, Reconstruction, and History in the Making. Forthcoming exhibitions include a sculptural commission for Princeton University Art Museum in November 2017 (to coincide with the opening of the Princeton and Slavery project), as well as a solo exhibition at the Smithsonian National Portrait Gallery in March 2018. As an engrossing keynote speaker—as well as a TED 2017 speaker—Kaphar exposes how all depictions, no matter how personal or grandiose, are always fictional, imperfect, and capable of being remade.
He is the distinguished recipient of the Gwendolyn Knight and Jacob Lawrence Fellowship as well as the 2015 Creative Capital Award and 2016 Rauschenberg Artist as Activist Fellowship. His work has been included in the collections of the Museum of Modern Art, the New Britain Museum of American Art, the Yale University Art Gallery, and the Brooklyn Museum, as well as in solo and group exhibitions at Savannah College of Art and Design, the Studio Museum in Harlem (where he was Artist in Residence), and the Seattle Art Museum. Born in Kalamazoo, Michigan, Kaphar lives and works in New Haven, Connecticut and New York. He received an MFA from the Yale School of Art and a BFA from San Jose State University.
Personalizing Mass Incarceration Exploring American Justice and Injustice
Titus Kaphar left his father’s house when he was just fifteen. Twenty years later, after zero contact, his father reappeared, wanting to reconnect. Kaphar spent the next three days recording their conversations: asking questions, using the camera screen as a means of distance and objectivity. Later, when searching into his father’s past, he not only found his criminal record, but the records of 99 other men—all black, and all bearing the exact same name. Born out of this frightening discovery was The Jerome Project: paintings, video art, sculptures, and even a growing initiative to help young people with family locked inside the criminal justice system.
But for Kaphar, this is not an isolated body of work; rather, it’s one he’s been struggling with his entire life. In this deeply personal keynote, Kaphar confronts the full complexity of the American judicial system—its inequalities, its raw enormity—through his own lived experiences. In so doing, Kaphar puts a human face to an all-too-American story (much like his own father’s particular story, and life, dovetails with the social history and myths of black criminality). In essence, and like any great artist, Kaphar brings immediacy to abstraction—making distant notions about de-industrialization, generational poverty, and mass incarceration as familiar, and moving, as a portrait of someone we love.
Making Space for Black History Amending the Landscape of American Art
If art is a language that speaks, what is it saying? In statue form, Roosevelt rides a horse and boldly stares into the future; meanwhile, nameless African American and Indigenous people walk on foot beside him. Statues of confederate soldiers loom over our civic institutions—our libraries and schools and offices—without context or apology. Who are the anonymous slaves, servants, and laborers appearing as footnotes in portraits of our Founding Fathers? What values are being expressed by the constitutional monuments dotting the American landscape? And why do we skip over chapters—entire peoples, entire histories—in our national narratives? In this powerful talk, Titus Kaphar imagines a renewed, more nuanced engagement with American history: envisioning new spaces for marginalized or forgotten bodies to enter, and disrupt, the evolving fabric of our culture. For this creator, the artist’s role is clear: to draw back the curtain on ignorance and deception, and amplify the voices of those who cannot speak for themselves. In a simple phrase, it’s to celebrate the truth. Join Kaphar—one of the country’s most exciting young painters—on a revealing, intellectually nourishing tour of the issues most in need of amendment.