Throughout the late 1980s and early 1990s, a radical cultural scene
emerged in cities across the globe, finding expression in the
galleries, nightclubs, and bedrooms of New York, London, Los
Angeles, and Rome. In Lyle Ashton Harris: Today I Shall Judge
Nothing That Occurs , the artist's archive of 35 mm Ektachrome
images are presented alongside journal entries and recollections
from a host of artistic and cultural figures. It offers a unique
document of what Harris has described as "ephemeral moments and
emblematic figures shot in the 1980s and '90s, against a backdrop
of seismic shifts in the art world, the emergence of
multiculturalism, the second wave of AIDS activism, and incipient
globalization." As a young artist experimenting with installation,
performance, and collage at the time, Harris obsessively
photographed his friends, lovers, and individuals who either were,
or would become, figures of influence, such as Marlon Riggs, Cornel
West, bell hooks, Stuart Hall, Klaus Biesenbach, Nan Goldin,
Catherine Opie, Glenn Ligon, and others. The images record the
confluence of multiple international communities- gathering points
for the exchange of ideas and the development of theoretical
positions on art and culture that continue to resonate to this day.
Together, these photographs and the journals not only sketch a
personal history of a unique time of importance to contemporary
art, but also show the development and shaping of Harris's eye and
influences as an artist.
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