In one of the show’s large-scale pieces, '2009 Sideshow,' David Huffman combines Oakland and Los Angeles car culture and highlights how the two cities have a history of Black liberation as well as racial unrest.
In one of the show’s large-scale pieces, ‘2009 Sideshow’, Huffman combines Oakland and Los Angeles car culture and highlights how the two cities have a history of Black liberation as well as racial unrest. The astronaut suit at the entrance of David Huffman’s show “Terra Incognita,” on view until Sept. 18 at the Museum of the African Diaspora, is the first clue that we aren’t in San Francisco anymore.
With this survey of the Oakland artist’s work spanning three decades, MoAD tries to answer these questions. But with his ties to science fiction and social and ecological justice, the Berkeley-born artist seems to suggest that the journey is ever-changing and eternal. It’s triumphant in one moment, and painful in the next.
The show features a range of media, including several large-scale canvases, works on paper, ceramics and video. Huffman’s 1999 ceramic sculptures of Luxor DX and TraumaEve set the tone. The figures wear a disturbing “traumasmile,” defined as “a survival gesture in response to acts of intentional and institutional anti-Black racism.”
“Terra Incognita” has a “Twilight Zone” appeal that is enhanced by eerie sounds that pulse through the space. The sounds lead viewers to a nearby screening room, where Huffman’s 2009 video, “Treehugger” is playing on a loop. Huffman shot the video after seeing trees marked for cutting during a trip to the Sierra Nevada.
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