Marlos E’van’s “Dyin by the Gun!” received such a warm reception that the artist has arranged for a closing reception this Friday, June 24 at 1808 Buchanan Street from 4 p.m. – 6 p.m.
I interviewed E’van a year ago for NYCnash, and this current work is a full evolution of sketches he showed me last June. “Dyin’ by tha Gun!” includes dozens of large scale paintings and sculptures that reflect our society in the wake of the police killings of Black children, men, and women. He comments on issues within Black communities, the militarization of police, and the epidemic of gun violence in America. Many of the works portray black men as monstrous beings, as savages with cartoonishly enlarged facial features meant to invoke fear.
It reminded me immediately of the way Darren Wilson described Michael Brown: as a demon, a Hulk Hogan, who “made like a grunting, like aggravated sound.” In a pair of particularly evocatively paintings, a white cop squares his shoulders, his hands on his gun like a cowboy at a shootout. Just feet away on the floor sits a twisted canvas showing a brown monster-like figure with a broad, vacant smile, moving alongside a camp fire. The “noble savage” beside the defensive cop makes for a juxtaposition difficult to ignore.
While I usually argue for subtlety of message, E’van’s work is anything but. And I love it for exactly that reason. His big bold paintings hang from vices strung to pipes that are mounted on the walls. The space is in total disrepair. Open electrical sockets and wiring erupt from the dingy, gray walls. The tile floor shows footprints in dust. I think it speaks to the climate of our art scene that a show willing to take on social issues of immediate poignancy be held in a previously-shuttered industrial space. In many, the canvases are not stretched, but hang against the walls with frayed edges and misshapen angles, as if they can’t be contained.
For white people like myself, it may not feel like a joyride, and if you’re looking for an uplifting message, you won’t find it here. Instead, you’ll find a call to personal responsibility. E’van’s work conveys the immediacy of the racism epidemic that has only grown more volatile over time. He insists that we confront our role in racial injustice and police violence. How are we complicit? How are we affected? How are protected by our privilege?