Invisibility Within the Guggenheim's 'Going Dark' Exhibition

Art and Design

Whenever I have the privilege of an open afternoon, I find myself at the artistically renowned Guggenheim Museum. As a self-proclaimed art enthusiast, its wide range of artists and eccentric mediums draws the viewer, me, in and makes it impossible to escape its all-consuming introspectiveness. Feeling like a kid in a candy store, I explore the playful sweeps of post-impressionist Georges Braque up to the newly popularized moving pictures that have made formative roots in today’s period. This February, I found myself with one such free afternoon and decided to indulge myself in that month’s showing: ‘Going Dark.’ 

Walking into the exhibition, I was immediately pulled into the shoes of underrepresented individuals who have suffered racial injustices and marginalization. Twenty-eight widely celebrated artists displayed their pieces in honor of Black History Month. Using a myriad of mediums, topics, and creative displays, the artists showcased deeply rooted stigmatization that has continued to antagonize the American population and its past. As I made my way through the contemporary, white tundra of the building, I was met with an art menagerie of individualistic ways of communicating one shared experience.  

The central idea for many artists is that of invisibility. As seen in painter Kerry James Marshall’s Invisible Man (1986) and Two Invisible Men (1985), two pieces on display from his 'Invisible Man Series' (1988-1991), he shows how many African Americans seemingly blend into the background of their surroundings, not ever truly seen by the public. He paints his subjects on a dark background so that only the eyes and teeth of his figures are seen. There is an unsettling feeling created for the viewer as they look on, the figure’s outline becoming more and more solidified the longer one stares. 

Invisible Man (1986)

Two Invisible Men (1985)

Similarly, Ming Smith’s 'Invisible Man' photo series conveys an eerie feeling through her blurry photos with elusive figures. This edge of visibility, where no faces can be seen and the figures are in motion, makes it only possible for their silhouette to be detected. As often happens in society, the figures call to be seen, unseen, or erased. 

Invisible Man,

Somewhere, Everywhere (1991)

“Little Brown Baby Wif Spa’klin’ Eyes,” Paul Laurence Dunbar (1991)

The Black Jewels of the U.S.A. II (1991)

Viewing these pieces surrounding the central thought of ‘invisibility,’ I can’t help but think of Ralph Edison’s Invisible Man. Many of these artworks actually pay homage to this classic novel, which brought to light the many lost voices of African Americans during the Harlem Renaissance. His nameless main character, “a man of substance, of flesh and bone, fiber and liquids'' who “possess[es] a mind,” is seemingly invisible “simply because people refuse to see [him]” (Edison 3). Edison brings awareness to the importance of creating your destiny and not allowing others to take away that right. By not allowing society to define his choices and future, he finds freedom and discovers his true identity. Edison hopes to translate this message to his audience so they can find their paths in life without the hindrance of racism and prejudices. 

In writing this book, Edison, through his character’s voice, explains in the closing sentence: 

“Who knows but that, on the lower frequencies, I speak for you?” 

                                                               -Ralph Ellison

As I studied the pieces in ‘Going Dark,’ I couldn't help but hear the closing phrase race through my head. Are all these artists emulating the cry for justice and longing to be heard, just as Edison did through his book the Invisible Man? Translating his words into tangible art pieces creates an exciting way to convey the critical message of invisibility in society. I could see each artist reaching out to their audience, who have suffered the same societal inequalities, and show that it must be deconstructed, as their voices must not be muted but amplified. 

Visiting the Guggenheim’s ‘Going Dark’ exhibit was a fantastically eye-opening experience presented to the New York public. It is a show that transfixed me and has kept me wanting more from these incredibly talented artists. My experience viewing ‘Going Dark’ and the interpretation of such relevant themes has allowed me to grow my understanding of these difficult yet vital topics. And, hopefully, I will find myself again with another free afternoon to spend at the Guggenheim.