Fred Wilson is a jack of all trades. He is an artist and curator whose career has spanned the past four decades. Never boring, his work challenges viewers to think deeply about the multi-layered art before them . In 2003, Wilson represented the United States at the Venice Biennale. I was lucky enough to see that show entitled, “Speak of me as I am,” a line from Othello. In the Jeffersonian pavilion Wilson included imagery that might, at first, appear to be linked to American slavery. However, upon closer inspection, Wilson was filling the space with art from modern day Venice. There were black figures which Venetians would recognize from a doge’s tomb in the Frari Church. He examined the history of the Moors in Venice when he found figures on doorknockers, in the Teatro La Fenice, and in the paintings of the Accademia Museum. He explained that a Tiepolo painting from 1725 had been extremely influential in his becoming an artist. In this work, Tiepolo puts himself in his studio along with his wife and his black assistant. This was something that Wilson had not seen before and for him, it made an African’s connection to art real. 

Chandelier Mori, 2003, United States Pavilion, Venice Biennale

The rotunda in the entryway housed a beautiful black glass chandelier. Murano is the mecca of beautifully blown glass but objects are usually colorful or clear, never black. Having just come from a residency at a glass school in the US, Murano glass seemed a logical step for Wilson. In one room visitors could find objects created for the show as opposed to the other spaces which included works based on found objects placed in different contexts.

Drip, Drop, Plop, 2001, United States Pavilion, Venice Biennale

Drip, Drop, Plop was made of the same black glass as the chandelier, but the glass formed drips which could be interpreted as tar, tears, or ink. He added eyes to some of the drips playing on the notion of cartoon stereotypes. Including a variety of works was important to him because though he had been creating work for years, it afforded an opportunity for a larger worldwide audience to become familair with his work. 

Image from "Objects and Installations: 1979-2000"

In the late 1970s Wilson took photos in his continued quest for finding the truth in what you see before you. In a show he curated in 1987 called “Rooms with a View” he investigated how different environments alter the way in which works on display are viewed. The works never changed, but their presentation did. He is always reinventing himself and though his art changes, it always demands something of the viewer. He is a fascinating man and a wonderful artist. Keep your eyes out for him. If you want to learn more about him visit: http://www.pbs.org/art21/artists/wilson/index.html