Early in Erica Spilger’s college career, she developed an ability and admiration for letting artwork transcend its visual purpose to be analyzed historically and culturally.
Specifically, she became interested in the art that sparks controversy, dispute and often termination by those who have the power to do so. Since Spilger was a freshman, she’s been looking at censorship and iconoclasm, the destruction of images, in different historical contexts.
The concept of censorship or destruction of art inspired Spilger’s Honors Tutorial College student thesis exhibition. The exhibition features artwork from Kara Walker, Sue Coe, David Wojnarowicz and John Sims, artists whose works were not necessarily censored, but rather provides commentary on the issue which still exists today. The exhibition is open now until Dec. 22 at the Kennedy Museum of Art.
Spilger, a senior studying art history, said the culture wars of the '80s and '90s in America were the “peak of art censorship.” The period shows a conflict between expressive artists and conservative religious or political leaders who take issue with the provocative nature of the art.
While this dispute isn’t quite as strong now, the period provides insight into contemporary censorship and how the issue still prevails today.
“There are remnants left over from the culture wars of trying to limit what people can see,” Spilger said.
Spilger, along with gallery coordinator Courtney Kessel, has been researching for this exhibition for several months. Kessel had been working with her for two semesters studying censorship, and eventually Spilger asked Kessel to tutor her through the exhibition project.
“I told her to dream big,” Kessel said. “Go as big as you possibly can in terms of what artists you’d like to include.”
Kessel also told her to utilize her resources. Kessel is friends with Sims, and Jennie Klein, a professor of art history, had other connections the pair could use to include in the exhibition.
Klein said this exhibition, as well as general acceptance of these controversial forms of artwork, is not something that happens quickly. However, Klein was complimentary of Spilger’s exhibition.
“The work is really relevant because we need to think about what it means to us to want to repress visual imagery … and what it means to self-center because of fear of what might happen,” Klein said.
Correction: A previous version of the summary incorrectly spelled Erica Spilger's name. The summary has been updated to reflect the most accurate information.
