(piano music)
- [Lauren] We're in the galleries
at the Crystal Bridges Museum of American Art
looking at a painting by Titus Kaphar called
"The Cost of Removal."
We're seeing a copy that the artist made
of a painting of the American president, Andrew Jackson,
but one that the artist has manipulated.
Part of Titus Kaphar's practice is looking to
art works that have existed through time,
but then what he does is put his own ideas into the work.
- [Beth] One gets the sense that he's interested in exposing
the kinds of assumptions that are in art history.
- [Lauren] Like so many artists, he loves art history
but is interested in making us
think more critically and to think about
what are the things that we're not seeing,
and what he thinks about
is how he can use his work to expose those ideas.
- [Beth] So here we have this heroic image
of Andrew Jackson, it's way over life-size,
it comes from this tradition
of showing leaders on horseback in a landscape.
- [Lauren] The president is sitting calmly,
very authoritatively.
- [Beth] So you have this idea of being calm
on this passionate animal that is
in a very long tradition of art history.
Titus has rendered, beautifully,
this old master style of painting
of this beautifully foreshortened horse,
this landscape, and then covered much of the figure
in a way that seems violent.
There's a real dissonance here between the paint
and then the nails and these strips of cloth.
It feels shocking when we first look at it.
- [Lauren] Titus often rips into the canvas,
cuts into the canvas, paints over parts of it,
and in this particular painting,
he has nailed strips of torn canvas
that have text on them into Jackson's figure.
- [Beth] It's covering his mouth.
It's made him voiceless, and when I look at the Ralph Earl,
I get a real sense of a figure who has a heroic nobility,
and by covering up part of that face,
he's robbed him of that noble profile.
- [Lauren] He's asking us to think beyond that
and to look more at Jackson's own words or his own actions.
Are these writings on the torn pieces
of canvas speaking for him?
- [Beth] It's difficult to read the text
that's on this canvas, but we know that the title
of the painting is "The Cost of Removal,"
so this is about the removal of Native Americans
from their land in the South, east of the Mississippi,
to Indian Territory, and this is forcible,
coerced, violent removal of
native people to Indian territory.
- [Lauren] And this was an act that Jackson signed,
so he was the president that put this into play,
what we call now The Trail of Tears.
So he was responsible, ultimately, for this happening.
- [Beth] And we're talking about a policy
that is blatantly racist,
that understood Native Americans as savages
that needed to be removed from the land
so that white settlers could farm,
and by the 1840s, tens of thousands
of Native Americans had been removed,
so the scale of this is enormous.
What are we to make of the nails?
Of the strips of canvas with Jackson's
handwriting on them that are kind of legible.
In one place, I saw a number that seemed to refer to
a cost of removing people from the land.
But the nails into Jackson,
it almost feels as though Kaphar is punishing
Jackson for these acts.
- [Lauren] And the nails also reference
African fetish objects, so this idea that
people would put nails into particular objects,
and the amount of nails reference how important
the object was or how many people put
their trust and faith in that.
And I think a lot about this idea
of how much faith and trust the American people
put into their president.
- [Beth] The power of the presidency
and the impact that he can have
on individual lives and families.
So the artist is immediately asking us
to consider Jackson in a different way.
And not only Jackson in this painting,
but I think all images that we see of
American heroes, of American presidents.
What are the other stories that we're not being told?
The artist said, "I feel very strongly that most of
"the history we have been taught is at best incomplete,
"and at worst fiction.
"The more I read history, I realize that all depictions are,
"to some degree, fiction.
"We lose something in the interpretation,
"and as I realized that painters throughout history
"have embraced this idea of fiction,
"I have felt complete freedom to address
"these paintings in a way that made sense to me."
That reminds me that we have a tendency
to believe what we see, especially when we're in a museum,
which has a sense of authority,
but in fact, we know that not only paintings,
but museums, too, have had a role
in the kind of terrible oppression
that Jackson, himself, was part of.
- [Lauren] Everyone is making a choice
to tell a particular story, and so often,
there are whole groups of people, events,
that get left out.
Who gets to have their portrait painted?
Who gets to have their portrait painted that then
goes into a museum collection that then
lasts for hundreds of years?
So it's asking us to think about who we see,
but to never forget who we don't see.
(piano music)