Editor’s note: This is the fourth in a series of stories about the five J. Irwin and Xenia Miller Prize-winning installations in the Exhibit Columbus exhibition opening to the general public Saturday.
Old movies regularly have shown ex-Hoosier Olalekan Jeyifous that library archives hide in dark, foreboding basement back rooms.
Well, step aside, Hollywood.
Because, for the Exhibit Columbus architectural exhibition opening to the general public Saturday, the Nigerian-born Jeyifous is giving archives their day in the literal sun. Make that more than 90 days in the sun, given the length of the exhibition stretching to Nov. 28.
That’s just part of his Miller Prize installation “Archival/Revival” slated to begin arriving today from an Indianapolis fabricator. The celebrated visual artist and designer based in Brooklyn, New York, will begin placing his screamingly bright, symbolically sculpted wooden pieces Tuesday on the Bartholomew County Public Library Plaza, 536 Fifth St. downtown.
“This is bringing (some of) the archives right out onto the plaza,” Jeyifous said, speaking by phone from Brooklyn. “There’s a lot of information there, but many people may not ever be checking into it unless maybe they’re on some National Treasure-style hunt for gold.”
His step to put some of the archives front and center dovetails perfectly with library administration’s push the past year or two to put its resources right at residents fingertips in convenient and engaging ways.
“It brings the resources of the library outside the building,” said library director Jason Hatton earlier this year.
In a dramatic nod to the smartphone and tablet age, his pop-up art and architecture will be awash in augmented reality codes — static images that trigger the display of virtual information, video and more. Visitors then will be able to revisit, among other things, an African Art exhibit which opened in late January 1970 at the library.
The exhibit was part of a two-month long program called “Africa and Black and White America.” In the fall of that same year came the “Columbus Black Arts Festival,” which unfolded over six weeks. All but one event was held at the library.
These two elements, via clippings, photos, text and more, form the foundation of “Archival/Revival.”
“Race is important here, but really almost incidental,” Jeyifous said. “For me, this is not about race as much as looking at some lesser-known artists, and looking at a tradition of Modernist architecture and its relationship to African sculpture.”
To be more specific, he added that architect I.M. Pei’s library design and Henry Moore’s nearby Large Arch both have clear links to African sculpture.
The lesser-known arts figures he referenced are people such as artist Wendell T. Brooks and poet Mari Evans.
Jeyifous’ previous work has some link to libraries and race. His piece, “Protest,” done in Cleveland in 2017, eventually found a permanent home at the Langston Hughes branch of the Cleveland Public Library.
The artist who has exhibited at the Museum of Modern Art and at the Guggenheim Museum said he always has seen art as “a great entryway into any conversation,” including heritage, diversity, you name it.
“Art can be inspiring or infuriating,” he said. “But it has the sort of power to initiate a discourse without being preachy. And then people can discuss what the artwork may reference or the influence that it may draw upon.”
What if there are those this fall who insist on seeing his locally installation as heavily race-themed? So be it, he said, in a roundabout way.
“We shouldn’t be so uncomfortable talking about race,” he said flatly. “After all, we are a country of immigrants. And there is nothing wrong with acknowledging people’s culture or tradition. It certainly doesn’t diminish one’s Americanism.”
The former Bloomington teen track athlete who competed in Columbus, acknowledged that he will be racing against a late Friday finish line to have all his elements, including display platforms, seating areas and more, in place for his piece.
“We’ll be working right up until then,” he said.
