FOR BREAKING NEWS VISIT WWW.QNS.COM APRIL 1, 2021 • THE QUEENS COURIER 41 buzz
BY CONNOR WALTER
editorial@qns.com
@QNS
Social distancing and lockdown protocols
during COVID-19 brought the art
world to a halt, stopping artists and creators
from showcasing their work to the
public for most of 2020.
Aft er being postponed from its original
date slated for last fall, Kenneth Tam’s
“Silent Spikes” exhibition debuted at the
Queens Museum on Feb. 24. Th e exhibition
addresses the topics of hyper-masculinity
and racism. “Silent Spikes” represents
a sobering realization of the anti-
Asian hate seen throughout America’s
history and also since the beginning of
COVID-19, according to Tam.
Th e exhibition focuses heavily on
the injustices of Asian Americans who
have been underrepresented throughout
history, from the time of the Chinese
Transcontinental Railroad construction
to the early days of the pandemic. It also
portrays the experiences of Asian men
against the stereotypical American male
fi gure of the cowboy.
“Th e cowboy, certainly within the popular
cultural terms, is an archetype, really,
of typical American masculinity. Th ey
represent independence, stoicism, taking
matter into their own hands and not really
listening to government,” Tam said.
Th e sculptures and videos that comprise
“Silent Spikes” idealize what it would look
like to have Asian American men be a
part of the male representation that they
have been removed from.
“Th at version of American masculinity,
ya know, you would never see an Asian
American play that character. So my exhibition
plays on how it would look if that
character played a cowboy,” Tam said.
Tam believes that his exhibition reaches
outside of the Queens Museum to individuals
who are currently experiencing racism
or social injustice. “Silent Spikes” has
even more signifi cance and recognition
now with the protests and movements that
have occurred over the past year.
“Th ere are certain thematic overlaps
that are occurring in the exhibition and
outside of the museum,” Tam said. “A lot
of racism that is being experienced right
now in the community is the result of a
misguided anger.”
Tam’s sculpting method begins with
taking the form of male bodies and then
reimagining them to reveal vulnerable
moments that can exist among men. In”
Silent Spikes,” these experiences are further
addressed through race and labor
economics.
Th e Transcontinental Railroad was the
center of the 1867 labor strike in which
Chinese railroad workers stopped working
and demanded equal pay to whites,
shorter work hours, and better work conditions.
Th e accompanying video for
“Silent Spikes” includes references to the
labor strike along with Tam’s participants
telling stories of self-awareness and personal
connection through movement.
Tam’s exhibitions oft en examine performance,
physical intimacy, vulnerability,
private ritual and masculinity.
“Silent Spikes” brings awareness to the
Asian American community, where it
hasn’t always seen recognition. According
to Tam, it is not uncommon for the
accounts of Asians to be written out or
completely ignored in history.
Along with “Silent Spikes,” Tam is anticipating
a new exhibition that is set to
open this year. In June, Tam will be participating
in a group exhibition at Th e
Shed, a performing arts center in Chelsea,
Manhattan, where he will debut a sculpture
and video exhibition.
“Silent Spikes” is open to the public
until June 23.
Queens Museum
exhibit sheds
light on
injustices
against
Asian Americans
Courtesy of Queens Museum
A photo from Kenneth Tam’s “Silent Spikes.”
Courtesy of Queens Museum
A photo from Kenneth Tam’s “Silent Spikes.”
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