Sherrie Medina
How to Love a Racist, 2003How to Love a Racist, 2003 (detail)How to Love a Racist , 2003 (detail)How to Love a Racist, 2003 (detail)How to Love a Racist , 2003 (video still)How to Love a Racist , 2003 (video still)How to Love a Racist , 2003 (video still)
How to Love a Racist, 2003
This piece was created as a working drawing for a video in progress. The piece is about a conversation I had with my Mother when she first met my husband who is Hispanic. The video shows footage from a hospital environment and a voice loop over the images with the language taken from this conversation which centers around extreme racist comments.

The following press excerpt from the "Tucson Weekly" about the group exhibition this piece was curated in.

"So when video artist Vikki Dempsey was asked to curate the middle section of a three-part show at the Museum of Contemporary Art--aka MOCA--she collected a bunch of visual artists and, beyond the one-word theme, gave them free rein to do what they wanted.

"It's not a new idea to talk about identity in art work, but it's important to come back to," says Dempsey.

The 20 artists she gathered from Tucson as well as around the country are all women, all working with a camera. Dempsey's section is sandwiched between the other two exhibits in Lights, Camera, Action, a cumulative show ongoing through the summer. Lights ... opened a month ago and is curated by Elizabeth Cherry, who came up with the idea for the triple-header show. In early August, Joyan Saunders will install a video performance piece.

For Camera ... , Dempsey specifically collected artists who use video or photography to explore the subject of identity.

"When video first came about, it was primarily a tool to investigate formal elements of the technology itself, both on and off screen. The inclination to turn the camera around, to look at one's own image, evolved pretty naturally," explains Dempsey.

But she adds, "By finding identity, we come back to community."

The impetus for the show grew out of Dempsey's reading of work by bell hooks as well as Susan Griffin. Both authors talk about love and community and women's search for communion and suggest that its existence is found in the body--both the individual corpus and the broader body politic. "