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                <text>&lt;em&gt;&lt;em&gt;&lt;span&gt;Brown, Bell, Garner&lt;/span&gt;&lt;/em&gt;&lt;span&gt;&lt;br /&gt;&lt;/span&gt;&lt;/em&gt;</text>
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                <text>&lt;p&gt;Recent work by Titus Kaphar addresses the human and civil rights crisis currently underway in the United States criminal justice system. This work responds, in particular, to the persistent, deadly assault of unarmed black men by law enforcement in America. This monumental drawing mourns the premature deaths of Sean Bell (1983–2006), Michael Brown (1996–2014), and Eric Garner (1970–2014). Kaphar sketches headshots of these young men in white chalk, layering one on top of the other on a ground of black asphalt paper. The resulting image appears to flicker between individual and collective portrait, challenging the viewer’s capacity, and willingness, to perceive these men as singular beings beyond any demographic group.&lt;/p&gt;</text>
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                <text>©Titus Kaphar.  Courtesy of the artist and Jack Shainman Gallery, New York.</text>
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                <text>From the series "Paper Quilt and Collage"&lt;br /&gt;&lt;p&gt;In his “Paper Quilt and Collage” series, John Paradiso explores “growing old as a gay man.” He combines techniques of quilting, inspired in part by the AIDS Memorial Quilt, with seductive images of the male body to reflect on his generation’s experiences of surviving the HIV/AIDS crisis at its most devastating period for gay men in America. Paradiso appliquéd floral fabric to nine small wooden panels, in some cases layering them over glossy magazine images of a muscular male nude. With “fairy” in the artwork’s title and the “pansy” motif of the fabric, Paradiso invokes terms long used to disparage gay men as effeminate and weak. Here the hardy pansies and powerful male physique combine to suggest a different symbolism—one of resilience and strength.&lt;/p&gt;</text>
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              <text>15 Iris prints on velour paper mounted on Hahnemuhle cooperplate paper with letterpress text on each page&#13;
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              <text>Paper: 10 x 8 in (25.4 x 20.32 cm) each&#13;
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                <text>Courtesy of Lorna Simpson and Salon 94, New York</text>
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                <text>&lt;p&gt;Since the mid-1980s, Lorna Simpson has made art that explores and challenges conventions about identity, gender, history, memory, and culture.  Simpson’s conceptual photography often links images with text to create works that both intrigue and perplex: the meanings of her works are never straightforward. In the print portfolio 15 Mouths, Simpson pairs closely cropped images of lips with ambiguous phrases such as, “uncontrollably loud” and “immeasurably deep.” The portfolio is arranged in a dispersed, site-specific configuration, inviting viewers into their own creative processes of reading and looking while thwarting the possibility of discovering any one underlying narrative. This work, as in many others in Simpson’s oeuvre, requires the viewer to participate actively, if inconclusively, in its interpretation.&lt;/p&gt;</text>
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