ABOUT THE SPEAKER
Dread Scott - Visual artist
Dread Scott makes revolutionary art to propel history forward.

Why you should listen

Dread Scott's work is exhibited across the US and internationally. In 1989, his art became the center of national controversy over its transgressive use of the American flag, while he was a student at the School of the Art Institute of Chicago. President G.H.W. Bush called his art "disgraceful," and the entire US Senate denounced and outlawed this work. Scott became part of a landmark Supreme Court case when he and others defied the new law by burning flags on the steps of the US Capitol. His studio is now based in Brooklyn. 

Scott's work has been included in exhibitions at New York's MoMA PS1, the Walker Art Center, Minneapolis and Gallery MOMO in Cape Town, South Africa. His performance work has been presented at BAM in Brooklyn and on the streets of Harlem, NY. His work is in the collection of the Whitney Museum of American Art and the Brooklyn Museum, and it has been featured on the cover of Artforum magazine and the front page of NYTimes.com. Scott is a recipient of a 2018 United States Artists Fellowship and grants from the Creative Capital Foundation and the Open Society Institute. He works in a range of media, from performance and photography to screen-printing and video.   

Scott plays with fire -- metaphorically and sometimes literally -- as when he burned $171 on Wall Street and encouraged those with money to add theirs to the pyre. His work asks viewers to look soberly at America's past and our present. Writing about a recent banner project, Angelica Rogers wrote in the New York Times: "...it was difficult to look away from the flag's blocky, capitalized type. 'A Man Was Lynched by Police Yesterday.' It shouted the words so matter-of-factly that I felt myself physically flinch."

Scott is currently working on Slave Rebellion Reenactment, a community engaged performance that will reenact the largest rebellion of enslaved people in American History.

More profile about the speaker
Dread Scott | Speaker | TED.com
TED2018

Dread Scott: How art can shape America's conversation about freedom

Dread Scott: Como a arte pode moldar a conversa nos EUA sobre liberdade

Filmed:
1,368,594 views

Nesta palestra rápida, o artista visual Dread Scott conta a história de uma de suas instalações de arte mais transgressoras, que chamou a atenção nacional por seu controverso uso da bandeira americana e levou a um caso histórico da Primeira Emenda na Suprema Corte dos EUA.
- Visual artist
Dread Scott makes revolutionary art to propel history forward. Full bio

Double-click the English transcript below to play the video.

00:12
I am a visual artist,
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Sou artista visual
00:14
and I make revolutionary art
to propel history forward.
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e faço arte revolucionária
para impulsionar a história adiante.
00:18
I'm going to come right out
and tell you something:
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Vou ser direto e dizer que não aceito
os princípios econômicos,
00:20
I don't accept the economic foundation,
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as relações sociais
00:22
the social relations
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ou as ideias governantes dos EUA.
00:23
or the governing ideas of America.
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Minha arte contribui
para mudanças fundamentais,
00:26
My art contributes to fundamental change
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00:28
by encouraging an audience to address
big questions from that perspective.
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encorajando o público a refletir sobre
questões importantes sob essa perspectiva.
00:32
Social change is hard,
but ideas matter tremendously.
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Mudança social é difícil, mas as ideias
têm uma tremenda importância.
Quando digo que sou artista,
a maioria pensa: "Ele é pintor".
00:37
When I say I'm an artist,
most people think, "Oh, he's a painter."
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Aqui atrás podem ver
o tipo de trabalho que faço.
00:40
Behind me, you can see
some of the kind of work I do.
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"Imagine a World Without America"
00:43
"Imagine a World
Without America" is a painting,
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é uma tela, mas trabalho
com diferentes meios
00:45
but I work in a range of media,
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que incluem fotografia,
vídeo e performance artística.
00:47
including photography,
video and performance art.
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[Um homem foi linchado pela polícia ontem]
00:53
A current project,
"Slave Rebellion Reenactment,"
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Um projeto atual,
"Slave Rebellion Reenactment",
00:56
is going to be reenacted
on the outskirts of New Orleans
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será reapresentado nos subúrbios
de Nova Orleans, em novembro.
00:59
this November.
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01:02
In 1989, I had an artwork that became
the center of controversy
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Em 1989, uma de minhas obras
tornou-se centro de controvérsia
01:06
over its transgressive use
of the American flag.
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pelo uso transgressivo
da bandeira americana.
01:09
"What is the Proper Way
to Display a US Flag?"
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"What is the Proper Way
to Display a US Flag?"
01:12
is a conceptual work that encouraged
audience participation.
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é uma obra conceitual que encorajou
a participação do público.
Consistia numa montagem de fotos
com um texto que dizia:
01:16
It consisted of a photo montage
that had text that read,
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"Qual É a Maneira Correta
de Exibir a Bandeira dos EUA?"
01:18
"What is the Proper Way
to Display a US Flag?"
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01:21
Below that were books that people
could write responses to that question in,
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Abaixo dela, havia livros em que podia-se
escrever respostas pra pergunta,
e abaixo, uma bandeira sobre a qual
você tinha a opção de ficar em pé.
01:24
and below that was a flag
that people had the option of standing on.
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01:28
The photo montage consisted
of images of South Korean students
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A fotomontagem trazia imagens
de estudantes sul-coreanos
queimando bandeiras americanas,
01:31
burning American flags,
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01:32
holding signs that said,
"Yankee go home. Son of a bitch,"
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segurando cartazes que diziam:
"Yankee vá pra casa. Filho da puta",
01:35
and below that were flag-draped coffins
coming back from Vietnam.
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e abaixo disso havia caixões envoltos
em bandeiras voltando do Vietnã.
01:39
People wrote long and short answers.
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As pessoas escreveram
respostas longas e curtas.
01:41
Thousands of people engaged with the work
in a lot of different languages.
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Milhares de pessoas se envolveram
com a obra em vários idiomas diferentes.
01:45
Some of the people said,
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Algumas pessoas disseram:
"Sou alemã. Se nós, alemães,
admirássemos nossa bandeira
01:47
"I'm a German girl.
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01:48
If we Germans would admire
our flag as you all do,
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como vocês admiram a de vocês,
seríamos chamados de nazistas novamente.
01:51
we would be called Nazis again.
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01:53
I think you do have too much
trouble about this flag."
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Acho que se importam
muito com esta bandeira".
01:57
"I think that the artist
should be returned to his heritage,
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"Acho que o artista
deve ser devolvido à sua herança,
isto é, as selvas da África,
02:00
i.e., the jungles of Africa,
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02:02
and then he can shovel manure
in his artistic way."
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e depois ele pode jogar esterco
no trabalho artístico dele".
"A bandeira na qual estou pisando
representa toda a opressão deste sistema:
02:06
"This flag I'm standing on stands for
everything oppressive in this system:
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o assassinato dos índios e de todos
os oprimidos ao redor do mundo,
02:10
the murder of the Indians
and all the oppressed around the world,
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incluindo meu irmão, baleado por um tira,
02:13
including my brother
who was shot by a pig,
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que chutou o corpo dele para
'garantir que o negro estava morto'.
02:15
who kicked over his body
to 'make sure the nigger was dead.'
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02:19
That pig was wearing the flag.
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Aquele tira estava usando a bandeira.
02:21
Thank you, Dread Scott,
for this opportunity."
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Obrigado, Dread Scott,
por esta oportunidade".
02:24
"As a veteran defending the flag,
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"Como veterano defensor da bandeira,
eu mesmo jamais te defenderia, seu idiota!
02:25
I personally would never
defend your stupid ass!
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Você deveria ser morto!"
Corpo de Fuzileiros Navais dos EUA.
02:28
You should be shot!" -- US Navy Seal Team.
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Como podem ver, o público teve reações
muito fortes quanto à bandeira na época,
02:32
As you can see, people had
very strong reactions about the flag then,
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02:35
as they do now.
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como tem agora.
02:37
There were demonstrations of veterans
in front of the Art Institute of Chicago.
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Houve manifestações de veteranos
em frente ao Art Institute of Chicago.
Eles gritavam coisas como:
02:41
They chanted things like,
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"Pendure a bandeira e o artista bem alto",
evocando imagens de linchamento.
02:42
"The flag and the artist,
hang them both high,"
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02:44
evoking images of lynching.
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Recebi várias ameaças de morte, e minha
escola ameaças de bomba por telefone.
02:46
I received numerous death threats,
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02:48
and bomb threats
were phoned in to my school.
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Era uma situação muito perigosa.
02:50
It was a very dangerous situation.
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Mais tarde, o presidente Bush
chamou a obra de "vergonhosa",
02:52
Later, President Bush called
the work "disgraceful,"
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02:54
which I viewed as a tremendous honor,
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o que considerei uma tremenda honra,
e o Congresso proibiu o trabalho.
02:56
and Congress outlawed the work.
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02:58
(Laughter)
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(Risos)
02:59
I became part of a Supreme Court case
when I and others defied that law,
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Tornei-me parte de um caso
da Suprema Corte
quando eu e outros desafiamos essa lei,
03:03
by burning flags
on the steps of the Capitol.
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queimando bandeiras
nos degraus do Capitólio.
03:06
That action and the subsequent
legal and political battle
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Essa ação e a subsequente
batalha legal e política
03:09
led to a landmark First Amendment decision
that prevented the government
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conduziram a uma decisão histórica
da Primeira Emenda
impedindo que o governo exigisse
que o patriotismo fosse obrigatório.
03:13
from demanding
patriotism be mandatory.
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03:16
But let me back up a bit.
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Mas vou voltar um pouco.
03:17
These people literally wanted me dead.
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Essas pessoas literalmente
me queriam morto.
03:20
What I would do at this moment
would make a difference.
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O que eu fizesse naquele momento
faria a diferença.
03:23
This is me at the exact same moment,
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Este sou eu exatamente no mesmo momento,
03:25
eight stories above that crowd.
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oito andares acima daquela multidão.
03:28
It was supposed to be for a photo shoot
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Seria uma sessão de fotos nos degraus
onde os veteranos estavam naquela hora;
03:30
that was going to take place on the steps
where the veterans were at that time.
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no mínimo não teria sido seguro estar ali.
03:34
It wouldn't have been safe
for me to be there, to say the least.
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Mas era muito importante tirar as fotos,
03:37
But it was really important
to do that shoot,
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porque, enquanto alguns queriam me matar,
aqueles que viam a bandeira americana
03:39
because while some wanted to kill me,
it was also a situation
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03:42
where those who viewed the American flag
as standing for everything oppressive
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como a representação de toda
a opressão neste sistema
achavam que eles tinham uma voz,
e ela precisava ser amplificada.
03:45
in this system
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03:47
felt that they had a voice,
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03:48
and that voice needed to be amplified.
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03:50
The point is this:
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A questão é:
03:52
changing anything --
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mudar qualquer coisa,
03:53
whether it's conventional ideas
about US national symbols,
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quer seja as ideias convencionais
sobre os símbolos nacionais dos EUA,
03:57
traditional thinking challenged
by scientific breakthroughs
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o pensamento tradicional desafiado
por avanços científicos
04:00
or ousting an authoritarian president --
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ou destituir um presidente autoritário,
requer muita coisa:
04:02
requires a lot of things.
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04:04
It requires courage,
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requer coragem,
04:05
luck
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sorte
04:07
and also vision and boldness of action.
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e também visão e ousadia ao agir.
04:10
But on luck --
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Mas quanto à sorte,
04:12
I have to say, the photo shoot we did
might not have worked out so well.
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devo dizer, aquela sessão de fotos
pode não ter funcionado muito bem.
04:15
We laughed after we were out of the area.
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Nós rimos depois que saímos da área.
04:18
But the thing is, it was worth the risk
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Mas acontece que valeu a pena o risco
por causa do que estava em jogo.
04:20
because of the stakes that were involved.
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04:22
And in this case, the luck
led to a wonderful,
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Neste caso, a sorte levou a uma situação
maravilhosa, profunda e poderosa
04:24
profound and powerful situation
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que também foi bem divertida.
04:25
that was also humorous.
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04:27
Thank you.
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Obrigado.
04:28
(Applause)
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(Aplausos)
Translated by Maricene Crus
Reviewed by Carolina Aguirre

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ABOUT THE SPEAKER
Dread Scott - Visual artist
Dread Scott makes revolutionary art to propel history forward.

Why you should listen

Dread Scott's work is exhibited across the US and internationally. In 1989, his art became the center of national controversy over its transgressive use of the American flag, while he was a student at the School of the Art Institute of Chicago. President G.H.W. Bush called his art "disgraceful," and the entire US Senate denounced and outlawed this work. Scott became part of a landmark Supreme Court case when he and others defied the new law by burning flags on the steps of the US Capitol. His studio is now based in Brooklyn. 

Scott's work has been included in exhibitions at New York's MoMA PS1, the Walker Art Center, Minneapolis and Gallery MOMO in Cape Town, South Africa. His performance work has been presented at BAM in Brooklyn and on the streets of Harlem, NY. His work is in the collection of the Whitney Museum of American Art and the Brooklyn Museum, and it has been featured on the cover of Artforum magazine and the front page of NYTimes.com. Scott is a recipient of a 2018 United States Artists Fellowship and grants from the Creative Capital Foundation and the Open Society Institute. He works in a range of media, from performance and photography to screen-printing and video.   

Scott plays with fire -- metaphorically and sometimes literally -- as when he burned $171 on Wall Street and encouraged those with money to add theirs to the pyre. His work asks viewers to look soberly at America's past and our present. Writing about a recent banner project, Angelica Rogers wrote in the New York Times: "...it was difficult to look away from the flag's blocky, capitalized type. 'A Man Was Lynched by Police Yesterday.' It shouted the words so matter-of-factly that I felt myself physically flinch."

Scott is currently working on Slave Rebellion Reenactment, a community engaged performance that will reenact the largest rebellion of enslaved people in American History.

More profile about the speaker
Dread Scott | Speaker | TED.com