ABOUT THE SPEAKER
Paul Rucker - Visual artist, cellist
Paul Rucker creates art that explores issues related to mass incarceration, racially-motivated violence, police brutality and the continuing impact of slavery in the US.

Why you should listen

Paul Rucker is a visual artist, composer, and musician who often combines media, integrating live performance, sound, original compositions and visual art. His work is the product of a rich interactive process, through which he investigates community impacts, human rights issues, historical research and basic human emotions surrounding particular subject matter. Much of his current work focuses on the Prison Industrial Complex and the many issues accompanying incarceration in its relationship to slavery. He has presented performances and visual art exhibitions across the country and has collaborated with educational institutions to address the issue of mass incarceration. Presentations have taken place in schools, active prisons and also inactive prisons such as Alcatraz.

His largest installation to date, REWIND, garnered praise from Baltimore Magazine awarding Rucker "Best Artist 2015." Additionally, REWIND received "Best Solo Show 2015" and "#1 Art Show of 2015" from Baltimore City Paper, reviews by The Huffington Post, Artnet News, Washington Post, The Root and The Real News Network. Rucker has received numerous grants, awards and residencies for visual art and music. He is a 2012 Creative Capital Grantee in visual art as well as a 2014 and 2018 MAP (Multi-Arts Production) Fund Grantee for performance. In 2015 he received a prestigious Joan Mitchell Painters & Sculptors Grant as well as the Mary Sawyer Baker Award. In 2016 Paul received the Rauschenberg Artist as Activist fellowship and the Smithsonian Artist Research Fellowship, for which he is the first artist in residence at the new National Museum of African American Culture.

Residencies include MacDowell Colony, Blue Mountain Center, Ucross Foundation, Art OMI, Banff Centre, Pilchuck Glass School, Rauschenberg Residency, Joan Mitchell Residency, Hemera Artist Retreat, Air Serembe, Creative Alliance and the Rockefeller Foundation Study Center in Bellagio, Italy.  In 2013-2015, he was the Robert W. Deutsch Foundation Artist in Residence and Research Fellow at the Maryland Institute College of Art. He was most recently awarded a 2017 John Simon Guggenheim Fellowship, a 2018 TED Fellowship and the 2018 Arts Innovator Award from the Dale and Leslie Chihuly Foundation and Artist Trust. Rucker is an iCubed Visiting Arts Fellow embedded at the Institute for Contemporary Art at Virginia Commonwealth University.

Rucker's latest work, Storm in the Time of Shelter, an installation of 52 custom Ku Klux Klan robes and related artifacts, is featured in the exhibition "Declaration," on view at the new Institute for Contemporary Art at Virginia Commonwealth University in Richmond, Virginia through September 9, 2018.

More profile about the speaker
Paul Rucker | Speaker | TED.com
TED2018

Paul Rucker: The symbols of systemic racism -- and how to take away their power

保罗 · 洛克: 系统种族主义的标志——以及怎样消除它们的影响

Filmed:
1,451,941 views

跨学科艺术家和TED Fellow 保罗 · 洛克,为我们揭示了美国系统性种族主义的遗留问题。 作为一个与奴隶制历史相关的文物收藏家——从烙铁和手铐,到描绘私刑的明信片——洛克却找不到一件完好无损的三K党长袍,于是他开始制作自己的作品。 结果发现:用非传统面料如肯特布、迷彩和丝绸做成的这些引人注目的服装,冲击到了美国视种族主义为常态的现状。 “如果我们一同来看待这些,并意识到它们也是历史的一部分,我们或许可以找到方法,去消除它们带来的影响。”洛克说。(本演讲包含可能引起不适的图像。)
- Visual artist, cellist
Paul Rucker creates art that explores issues related to mass incarceration, racially-motivated violence, police brutality and the continuing impact of slavery in the US. Full bio

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

00:12
[This talk contains包含 graphic图像 images图片
Viewer查看器 discretion慎重 is advised建议]
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【此演讲含有可能会引起不适的图像】
00:17
I collect搜集 objects对象.
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我收集物品,
00:19
I collect搜集 branding品牌 irons铁杆 that were used
to mark标记 slaves奴隶 as property属性.
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我收集给奴隶打上财产标志的烙铁。
00:25
I collect搜集 shackles镣铐 for adults成年人
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我收集给成年人带的手铐,
00:29
and restraints限制 for adults成年人
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以及给成年人带的脚镣,
00:31
as well as children孩子.
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还有给孩子带的。
00:37
I collect搜集 lynching私刑 postcards明信片.
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我收集黑人奴隶被施以私行
而处死的明信片。
是的,它们记录了各种私刑。
00:40
Yes, they depict描绘 lynchings私刑.
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00:42
They also depict描绘 the massive大规模的 crowds人群
that attended出席 these lynchings私刑,
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它们同时也记录了
无数围观私刑的人们,
而且这些都是明信片,
00:46
and they are postcards明信片
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00:48
that were also used for correspondence对应.
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是被用于通信的明信片。
00:52
I collect搜集 proslaveryproslavery books图书
that portray写真 black黑色 people as criminals罪犯
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我收集那些支持奴隶制的书,
这些书把黑人刻画成罪犯,
00:58
or as animals动物 without souls灵魂.
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或者是没有灵魂的动物。
01:02
I brought you something today今天.
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我给你们带来了其中的一些。
01:07
This is a ship's船舶 branding品牌 iron.
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这是一个船上的烙铁。
01:10
It was used to mark标记 slaves奴隶.
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这曾被用来标记奴隶。
01:15
Well, they actually其实 were not slaves奴隶
when they were marked.
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其实他们被标记的时候还不是奴隶。
他们还生活在非洲。
01:17
They were in Africa非洲.
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但是一旦被标记了“S”,
01:19
But they were marked with an "S"
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01:21
to designate指定 that they
were going to be slaves奴隶
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他们就被选定为奴隶,
01:23
when they were brought to the US
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会被带到美国
01:25
and when they were brought to Europe欧洲.
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以及欧洲。
01:32
Another另一个 object目的 or image图片 that captured捕获
my imagination想像力 when I was younger更年轻
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在我年轻的时候,另外一个
让我很感兴趣的东西,或者说图像,
01:35
was a Klan三K党 robe长袍.
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是三K党长袍
(美国种族主义的代表性组织)。
01:37
Growing生长 up in South Carolina卡罗来纳州, I would see
Ku Klux三K Klan三K党 rallies集会 occasionally偶尔,
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在南卡罗莱纳州长大的我,
偶尔会见到三K党的集会,
01:41
actually其实 more than occasionally偶尔,
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事实上是比较常见的。
01:43
and the memories回忆 of those events事件
never really left my mind心神.
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这些记忆从来没有
从我的记忆里消失。
01:46
And I didn't really do anything
with that imagery意象 until直到 25 years年份 later后来.
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对于三K党我没有真正
做什么事情,直到 25 年之后。
01:51
A few少数 years年份 ago,
I started开始 researching研究 the Klan三K党,
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几年前,我开始研究三K党,
01:53
the three distinct不同 waves波浪 of the Klan三K党,
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三次不同的三K党运动,
01:56
the second第二 one in particular特定.
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尤其是第二次。
01:58
The second第二 wave of the Klan三K党
had more than five million百万 active活性 members会员,
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第二次三K党的兴起使得
它拥有超过五百万的活跃成员,
02:03
which哪一个 was five percent百分
of the population人口 at the time,
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这个数字是当时美国人口的百分之五,
02:06
which哪一个 was also the population人口
of New York纽约 City at the time.
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也是当时纽约市的总人口。
02:10
The Klan三K党 robe长袍 factory in the Buckhead巴克黑德
neighborhood邻里 of Georgia格鲁吉亚 was so busy
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在佐治亚州巴克海德区的
三K党长袍工厂十分忙碌,
02:14
it became成为 a 24-hour-小时 factory
to keep up with orders命令.
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需要二十四小时运作以满足订单。
02:18
They kept不停 20,000 robes长袍 on hand at all time
to keep up with the demand需求.
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它们拥有 2 万个长袍的
库存来应对不时之需。
02:24
As a collector集电极 of artifacts文物
and as an artist艺术家,
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作为一个手工制品的收集者,
以及一位艺术家,
02:26
I really wanted a Klan三K党 robe长袍
to be part部分 of my collection采集,
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我真的希望三K党长袍
也能成为我藏品的一部分,
02:29
because artifacts文物
and objects对象 tell stories故事,
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因为这些手工制品和物品能讲述故事,
02:33
but I really couldn't不能 find one
that was really good quality质量.
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但是我的确找不到
一件高质量的长袍。
02:36
What is a black黑色 man to do in America美国
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当一个美国黑人找不到
02:38
when he can't find the quality质量
Klan三K党 robe长袍 that he's looking for?
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高质量的三K党长袍,
他该怎么办呢?
(笑声)
02:41
(Laughter笑声)
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02:45
So I had no other choice选择.
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所以我没有其他的选择。
02:47
I decided决定 I was going to make
the best最好 quality质量 Klan三K党 robes长袍 in America美国.
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我决定我要自己做
美国最高质量的三K党长袍。
02:53
These are not your traditional传统 Klan三K党 robes长袍
you would see at any KKK三 k 党 rally团结.
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这不是你能在三K党集会中
看到的传统的三K党长袍。
02:57
I used kente肯特 cloth,
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我使用肯特布,
02:59
I used camouflage伪装,
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迷彩,
03:01
spandex氨 纶, burlap粗麻布, silks,
satins绸缎 and different不同 patterns模式.
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弹力纤维,粗麻布,丝绸,
缎子以及不同的款式。
03:07
I make them for different不同 age年龄 groups;
I make them for young年轻 kids孩子
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我还给不同的年龄做,
给年轻的小孩做,
03:10
as well as toddlers幼儿.
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还有幼童,
03:12
I even made制作 one for an infant婴儿.
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我甚至给婴儿也做了一套。
03:19
After making制造 so many许多 robes长袍,
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在做了这么多的长袍之后,
03:21
I realized实现 that the policies政策
the Klan三K党 had in place地点
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我意识到三K党的政策
已经达到的效果,
03:25
or wanted to have in place地点
a hundred years年份 ago
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或者说一百年前想要达到的效果,
03:28
are in place地点 today今天.
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在今天发生了。
03:30
We have segregated隔离 schools学校,
neighborhoods社区, workplaces工作场所,
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我们有着种族隔离的学校,
社区和公共场所,
03:35
and it's not the people wearing穿着 hoods抽油烟机
that are keeping保持 these policies政策 in place地点.
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然而使得这些政策产生效果的,
并不是带着三K党帽子的人。
03:41
My work is about
the long-term长期 impact碰撞 of slavery奴隶制度.
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我的工作是有关奴隶制的长期影响。
03:44
We're not just dealing交易
with the residue残留 of systemic系统的 racism种族主义.
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我们不仅仅是在解决
系统种族主义残留的问题。
03:47
It's the basis基础
of every一切 single thing we do.
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它是我们做的每件事的基础。
03:50
Again we have intentionally故意地
segregated隔离 neighborhoods社区,
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我们有种族隔离的社区,
03:53
workplaces工作场所 and schools学校.
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公共场所和学校。
03:56
We have voter选民 suppression抑制.
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黑人投票者被镇压。
03:57
We have disproportionate不成比例 representation表示
of minorities少数民族 incarcerated嵌顿.
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我们有着不成比例的被监禁的人数。
04:03
We have environmental环境的 racism种族主义.
We have police警察 brutality残酷.
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我们面临环境种族主义,
遭遇警察的残暴对待。
04:08
I brought you a few少数 things today今天.
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我给你们带了几件东西。
04:13
The stealth隐形 aspect方面 of racism种族主义
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种族主义的隐秘,
04:16
is part部分 of its power功率.
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就是它力量的一部分。
04:19
When you're discriminated歧视 against反对,
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当你被歧视的时候,
你不能永远证明你是被歧视的。
04:21
you can't always prove证明
you're being存在 discriminated歧视 against反对.
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04:25
Racism种族主义 has the power功率 to hide隐藏,
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种族主义有着隐藏的力量,
04:28
and when it hides, it's kept不停 safe安全
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当它藏起来的时候,它是安全的,
04:31
because it blends共混物 in.
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因为它融入了文化环境中。
04:34
I created创建 this robe长袍 to illustrate说明 that.
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我制作这些长袍来表明,
04:38
The basis基础 of capitalism资本主义
in America美国 is slavery奴隶制度.
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美国资本主义的基础就是奴隶制。
04:46
Slaves奴隶 were the capital首都 in capitalism资本主义.
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奴隶是资本主义的资本。
04:50
The first Grand盛大 Wizard巫师 in 1868,
Nathan弥敦道 Bedford贝德福德 Forrest福雷斯特,
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1868 年,第一个大巫师,
内森贝 · 弗福雷斯
04:54
was a Confederate帮凶 soldier士兵
and a millionaire百万富翁 slave奴隶 trader商人.
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是一个美利坚邦联士兵,
也是一个靠奴隶贸易发家的百万富翁。
05:07
The wealth财富 that was created创建
from chattel动产 slavery奴隶制度 --
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他从奴隶贸易创造的财富——
05:10
that's slaves奴隶 as property属性 --
would boggle惊奇 the mind心神.
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视奴隶为财产的观念——
是我心中挥之不去的阴影。
05:14
Cotton sales销售 alone单独 in 1860
equalled相当于 200 million百万 dollars美元.
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单单棉花贸易一项就产生了
大约两亿美元的价值。
05:18
That would equal等于
five billion十亿 dollars美元 today今天.
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这个数字等于现在的五十亿美元。
05:23
A lot of that wealth财富 can be seen看到 today今天
through通过 generational wealth财富.
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很多今天的财富都是
代代相传下来的。
05:28
Oh, I forgot忘记 the other crops作物 as well.
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哦,我忘记了这些经济作物。
05:30
You have indigo靛青, rice白饭 and tobacco烟草.
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槐蓝(用作染料),
大米以及烟草。
05:38
In 2015, I made制作 one robe长袍 a week
for the entire整个 year.
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在 2015 年这一年里,
我每周制作一个长袍。
05:43
After making制造 75 robes长袍, I had an epiphany顿悟.
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在制作了 75 件长袍之后,我顿悟了。
05:45
I have a realization实现
that white白色 supremacy霸权 is there,
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我意识到了白人至上主义就在这里,
05:51
but the biggest最大 force
of white白色 supremacy霸权 is not the KKK三 k 党,
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白人至上主义背后
最大的力量并不是三K党,
05:55
it's the normalization正常化 of systemic系统的 racism种族主义.
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而是系统种族主义的正常化。
05:59
There was something else其他 I realized实现.
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我还意识到一件事,
06:01
The robes长袍 had no more power功率
over me at all.
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长袍对我来说已经没有
任何威慑作用了。
06:05
But if we as a people collectively
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但是如果我们,作为一个集体,
看着这些东西——
06:09
look at these objects对象 --
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06:11
branding品牌 irons铁杆, shackles镣铐, robes长袍 --
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烙铁,手铐,长袍,
06:13
and realize实现 that they
are part部分 of our history历史,
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我们能意识到它们是
我们历史的一部分,
06:16
we can find a way to where they have
no more power功率 over us.
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我们就可以找到一种方法,
使得它们不再能威慑我们。
06:21
If we look at systemic系统的 racism种族主义
and acknowledge确认
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如果我们能够直面系统种族主义,
06:26
that it's sown播种 into the very fabric
of who we are as a country国家,
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并且承认它已经
植入到我们国家的根基。
06:31
then we can actually其实 do something
about the intentional故意的 segregation隔离
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那么我们就能在种族隔离的
学校,社区和公共场所,
06:35
in our schools学校,
neighborhoods社区 and workplaces工作场所.
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对有意的种族隔离
采取一些实际的行动。
06:40
But then and only then
can we actually其实 address地址
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但是只有在我们能够说出,
06:43
and confront面对 this legacy遗产 of slavery奴隶制度
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以及面对这奴隶制的遗毒,
06:45
and dismantle拆除 this ugly丑陋 legacy遗产 of slavery奴隶制度.
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才能消除丑陋的奴隶制
遗留下的东西。
谢谢。
06:49
Thank you very much.
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(掌声)
06:50
(Applause掌声)
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Translated by monkey luffy
Reviewed by Yanyan Hong

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ABOUT THE SPEAKER
Paul Rucker - Visual artist, cellist
Paul Rucker creates art that explores issues related to mass incarceration, racially-motivated violence, police brutality and the continuing impact of slavery in the US.

Why you should listen

Paul Rucker is a visual artist, composer, and musician who often combines media, integrating live performance, sound, original compositions and visual art. His work is the product of a rich interactive process, through which he investigates community impacts, human rights issues, historical research and basic human emotions surrounding particular subject matter. Much of his current work focuses on the Prison Industrial Complex and the many issues accompanying incarceration in its relationship to slavery. He has presented performances and visual art exhibitions across the country and has collaborated with educational institutions to address the issue of mass incarceration. Presentations have taken place in schools, active prisons and also inactive prisons such as Alcatraz.

His largest installation to date, REWIND, garnered praise from Baltimore Magazine awarding Rucker "Best Artist 2015." Additionally, REWIND received "Best Solo Show 2015" and "#1 Art Show of 2015" from Baltimore City Paper, reviews by The Huffington Post, Artnet News, Washington Post, The Root and The Real News Network. Rucker has received numerous grants, awards and residencies for visual art and music. He is a 2012 Creative Capital Grantee in visual art as well as a 2014 and 2018 MAP (Multi-Arts Production) Fund Grantee for performance. In 2015 he received a prestigious Joan Mitchell Painters & Sculptors Grant as well as the Mary Sawyer Baker Award. In 2016 Paul received the Rauschenberg Artist as Activist fellowship and the Smithsonian Artist Research Fellowship, for which he is the first artist in residence at the new National Museum of African American Culture.

Residencies include MacDowell Colony, Blue Mountain Center, Ucross Foundation, Art OMI, Banff Centre, Pilchuck Glass School, Rauschenberg Residency, Joan Mitchell Residency, Hemera Artist Retreat, Air Serembe, Creative Alliance and the Rockefeller Foundation Study Center in Bellagio, Italy.  In 2013-2015, he was the Robert W. Deutsch Foundation Artist in Residence and Research Fellow at the Maryland Institute College of Art. He was most recently awarded a 2017 John Simon Guggenheim Fellowship, a 2018 TED Fellowship and the 2018 Arts Innovator Award from the Dale and Leslie Chihuly Foundation and Artist Trust. Rucker is an iCubed Visiting Arts Fellow embedded at the Institute for Contemporary Art at Virginia Commonwealth University.

Rucker's latest work, Storm in the Time of Shelter, an installation of 52 custom Ku Klux Klan robes and related artifacts, is featured in the exhibition "Declaration," on view at the new Institute for Contemporary Art at Virginia Commonwealth University in Richmond, Virginia through September 9, 2018.

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Paul Rucker | Speaker | TED.com