Looking to hip-hop as a model for a postmodern practice, Kendell Carter refuses the classification of a “high” discourse against a street or pop culture.
Looking to hip-hop as a model for a postmodern practice, Kendell Carter refuses the classification of a “high” discourse against a street or pop culture. Carter’s sculptural installations and recent works on paper blend urban street culture with traditional decorative elements — Kangol hat lamp shades, Wassily chairs upholstered in puffy jackets, graffiti tag coat racks. The result is clever and playful, yet the superficial humor of these cultural juxtapositions only briefly conceals the historical conflicts and contemporary issues that they ultimately reference and reveal.