Loaded objects: addressing gun violence through art in the gallery and beyond

Gun violence impacts our experience of public spaces, including how we represent and memorialize tragic events stemming from guns in public ways. Immediate memorials, complete with flowers and other ephemera, frequently appear at the sites of gun violence, at times to be followed by permanent memorials with contemplative spaces and names of victims etched in stone. While communicating loss and grief, both of these strategies usually evade any real political action or consideration of the complexities of gun violence or its causes. Mirroring the stalemate in our political dialogue around guns and their proliferation, our dominant strategies of memorialization similarly offer little more than "thoughts and prayers". In what ways can contemporary art break through these evasions and even prompt dialogue or change around the complex array of issues that arise with the increased presence of guns in American society? How can art generate experiences for viewers that allow for a more complex consideration of gun-related violence than the cycle of grief seen in immediate and permanent memorials? In this paper, I survey works of art that produce possibilities for transformative conversation around the issue by considering guns as what Bruno Latour calls "actants". I begin by examining guns in the gallery, first offering a new readings of Chris Burden's Shoot (1971) and Marina Abramović's Rhythm 0 (1974), both of which notoriously included real firearms, and then turning to sculptural projects that literally disarm guns, rendering them deliberately strange and prompting complex conversations about their material presence in American life. I then shift focus towards the public sphere to consider works by Krzysztof Wodiczko, Jenny Holzer, and Michael Rakowitz, artists who rewire established circuits of monumental commemoration, public space advertising, and vernacular immediate memorials to generate a sense of distance, and even a safe space for dialogue in the public realm.

Annie Dell'Aria