Pat Ward Williams | |
|---|---|
 Pat Ward Williams in 2014 | |
| Born | 1948 (age 76–77) |
| Education | BFA,Moore College of Art and Design; MFA,Maryland Institute College of Art |
| Known for | Photography, public art |
Pat Ward Williams (born 1948) is an African-American photographer whose work often engages with the complexities of race, gender, and history.[1] In addition to her smaller-scale photographs and installations, she has designed three public artworks in Los Angeles.
Williams holds a BFA fromMoore College of Art and Design (1982) and an MFA from theMaryland Institute College of Art (1987).[2]
One of Williams’ best known works isAccused/Blowtorch/Padlock (1986), which consists of an image of a black man tied to a tree (originally published inLife magazine in 1937 and not attributed to a specific photographer), surrounded by text expressing the artist's reaction to this image.[3]
Accused/Blowtorch/Padlock has been included in exhibitions such asThe Decade Show, a large-scale collaborative exhibition by theNew Museum,Studio Museum in Harlem, and The Museum of Contemporary Hispanic Art, as well as inArt, Women, California 1950–2000: Parallels and Intersections at theSan Jose Museum of Art.[4][5]
Williams was part of the Photo-Active Feminist Visiting Artists 1998–99 Series, sponsored by theNational Endowment for the Arts and theUniversity of Michigan School of Art and Design and Women's Studies Program. The group of artists, which also included Paula Allen,Barbara Kruger,Susan Meiselas,Connie Samaras, Kathy Constantinides,Wendy Ewald, and Marilyn Zimmerman, were chosen for their engagement with social and political issues in their work and traveled to theUniversity of Michigan to present their work to students and the community.[1]
In 1992, Williams published the exhibition catalogProbable Cause, which contained a series of photographs shown at the Goldie Paley Gallery at Moore College of Art and Design.[6]
In Williams Accused/Blowtorched/Padlock work she is able to create a direct view and message through her use of text and visual aid alongside the original image of the torture. Williams enlarges certain aspects of the original image and encases them in an old window frame- like border to bring the viewer to a truly witness what is happening in the photograph.[7]
Williams has explained her intent in the work and how that relates to the title of the piece: “I force the viewer to look at what is really going on by dissecting the important body of information and by directing with text what the viewer should notice: the tied hands (accused), the scarred back (blowtorch), and the lock, chain, and tree (padlock).”[8] Art historian Dora Apel has argued that in including the text of her own response to the image, Williams "attempts to define for the viewer the relationship between violence, spectacle, and public representation."[8]
Williams has also created threepublic artworks in Los Angeles. In 1995, she designedThe Emperor of the Great 9th District, a memorial toGilbert Lindsay installed at theLos Angeles Convention Center.[9] The monument consists of three 10-foot high, triple-sided concrete pillars featuring a portrait of Lindsay at his desk. When viewers move closer, they see that the large image of Lindsay is made up of 104 smaller tiles that contain additional images of Lindsay with his family, staff, and other public figures, includingMartin Luther King Jr.[9]
Williams’ 2001 workStarbursts decorates theHollywood and Highland Center. Inspired by the finale dance scene ofBusby Berkeley’s 1934 filmDames, Williams created circular images that mimic the camera angles in the film. The photo-etched images are on black granite and can be seen on the upper and lower entrance plaza floors of theDolby Theatre.[10]
In 2003, Williams created the public artworkEveryday People for theLake metro station in Los Angeles. The work consists of large photographs of local people mounted on colored glass panels.[11]
Williams has taught photography atUC Irvine and as a visiting professor at theUniversity of Hawaii at Manoa andTechnikon Witwatersrand, inJohannesburg.[2] She teaches atFlorida State University, where she has worked since 2000.[12]
Williams' daughter, Janaya Williams, is a radio producer atNational Public Radio in Washington, DC.[13]
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