Variable size & proportions.

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Tabb writes of this work in the "Humanity Is Not A Spectator Sport" exhibition catalogue (available for purchase):

"A number of years ago I was introduced to the conceptual artwork of the American artist Senga Nengudi. I recall reading that in the 1970s she struggled to find a pair of women’s nylons that matched the color of her dark brown skin. Ballerinas have struggled for decades with a similar issue, often having to apply makeup to pointe shoes to ensure they matched any tone darker than a peachy white.

For more than a year now I have been making spot checks in different pharmacies to see what bandages are available in the first aid aisles. And while it’s all well and good to find Star Wars and Paw Patrol Band-Aids, it’s even better to find them in a range of skin tones. The scarcity of varied skin tone bandages in my searches in pharmacies around the country only emphasizes this point. The paucity of the range of bandages on offer may seem small and insignificant, but they are representative of a much larger issue regarding assumptions of representation. How is a Black child supposed to feel when almost all the bandages in any pharmacy aisle are closer to a Caucasian skin tone than their own? What does it mean when there’s no representation of what you look like in the world? When you rarely see yourself reflected back, what message does it send?

As we in America continue the process of pulling down Confederate monuments, its also important to look at the smaller signifiers that suggest what the monument may mean to one race or religious affiliation. In Dismantling My Own Monuments the toppled bust is modeled directly from my own body, using band-aids painted a color matched to my skin tone. It rests on the ground and represents my need to embody the personal work of toppling the inherent biases I have been carrying. Hopefully as we all start seeing more options in how we cover our surface wounds, we will be able to (slowly) start the process of evaluating bias and healing from deeper hurts as well."

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Caron Tabb’s newest show, Humanity Is Not A Spectator Sport explores many subjects, from her white privilege to how all viewers can engage in social justice through art. Using not only her own works, body, mind and experience, but also gallery walls, Tabb’s feminist contemporary art as a jewish female artist leads to unique creations. Weaving in her South African origins, her Israeli upbringing and her last two decades in the United States, Tabb’s unique yet international style in art sets her apart. Now working from Boston, her conceptual wall art and sculptures continue to grow and evolve.

For more images of each piece, please inquire above or contact Beacon Gallery. Virtual or in-person visits to see the work are also available.