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"[[[pull_quote]]]Assembled here together for the first time in this large-scale survey, Jefferson Pinders films and videos feature subjects who never speak. But their message comes across loud and clear nevertheless. When a white man repeatedly slaps a black man across the face (Passive/Resistance; 2008), or when two men in suits &amp;#8212; one man is white, the other black &amp;#8212; endlessly wrestle (Fisticuffs; 2004), or a lone, naked black man mysteriously finds clothes for the office as he races through woods and then city streets (Marathon; 2003), viewers understand that they are witnessing the difficulties and frustrations inherent in the African-American experience.The highlight of the show is a 10-video series titled &amp;quot;Juke&amp;quot; (2006), which features close-ups of people lip-synching rock songs. Juke is slang for music or dance, but it is also used to describe a tactical move in football when a player fakes out someone from the other team by running in the wrong direction. In the videos, the performers, all African-American, reclaim the music that never would have existed had blacks not first invented the blues. Freddie Mercurys strange scatting in Juke: Stanley (Under Pressure) and Patti Smiths white punk appropriation of the &amp;quot;N&amp;quot; word in Juke: Anna (Rock n Roll Nigger) both become problematic in new ways via this interpretation. The scatting becomes silly, and Smith&amp;#8217;s attempt to redefine the racial slur wears thin. The tight close-ups on the actors offer pure and undiluted performances, and taken as a whole the work negotiates an visceral and cerebral existence that is far from didactic.  Jefferson Pinder&amp;quot; originally appeared in the Summer 2009 issue of Modern Painters. For a complete list of articles from this issue available on ARTINFO, see Modern Painters'  Summer 2009 Table of Contents."^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.blouinartinfo.com/news/story/31557/jefferson-pinder>