There is a body of Christenberry’s work that I have been interested to see for quite a while. The installation is called The Klan Room. I only knew of The Klan Room by stories I had heard at the Corcoran when I was attending there in the early eighties. The stories were about G.I. Joes dressed up in Klan robes interacting with each other – and still holding a powerful presence – almost like the sculptures were as evil as the people they represent. I believe this show happened at the Corcoran in 1977.
Then the story starts to change.
1979 Christenberry’s studio was burglarized by people who stole the entire contents of what constituted The Klan Room installation. Nothing else was taken, the intruders even locked the door on the way out. 20 years worth of artwork suddenly disappeared. Christenberry started over. He would expand the size of The Klan Room installation to three times its original.
At the same time WC’s fans would ask, why pursue a subject so painful and divisive, galleries and museums have shied away from showing it due to corporate sponsorship concerns, others would say its not the right time or the right place. Others would say it’s not a proper subject to make art about. All the while Christenberry has pursued this part of his work regardless of its desirability. The work that comprises The Klan Room is deadpan and in your face. It is some of the most shocking and shameful artwork I have ever seem that documents the United States.
The amount of The Klan Room shown in the current show at the Katzen is relatively small, however it packs quite a punch. WC is best known for a body of work that is both documentary in style and concerned with a history of story, and place of memory.
My wife joked about the current curatorial initiative at the Katzen when on the way over she said “Last time we got to see the torture at Abu Grahib – and now this – you really are quite the winner at choosing a date for the two of us…
I hope to discuss the rest of the show later this week, frankly there is so much to discuss.
Some research for this entry was gathered from Aperture #96. Copyright 1984, the Aperture Foundation.
Photo from the Klan Room are by me sneaking them when I was told of no photography for this show, my apologies to all.
I have been trying to find out the fate of the Klan Room art work by my former teacher Bill Christenberry for a long time. I have asked people about it who should know but no one but I – and one other person that I knew, Walter Hopps, who has since died – seemed to be aware of it. Of course I now know I was wrong about that as it is all over the images if you Google Christenberry – so it must now be a matter of public record now – but I believe it is still not extensively known. I was privileged to see this work in WC’s studio in 1975 when I accompanied Walter Hopps there on a visit. At the time I was told it was a secret project and I have often wondered what became of it.
Has the mystery of who broke in the studio and stole it ever been solved?
I left DC for LA in 1976 and have since moved to Seattle. There is a gallery here, G. Gibson, that shows WC’s photographic works, but they have never heard of the Klan figures.
I see mention of the Katzen Gallery – at A.U.? Who curated it there – was it Jack Rasmussen?
Laurie
Laurie: Great comment and questions. As far as I know, the mystery of the break in has never been resolved in any form one way or another. It was always my understanding that the work was mostly kept under wraps – primarily for the family’s safety. Clearly I wouldn’t want the Klan breaking into my home either. I’m pretty sure that Jack Rasmussen was the curator of the show.