Ej hill mass moca8/16/2023 ![]() Generous support for Brake Run Helix is provided by the VIA Art Fund, National Endowment for the Arts, Further Forward Foundation, and the Jacques and Natasha Gelman Foundation.ĮJ Hill, joy study (pre-drop palms), 2019. Makayla Bailey is the Co-editor and Interpretation Consultant. This exhibition is organized by Alexandra Foradas, Curator of Visual Art at MASS MoCA. For his first solo museum show and largest exhibition to date, EJ Hill will create a massive installation that incorporates a stage for performances as well. He is forever indebted to these educators and thanks them endlessly. Much of what he knows, he has learned from: Estelle Thompson, Karen Thompson, Ernest Hill Jr., Margaret Nomentana, Joan Giroux, Adam Brooks and Mat Wilson (Industry of the Ordinary), Andrea Fraser, Mario Ybarra Jr., Na Mira, Matt Austin, Young Chung, Jordan Casteel, TLC, Lauryn Hill, and Augie Grahn. Keep an eye on the Community Programming in EJ Hill: Brake Run Helix webpage for news about upcoming programming.ĭownload a PDF of the gallery guide here.ĮJ Hill Wants to Take You on a Ride, The New York Times, October 2022ĮJ Hill and Jordan Casteel Teach Us How to Paint, Interview MagazineĮJ Hill is a visual artist who lives and works in Los Angeles, California. ![]() Are you interested in riding? The line starts here.ĮJ Hill’s exhibition Brake Run Helix is an offering to our community-not only to experience the individual and collective joy of the roller coaster at its center, but also to activate the exhibition’s stage through conversations, performances, and gatherings in the spirit of joy. Visitors can see the roller coaster activated by riders throughout the day. Brava!’s single cart emerges from behind a two-story velvet stage curtain, moves across the coaster’s pink tracks, and ultimately comes to rest on the wooden stage, while onlookers observe from below. In Brake Run Helix, Hill inverts the experience of riding a roller coaster, transforming it from a shared ritual of joy and terror to an individual performance: only one person may ride the roller coaster, Brava!, at a time. For Hill, roller coasters are public monuments to the possibility of attaining joy-which, as he notes, is “a critical component of social equity.” In the United States, amusement parks were contested sites throughout Jim Crow-era desegregation efforts for equitable access to pleasure, leisure, and recreation. He explains that “my body holds the echo or remnant of something,” and works towards a future that elevates those who are frequently not seen and heard. Hill has often incorporated his physical presence by performing as part of these projects. ![]() Hill’s practice focuses on everyday experiences that intermingle public struggle, endurance, trauma, and joy, whether within athletics, religion, the American education system, or amusement parks. For his first solo museum show and largest exhibition to date, EJ Hill has created a massive installation that incorporates freestanding sculptures, paintings, a stage for performances, and a rideable sculptural installation inspired by the form and function of roller coasters. ![]()
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