Or more. But Without Sanctuary was a book, a collection of over 150 postcards that were collected by a man who saw some and just thought they were interesting and started collecting them. And he did this exhibition. And then they published a book. And in that book, it's just a collection of the postcards of lynching incidents, but wherein you can see how in these incidents-- I mean, a lynching event was like theater on the one hand, but it was a form of entertainment for a good segment of the population that attended those things. And the fact that these people who were at the lynching are all accessories to a double murder-- they are all accessories to a double murder-- but they are not at all concerned that their picture is being taken by a photographer who is standing outside the frame and that these people are looking at.
Now, this picture of a lynching doesn't foreground the trauma and the violence that's done to the black body. It foregrounds the participation of the spectators who benefit from that kind of terror and that kind of violence that's visited on the body of a black person. So it's like where you properly locate the focus of attention is important. So everybody knows it's tragic and traumatic for the victims of lynching.
But what we don't really spend a whole lot of time asking questions about is what about all those people who are standing there getting their picture taken while they're at the double murder. And since there is no statute of limitations on murder-- there's no statute of limitation on a capital crime like that-- those people, you know, if they were still alive are still subject to prosecution. But the piece is called "Heirlooms and Accessories," which sort of tells you everything.
So you can do that and then you go back to doing-- I mean, it is not inconsistent for me to go back and forth from one of those things to the other thing, to move from one mode of representation to another. I think these are in here twice. Or am I going-- let's just make sure I'm not going backwards. Oh, here we go. But that's the thing. So it's not inconsistent for me to go from one thing to another thing, because everything that I'm doing has a reason for being made.
It has a purpose. And I think it has a utility in terms of the way it operates in relationship to, the way it inserts itself into the narrative of our history. And so this is kind my meditation on a Fragonard painting, called "The Swing."
And this is the fun part, the kind of motion picture part of my presentation, because I always like to do this. It's a series of five paintings that constitute one painting. But the thing is it's that swing around is the embodiment of the idea of the swing. But it doesn't have to look like Fragonard's picture, "The Swing," which is also another key element in terms of my approach to making artworks. So these vignette paintings have a lot to do with the way in which they engage the idea of the Rococo paintings, as a kind of 18th century French genre of pretty pictures. Wherein the device that's used, apart from the subject matter, but the device that's used is the vignette.
These are all called vignette. But the vignette as a device was something that was an approach that was designed during the 18th century in France as a Rococo device. And it's a way of creating a kind of irregular shape that's primarily a decorative function, but in some ways isolates the image from the field on which the image is painted.