Shelby Nashe Class of 2029- Elizabeth Prophet Exhibit

It was a Thursday afternoon when I walked to the museum to see the Elizabeth Prophet exhibit, "I Will Not Bend An Inch." The sun was beating down on my face, and I was excited to enrich myself with this experience alongside my sisters. As I explored Prophet's works, one piece, her mask, particularly caught my eye. It was a simple mask, but the complexity of its message stood out to me. I found it interesting that this was the only known mask ever created by Prophet. On the front of the piece, it read, “This is the only known existing mask made by the Prophet. In photos, there are examples of other masks that were, like this one, created in the latter part of her career. Their locations are unknown.

Contemporary scholar and artist Kelly Taylor Mitchell writes in the exhibition's catalogue, “To wear the mask, concealing one's Blackness and/or Indigeneity, is an act of self-protection that carries risk. The mask may inundate its wearer, making it harder to disentangle from the systems of violence that compel concealment.”

I believe that this mask represents two perspectives. The shimmery gold exterior symbolizes the facade of being white, while the dull brown interior reflects a bleak reality. The reward of this facade is only perceived by white people when wearing it; Black individuals cannot even see the prize they are expected to wear. It’s almost as if this facade isn’t about the liberation of Black people; it’s merely a means of survival. The frame of reference used here is that of a white man. I began to question why the mask depicted a white man, especially considering that Prophet is a woman. Moreover, the mask was painted gold instead of white. Even though it represents a white man, the gold paint elevates his facial features to a standard of value. It broadens the interpretation to suggest that the interior of the mask is intended for anyone who does not fit those standards.

Furthermore, I believe the sculptor favored a problem-posing method to convey her content; however, it's a more passive approach. She stated that creating these masks is not just an act of resistance—it’s a form of expression that she feels has been bestowed upon her. She raises the issue of Black people's existence and how it is often dictated by the white man, who can either subject them to violence or complicate their lives through policy.

This mask does not glorify anyone; instead, it highlights the distressing reality of having to conceal one's identity to avoid violence. The contrasting realities displayed highlight the seemingly joyous persona of the white man versus the depletion of joy experienced by those who must wear such a mask.

 -When I entered the exhibit, the sun was shining brightly, and I was able to embrace every ray shining down on my face because I am liberated from that mask. The freedom of existing as a Black woman, outside the narrative that suggests liberty only exists for white men, is truly liberating. That is liberty, and that is the true meaning of freedom.

Sincerely,

Shelby Nashe