Permanent Collection of Viterbo University, Art Museum, La Crosse, Wisconsin.
In a powerful and evocative installation, Keith Francis created six mason jars containing black-and-white archival photographs of individuals who have been subjected to slavery, from the mid-1800s to contemporary times in the United States. The artwork, titled Exploitation, critically examines the pervasive legacy of slavery in America, highlighting the stark reality that the abolition of slavery under the Thirteenth Amendment in 1865 did not eradicate exploitation; rather, it transformed into more insidious forms.
Francis's work reveals that, despite the legal abolition of slavery, exploitative practices persisted, both overtly and covertly. For instance, the First Transcontinental Railroad was constructed using forced labor of Chinese workers from 1863 to 1869, a historical fact often overshadowed by the broader narratives of American progress. Furthermore, the agriculture industry continues to thrive on forced labor, with many fruits, vegetables, and juices harvested under conditions that echo the very exploitation the Thirteenth Amendment sought to dismantle. This includes labor in California’s fertile valleys and Florida’s orange groves, where workers often endure harsh conditions for minimal pay, a modern reflection of historical injustices.
The broader implications of slavery and exploitation extend into contemporary contexts, including the alarming prevalence of human trafficking in the United States. According to a 2013 FBI report, approximately 293,000 American youths are at risk of becoming victims of sex trafficking, revealing the ongoing vulnerability of marginalized communities in a supposedly liberated society.
By incorporating archival photographs into mason jars, Francis creates a striking visual metaphor that elevates the historical narratives of these individuals while simultaneously acknowledging their continued relevance today. The use of mason jars, typically associated with preservation and home-making, contrasts sharply with the themes of exploitation and subjugation, prompting viewers to confront the uncomfortable realities of labor and human rights violations in American society.
The acquisition of Exploitation by a university for its permanent collection underscores the importance of this work within contemporary art discourse. It serves not only as a critical reflection on America’s historical and ongoing struggles with slavery and forced labor but also as an educational tool that challenges viewers to recognize and engage with these persistent issues. In doing so, Francis’s piece contributes to a vital dialogue about social justice, human rights, and the necessity of acknowledging uncomfortable truths in order to foster a more equitable society.
