Not on view
Date
2018
Classification
Paintings
Medium
Acrylic, oil pastel, airbrush, aerosol paint on canvas, and sneakers
Dimensions
Overall (In-situ): 99 1/2 × 54 × 15 3/4in. (252.7 × 137.2 × 40 cm)
Accession number
2022.232a-c
Credit line
Whitney Museum of American Art, New York; gift of Dawn and David Lenhardt
Rights and reproductions
© Pat Phillips
Audio
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Pat Phillips, The Farm, 2018
In Inheritance (Spanish)
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Pat Phillips, The Farm, 2018
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Pat Phillips: Me llamo Pat Phillips y soy pintor.
Esta es una pintura de obreros convictos labrando la tierra. Pienso en la idea de los zapatos para mí personalmente, como si regresara al modo de hablar de este concepto irónico y jocoso, e incorporo estas imágenes mundanas.
Recuerdo que mi hermano mayor me enseñó a limpiar el calzado con un cepillo de dientes para dejarlos limpios, porque eso es lo que la gente nota, y la gente te muestra un cierto nivel de respeto cuando ven que llevas zapatos limpios y en buenas condiciones. Y eso es algo que, de alguna manera, se traduce en el sistema penitenciario: los tipos de zapatos que llevas, y tener zapatillas en perfecto estado, las cuales definitivamente se ensuciarán por trabajar en la tierra.
Narrator: El título de esta obra hace referencia a la película homónima de 1998, sobre la infame penitenciaría estatal de Luisiana —conocida como Angola— ubicada en Luisiana, no lejos del lugar donde Phillips creció, en Pineville, Luisiana. Debido al trabajo forzoso que realizan los prisioneros, brutal y sin remuneración, se dice que la penitenciaría es una plantación contemporánea.
Pat Phillips: Desde pequeño hasta hace un tiempo, mi padre fue militar durante treinta años y, luego, tras jubilarse, terminó trabajando como vicegobernador en la prisión.
Narrator: El padre de Phillips trabajó allí durante diez años.
Pat Phillips: El lugar donde crecí es muy rural. Soy de Pineville, un pueblo de unos quince mil habitantes, por lo que el lugar es casi todo paisaje. Se ven muchas tierras de cultivo. Y la obra que ve, bueno, es una imagen tomada directamente de allí. Puede ver cómo funciona el sistema agrícola en Luisiana. Especialmente con los prisioneros.
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Pat Phillips, The Farm, 2018
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Pat Phillips: My name is Pat Phillips. I'm a painter.
It’s a depiction of prison laborers working in the field. I think the idea of the shoes for myself, kinda going back to this sort of tongue-in-cheek, back-and-forth concept with humor, using these sort of mundane images.
I remember my older brother taught me to clean the shoes with a toothbrush and keeping your shoes very clean, because that's what people notice, and you do get a certain level of respect when people see you have nice, fresh shoes. And that's something that sort of translates within the prison system. You know, what kind of shoes you have, and having very clean sneakers. Which will essentially get muddy while working in the field.
Narrator: The title of this work references a 1998 film of the same name, about the infamous Louisiana State Penitentiary–known as Angola–located not far from where Phillips grew up, in Pineville, Louisiana. The prison has been described as a modern-day plantation due to the unpaid and brutal forced labor performed by inmates there.
Pat Phillips: Growing up, my dad was in the military for thirty years and then after retiring from the military he ended up becoming a lieutenant at the prison.
Narrator: Phillips's father worked there for ten years.
Pat Phillips: Where I grew up, it's pretty rural. Like, I'm from a town that's about 15,000 people, and so it's just kinda the landscape. You do see a lot of farmland. You know, it's kinda just pulled directly from that, and you're seeing how the agricultural system is done in Louisiana. Especially with the prisoners.
Installation photography
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Installation view of Inheritance (Whitney Museum of American Art, New York, June 28, 2023—February, 2024). From left to right: Todd Gray, Onisimo / Leopold, 2019; Kambui Olujimi, Your King Is on Fire, 2020; Pat Phillips, The Farm, 2018. Photograph by Ron Amstutz
From the exhibition Inheritance
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Installation view of Inheritance (Whitney Museum of American Art, New York, June 28, 2023—February, 2024.). From left to right: An-My Lê, Monument, General P.G.T. Beauregard, New Orleans, Louisiana, 2016; Faith Ringgold, United States of Attica, 1971; Kevin Beasley, The Road, 2019; Pat Phillips, The Farm, 2018. Photograph by Ron Amstutz
From the exhibition Inheritance
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Installation view of the Whitney Biennial 2019 (Whitney Museum of American Art, New York, May 17-September 22, 2019). From left to right: Kota Ezawa, National Anthem, 2018; Jeanette Mundt, Born Athlete American: Simone Biles III, 2019; Pat Phillips, The Farm, 2018. Photograph by Ron Amstutz
From the exhibition Whitney Biennial 2019