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 Something is also reclaimed in the text-based work that appears in “I’m,” such as La’Condrea is a noun. (2020). With that piece, Roberts seeks to validate traditionally Black names, rooted as they are in the legacy of emancipation. “The purpose of my work is to create different pathways in order for people to talk about issues of race, gender, sexuality, and colorism,” she says. “When I say a name like Shemika, automatically you’re going to have a visual of who you think Shemika is, and [the idea of] the text-based work is to illuminate that these names are all driven from the first opportunity that the slaves had when they were freed to name their children.” By asserting that La’Condrea is a noun, even when word processors mark it as an error, Roberts forces a reckoning—and makes a humble request. “[The work] is trying to engage the audience to see things differently,” she says, “and to see the human part of being Black.”

Deborah Roberts, La’Condrea is a noun., 2020. Silkscreen on paper. 30 x 22 inches. “Deborah Roberts: I’m” is on view at The Contemporary Austin from January 23 through August 15. Advanced tickets are required for entry to the museum; reserve them here.  This weekend, two distinctly disorienting gallery shows open in New York. They’re not the bad kind of disorienting, like what we all experienced last year (although the pandemic and its associated disassociation do come up in one of them). What instead happens in both shows is an unsticking, from linear time in Daniel Arsham’s “Time Dilation” at Perrotin and from the stark spatial geometry of the grid in Tara Donovan’s “Intermediaries” at Pace. And rather than alienating or dispiriting, they both have the effect of amusing, beguiling, and altogether delighting.

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