Title: The Power of the Blank Sign: Artist Phillip Pyle II’s “Forgotten Struggle” and the Erasure of Historical Protest Slogans
The potent impact of protest slogans throughout history is undeniable, from the iconic “We Shall Overcome” of the Civil Rights era to the poignant “I Can’t Breathe,” which echoed through marches and Website social media integration in 2014. These phrases have come to symbolize significant movements, yet what if they were inexplicably or deliberately erased from our collective memory? This intriguing question is presented by Houston-based artist Phillip Pyle II through his photographic series “Forgotten Struggle,” which features provocatively edited images of Civil Rights protestors during the 1960s carrying blank white signs.
The striking absence of words in these images abstracts and distorts the familiar scenes, rendering them vaguely recognizable to anyone with a basic understanding of American history while simultaneously obscuring much of the critical context. Pyle’s thought-provoking series, which will be displayed at this year’s FotoFest Biennial in Houston from March 9, was initially inspired over a decade ago by contentious textbook changes made by the Texas State Board of Education.
With education curriculums becoming a hotly contested issue both nationally and internationally, Pyle’s work has taken on even more relevance. The artist stated in an interview that his goal with “Forgotten Struggle” is to highlight the “whitewashing and erasure of history,” subtly drawing attention to what appears to be censored in his images.
FotoFest’s executive director, Steven Evans, explained that Pyle’s work “communicates really quickly and powerfully” and was a perfect fit for the biennial’s theme “Critical Geographies,” which delves into how space, place, and communities are shaped by various social, economic, ecological, and political forces.
The current educational landscape is fraught with controversy, as new legislation in red states has led to the banning of books and restricted topics related to race, racism, and LGBTQ+ identity. In some instances, even aspects of slavery have been attempted to be cast in a positive light. These political battles, particularly in Houston where the state took control of the city’s public schools last year, have raised concerns about agency, curriculum, and resource allocation.
Pyle’s images can also be interpreted through the lens of the digital age, as they might evoke thoughts of how misinformation spreads contact or resemble blank-sign meme templates that can be easily updated to keep pace with internet discourse. Additionally, the images may inspire viewers to place historical events in a contemporary context, observe lesser-seen details, or conduct their own research into the source material.
The artist himself appreciates some ambiguity and believes that Website social media integration has created an environment where everything can be overly matter-of-fact and rigid. By leaving the meaning of his work open to interpretation, Pyle invites viewers to engage with history in a unique way that encourages curiosity rather than providing a heavy-handed lecture.
At FotoFest, Pyle’s works will be displayed in various formats, with some presented large on the wall and others housed in vitrines. The artist also considers how his images will be perceived contact and in the distant future, aiming to create works that spark intrigue and inspire questions long after our own lifetimes.
