Now he’s out in public and everyone can see presents a fractured narrative composed of fragments of video diaries collected between 2009-2011 where people narrate views on media scandals involving four famous African American men. The man is not named or seen. Instead viewers are presented with numerous portraits, each of a speaker with an investment in the absent’ man’s identity. Now he’s out in public and everyone can see foretells the stirring the white backlash of the Trump Era, amplified in online echo chambers and cacophony, where bigoted and sensible expressions are often leveled. Originally presented as a multi-channel gallery installation in 2012, Now he’s out in public and everyone can see has been expanded and made into a film in 2017.
Now he’s out in public and everyone can see addresses fraught conversations about race and celebrity online, documenting the internet as a site of struggle and discord, and the poisonous and volatile intersection between social media’s assent and beginning of Obama era. This was a period some claimed would be “post racial” but instead ushered in a rise in expressions of overt racism and a backlash against a perceived threat of black publicness into spaces of power, historically and normatively constituted as white.