[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-1-en-105":3,"doc-seo-565510-105":53,"doc-detail-565510-en":120},{"code":4,"msg":5,"data":6},0,"success",[7,14,19,24,29,34,39,44,49],{"id":8,"doc_module":9,"doc_module_name":10,"category_name":11,"show_sort_weight":12,"slug":13},11,1,"Template","Presentations",90,"presentations",{"id":15,"doc_module":9,"doc_module_name":10,"category_name":16,"show_sort_weight":17,"slug":18},12,"Resumes",80,"resumes",{"id":20,"doc_module":9,"doc_module_name":10,"category_name":21,"show_sort_weight":22,"slug":23},14,"Invoices",70,"invoices",{"id":25,"doc_module":9,"doc_module_name":10,"category_name":26,"show_sort_weight":27,"slug":28},15,"Posters",60,"posters",{"id":30,"doc_module":9,"doc_module_name":10,"category_name":31,"show_sort_weight":32,"slug":33},16,"Social Media",50,"social-media",{"id":35,"doc_module":9,"doc_module_name":10,"category_name":36,"show_sort_weight":37,"slug":38},17,"Forms",40,"forms",{"id":40,"doc_module":9,"doc_module_name":10,"category_name":41,"show_sort_weight":42,"slug":43},18,"Letters",30,"letters",{"id":45,"doc_module":9,"doc_module_name":10,"category_name":46,"show_sort_weight":47,"slug":48},21,"Paper Templates",5,"papers-templates",{"id":50,"doc_module":9,"doc_module_name":10,"category_name":51,"show_sort_weight":4,"slug":52},158,"General","general-158",{"code":4,"msg":54,"data":55},"ok",{"site_id":56,"language":57,"slug":58,"title":59,"keywords":60,"description":61,"schema_data":62,"social_meta":113,"head_meta":115,"extra_data":117,"updated_unix":119},105,"en","shades-of-white-artists-statement-installation","SHADES OF WHITE - Artist’s Statement - Installation","","SHADES OF WHITE is an installation of 32 mild-steel boxes with silk panels, created through years of research to visually critique racial classification systems. The work reproduces the “Gates Skin Color Chart,” linked to mid-20th-century practices that used skin color to assess children’s adoptability and other outcomes. It also references Felix von Luschan’s chromatic scale and connects genetic discrimination in the United States to eugenics goals of racial hygiene in Nazi Germany. Through natural dyes, steel-and-silk layering, and the melanin “spectrum” idea, the project foregrounds inequality and the fallacy of “pure” black or white.",{"@graph":63,"@context":112},[64,80,95],{"@type":65,"itemListElement":66},"BreadcrumbList",[67,71,74,77],{"item":68,"name":69,"@type":70,"position":9},"https://docshare.wps.com","Home","ListItem",{"item":72,"name":10,"@type":70,"position":73},"https://docshare.wps.com/template/",2,{"item":75,"name":26,"@type":70,"position":76},"https://docshare.wps.com/template/posters/",3,{"item":78,"name":59,"@type":70,"position":79},"https://docshare.wps.com/template/shades-of-white-artists-statement-installation/565510/",4,{"url":78,"name":59,"@type":81,"author":82,"headline":59,"publisher":85,"fileFormat":88,"inLanguage":57,"description":61,"dateModified":89,"datePublished":89,"encodingFormat":88,"isAccessibleForFree":90,"interactionStatistic":91},"DigitalDocument",{"name":83,"@type":84},"GGG","Person",{"url":68,"name":86,"@type":87},"DocShare","Organization","application/pdf","2026-10-13",true,{"@type":92,"interactionType":93,"userInteractionCount":4},"InteractionCounter",{"@type":94},"ViewAction",{"@type":96,"mainEntity":97},"FAQPage",[98,104,108],{"name":99,"@type":100,"acceptedAnswer":101},"What is the central purpose of SHADES OF WHITE?","Question",{"text":102,"@type":103},"It visually critiques historical tools and practices that classified people by skin color and supported racist eugenics outcomes, making those events more accessible to see.","Answer",{"name":105,"@type":100,"acceptedAnswer":106},"Which skin-color charts does the installation reference or recreate?",{"text":107,"@type":103},"It reproduces the “Gates Skin Color Chart” and also discusses Felix von Luschan’s Chromatic Scale as a related system used for racial classification.",{"name":109,"@type":100,"acceptedAnswer":110},"How does the installation use materials to communicate its message?",{"text":111,"@type":103},"Twenty-four thin steel boxes encase silk panels dyed with natural dyes, and layered reflections create a visual blending of tones that emphasizes skin color as a spectrum rather than pure categories.","https://schema.org",{"og:url":78,"og:type":114,"og:title":59,"og:site_name":86,"og:description":61},"article",{"robots":116,"canonical":78},"index,follow",{"doc_id":118,"site_id":56},565510,1791855640,{"code":4,"msg":5,"data":121},{"doc_id":118,"user_id":122,"nickname":83,"user_avatar":123,"doc_module":9,"category_id":25,"category_name":26,"doc_title":59,"doc_description":61,"doc_content":124,"file_id":125,"file_url":126,"file_type":127,"file_size":128,"view_count":4,"is_deleted":4,"is_public":9,"is_downloadable":9,"audit_status":9,"page_count":73,"language":129,"language_code":57,"site_id":56,"html_lang":57,"table_of_contents":60,"faqs":130,"seo_title":131,"seo_description":61,"update_tm":119,"read_time":9},962093532725,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","SHADES OF WHITE  \n32 Steel Boxes with Silk Panels Boxes Boxes range from 4” x 20” to 10” x 30”  \nMild steel, 18 gage, bent, welded, buffed and coated with matt finish 100% silk from Uzbekistan and China, natural dies.  \nARTIST’S STATEMENT  \nShades of White , an installation created for the Artist Project Space at the Jordan Schnitzer Museum of Art, is the result of years of research. The work represents the “Gates Skin Color Chart,” a tool used by geneticists and anthropologists in the mid-20th century for racial classification. It is based on the research of Dr. Alexandra Minna Stern , a medical historian at the University of Michigan. Stern researches the history of eugenics and its attendant genetic and racial discrimination as practiced in the United States from 1900-87.  \nStern’s books, Eugenic Nation: Faults and Frontiers of Better Breeding in Modern America (2005) and Telling Genes: The Story of Genetic Counseling in America (2012), explore racially discriminatory practices—such as the forced sterilization of individuals supported at the public’s expense, including children in orphanages, patients in mental health facilities, and prisoners—in the United States (and in the American West especially) . I felt it was important to create a work that would make these events visually accessible. Just as Stern’s work exposes the deeply problematic charting of physical and mental anomalies and skin color by medical professionals in her books, this installation visually critiques the results of eugenics. I reproduced the “Gates Skin Color Chart,” a tool created by geneticists at the University of Michigan that attempted to typologize race by color, with labels ranging from“African” to“Caucasian.” These charts had practical and material effects, as they were used to determine the adoptability of children in the care of the state. These inequitable practices haunt us today. In fact, it was not until 2002 that Governor Kitzhaber asked forgiveness from the victims of discriminatory sterilization in Oregon’s orphanages and other state institutions.  \nAlthough I have done similar genetic research-based projects, I have not previously taken on such racially controversial material. This project exposes the genetic discrimination at play in the United States beginning in 1900 and links it to the practice of eugenics aimed at achieving racial hygiene in Nazi Germany. As Stern points out in Eugenic Nation,the top eugenicists in the U. S. collaborated with and followed the same practices as their Nazi counterparts in 1930s Germany. Infact the “Gates Skin Color Chart” is based on a similar chart dating to 1905 created by Felix von Luschan, which the German Society for Racial Hygiene utilized in selecting the victims of the forced sterilizations performed in that country.  \nFelix von Luschan's Chromatic Scale (pictured above) was used to establish racial classifications of populations according to skin color. Named for its inventor, Felix von Luschan , the equipment consisted of thirty-six opaque glass tiles that were compared to the subject's skin, ideally in a place that would not be exposed to the sun regularly, such as the underarm. Source: Institut für Kulturgeschichte der Antike der Österreichischen Akademie der Wissenschaften Institut für Klassische Archäologie der Universität Wien.  \nR. Ruggles Gates, created a skin color chart used from the 1940-60 to determine the racial identity of new born at American medical instructions and Adoption agencies a. His chart was nine squares ranging form dark skin tones to white. That using a more sophisticated method of skin color determination, created his own version in the late 1950s to be used by American medical and adoption agencies.4.  \nUsing organic natural dyes on a variety of silks, Shades of White recreates the genetics of skin color as determined by melanin. The work is a very direct critique of the von Luschan and Gates skin color charts as determinist systems of measure. Although we us","cbCaiuIAgiIEL3Ai","https://ap.wps.com/l/cbCaiuIAgiIEL3Ai","pdf",47864,"English","[{\"question\":\"What is the central purpose of SHADES OF WHITE?\",\"answer\":\"It visually critiques historical tools and practices that classified people by skin color and supported racist eugenics outcomes, making those events more accessible to see.\"},{\"question\":\"Which skin-color charts does the installation reference or recreate?\",\"answer\":\"It reproduces the “Gates Skin Color Chart” and also discusses Felix von Luschan’s Chromatic Scale as a related system used for racial classification.\"},{\"question\":\"How does the installation use materials to communicate its message?\",\"answer\":\"Twenty-four thin steel boxes encase silk panels dyed with natural dyes, and layered reflections create a visual blending of tones that emphasizes skin color as a spectrum rather than pure categories.\"}]","SHADES OF WHITE - Artist’s Statement - Installation | PDF"]