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Conversations · Exhibition-Related

Black Dykes Contemplating Carnage: The Artist KING COBRA in Conversation with Vivian Crockett

Cover Image:

Cover Image: Installation view: “Doreen Lynette Garner: REVOLTED,” 2022. New Museum, New York. Photo: Dario Lasagni

Join the New Museum for a conversation with artist Doreen Lynette Garner (also known as KING COBRA) and curator Vivian Crockett. Presented on the closing of the exhibition “Doreen Lynette Garner: REVOLTED,” the discussion will follow an activation of Garner’s sculptural work, Here hangs the skins of a surgical sadist! To be physically assaulted by those who identify as Black women, those who formerly identified as Black women, and those who were identified as Black women at birth (2022).

Here hangs the skins of a surgical sadist! (2022) facilitates a ritual catharsis of past and historical traumas by repurposing the material remains of a silicone skin replica of a bronze statue of Sims that once stood in Central Park. The activation serves as an extension of this piece, which interrogates the abuse of power, the politics of redress and retribution, and ancestral revenge, and imagines ways of reckoning with the persistent forms of violence Garner’s work exposes.

This event will provide activation participants with a space to debrief the experience. Garner will also address the activation’s significance in the context of the exhibition and her broader practice. Garner and Crockett will be joined by Reiki master Hue Hallums who will bless the space prior to the start of the conversation.

A recording of this conversation may be viewed on our YouTube channel, and below:


This conversation has reached capacity.

A limited number of standby tickets may be available at the admissions desk on a first-come, first-served basis. The standby line will open at 3:30 p.m. on October 16.

The program will be presented onsite at the New Museum. All attendees are required to wear masks, regardless of vaccination status. Speakers may be un-masked and will be socially distanced from the audience while speaking onstage. Tickets to this program include Museum admission. Please review the New Museum’s COVID guidelines in advance of your visit.


Live CART captioning will be provided for this program by StenoCaptions.

We strive to make our programs as accessible as possible. Learn more about accessibility at the New Museum, including services available by request.


Vivian Crockett (b. 1983, Rio de Janeiro, Brazil) is a New Museum curator and Brazilian-American scholar focusing largely on modern and contemporary art of African diasporas, Latinx diasporas, and the Americas at the varied intersections of race, gender, and queer theory. Crockett previously worked at the Dallas Museum of Art (DMA), where she curated “Guadalupe Rosales: Drifting on a Memory” among other exhibitions. Prior to the DMA, Crockett was a Joan Tisch Teaching Fellow at the Whitney Museum of American Art and an Andrew W. Mellon Museum Research Consortium Fellow in the department of Media and Performance Art at the Museum of Modern Art. While in New York, she also worked on independent curatorial projects with various arts organizations, including the Leslie-Lohman Museum, Queer | Art and Visual AIDS, for whom she co-curated the 2017 “Day With(out) Art: Alternate Endings, Radical Beginnings.” A PhD candidate in art history at Columbia University, she holds a BA in art history from Stanford University and an MA and MPhil in art history from Columbia. Her scholarly contributions can be found in publications from several institutions, including the Metropolitan Museum of Art; Museum of Modern Art; The Studio Museum in Harlem; Leslie-Lohman Museum; and Museu de Arte de São Paulo; among others.

Doreen Lynette Garner (also known as KING COBRA) (b. 1986, Philadelphia, PA) is an American sculptor and body modifier based in Brooklyn, New York. Garner’s most recent work is currently on view in solo exhibitions “REVOLTED” at the New Museum, and “Pale in Comparison” at SCAD Museum of Art, Savannah, GA. Select exhibitions include “Steal Kill and Destroy: A Thief Who Intended Them Maximum Harm” (2021), HALLE FÜR KUNST, Steiermark, Austria; “Greater New York” (2021), MoMA PS1; “She Is Risen” (2019), JTT Gallery; “STATEMENTS” (2018), Art Basel; “White Man on A Pedestal” (2017), Pioneer Works; “Surrogate Skin: The Biology of Objects” (2016), MoCADA; “Ether and Agony” (2016), Antenna Gallery, New Orleans, LA; and “SHINY RED PUMPING” (2015), Vox Populi Gallery, Philadelphia, PA. Garner has completed residencies at LMCC Workspace Program (2015), Skowhegan School of Painting and Sculpture (2014), Abrons Art Center (2015–16), Pioneer Works (2016), and the Toledo Museum of Art (2016). She holds a BFA in Glass from the Tyler School of Art at Temple University with an MFA in Glass from the Rhode Island School of Design. She is a recipient of the Joan Mitchell Painters and Sculptors Grant, the Toby Devan Lewis award, a Van Lier Fellowship award, a Franklin Furnace Grant and is currently practicing as a sculptor and inscriber of flesh.


This program is made possible, in part, by public funds from the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and from the New York City Department of Cultural Affairs in partnership with the City Council.

We gratefully acknowledge the Bowery Council of the New Museum for its support of Education and Public Engagement Programs.

Endowment support is provided by the Rockefeller Brothers Fund; the Skadden, Arps Education Programs Fund; and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum. Support for “Doreen Lynette Garner: REVOLTED” can be viewed here.

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