The Warden

The Warden, 2025
CCTV camera, single channel live feed video
Dimensions variable
Commissioned by MOCA & The Brick
Courtesy of the artist and Morán Morán
Photo by Frederik Nilsen
Filed Under:
Cauleen Smith
(b. 1967, Riverside, California; lives in Los Angeles)
Cauleen Smith is known for her experimental film and video works that reveal an interdisciplinary approach to art making rooted in performance, poetry, speculative fiction, and non-narrative storytelling. A filmmaker by trade, Smith presents her work in contemporary art settings that incorporate video, installation, and material objects to create environments for viewing. As the artist puts it: “Over time, the desire to see certain kinds of images has been replaced by a desire to communicate with the audience in a particular way. I used to be very focused on producing images or stories that I wanted to see, and now, I’m also trying to construct the films in a way that invites the viewer to understand how images are working on them.”
On the whole, Smith’s art is about communication, working across time, space, and categories of identity to create new meanings. Her videos often employ the written word, voiceover, and body language to surface histories of racism and sexism, while simultaneously conjuring radical, magical views of Black life.
On the occasion of MONUMENTS, Smith turns to the statue known as the “Vindicatrix,” an allegorical female figure that dramatized the motto of the Confederacy (Deo Vindice, or “God will avenge”), which was perched atop the Jefferson Davis monument in Richmond, Virginia, until it was removed in 2020. The work aims a traditional CCTV surveillance camera at “Miss Confederacy’s” pointing forearm, wrist, and hand, which was intended to indicate divine intervention. Several monitors placed around the exhibition stream The Warden’s live feed, as if testing the monument’s proposal that the Confederacy will rise again. Adding to the lo-fi, high-spirited character of the work, Smith surrounds the Vindicatrix with highly reflective black walls that function like a mirror or looking glass for the statue, which faces the corner, away from the viewer. Instead of encountering this relic of the Lost Cause head on, the viewer first encounters its shadow in the CCTV footage or her reflection in the black mirror, a pointed refusal of recognition. Smith encourages the viewer to carefully consider the symbolic power of this object while simultaneously neutralizing this very power.
Cauleen Smith
Cauleen Smith is an artist who makes films, installations, and objects. She actively invites engagement, and with much of the work she employs a purposeful undermining of image and language to elicit contemplation. Smith’s films create worlds that expand on the discourse of mid-twentieth-century experimental filmmaking. Drawing from structuralism, third world cinema, and science fiction, she assembles poetic compositions that gently reveal nuanced narratives, both familiar, and oftentimes, purposefully opaque. Her text-based tapestries follow a historic tradition of heraldry. These banners, which can be understood as a social device symbolizing community organizing, declare personalized idioms sewn in script that simulates her own handwriting, lifted directly from her sketchbook. Through her installations, Smith constructs archetypes of the universe and she assembles miniature worlds using myriad items, which often include mundane object and figurines alongside symbols of colonialism, such as porcelain objects and potted plants, paired with disco balls, rocks and minerals, resulting in something otherworldly and also museological. For Smith, consideration of the audience is an important element of her process, and she uses a full range of media and references to express her belief in utopian potentiality.
Cauleen Smith (b. Riverside, California, 1967) lives and works in Los Angeles, CA. She received her BFA from San Francisco State University, San Francisco, CA, and her MFA from University of California, Los Angeles, CA. Smith is the recipient of several grants and awards, including the 2022 Heinz Award; Guggenheim Fellowship; Joyce Alexander Wein Artist Prize; Ellsworth Kelly Award; The Herb Alpert Award in the Arts; and a Rauschenberg Residency. Smith’s works have been featured in solo exhibitions at institutions such as Los Angeles County Museum of Art, Los Angeles, CA; Whitney Museum of American Art, New York, NY; Institute of Contemporary Art, Philadelphia, PA; San Francisco Museum of Modern Art, San Francisco, CA; Museum of Contemporary Art Chicago, Chicago, IL; Art Institute of Chicago, Chicago, IL; Massachusetts Museum of Contemporary Art, North Adams, MA; Contemporary Arts Museum Houston, Houston, TX; and Carnegie Museum of Art, Pittsburgh, PA, among others. Her work is included in numerous public collections, such as the Art Institute of Chicago; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Studio Museum Harlem; Smithsonian Museum of American Art; and the Whitney Museum of American Art.






