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Turn the volume up!

THE BRENDA LA GRANGE JOHNSON AND HEATHER JOHNSON SARGENT PAVILION

August 27, 2026 – July 11, 2027
Bruce Davidson, Time of Change, 1963. Gelatin silver print, 11 × 14 inches (27.9 × 35.6 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Anonymous gift, 2018.24.123. © Bruce Davidson.
Black-and-white photograph of a protester wearing a sign reading “Jim Crow Must Go,” standing in a street demonstration while holding hands with another marcher.
Bruce Davidson, Time of Change, 1962. Gelatin silver print, 10 × 8 inches (25.4 × 20.32 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Anonymous gift, 2018.24.108. © Bruce Davidson.

Turn the volume up! is a timely exhibition about the power of ordinary people to create extraordinary change. Through works by artists, activists, and collectives spanning decades and continents, the exhibition traces how communities mobilize, organize, and advocate for justice. Featuring works by artists including Kara Walker, Carrie Mae Weems, Guerrilla Girls, Sam Durant, and Francis Alÿs, the exhibition highlights acts of resistance, solidarity, and civic engagement that continue to shape our world. As the United States marks its 250th anniversary during a midterm election year, Turn the volume up! invites visitors to consider how participation—whether through voting, protest, care, or collective action—remains central to building a more just society.

Artists

Carrie Mae Weems, Ode to Affirmative Action, 1989
Carrie Mae Weems, Ode to Affirmative Action, 1989. Photograph and record, Framed, 24 x 30 inches. Collection of the Nasher Museum of Art at Duke University, Fund for Acquisitions.

Juan Abreu, Francis Alÿs, Chuck Close, Luis Crus Azaceta, Bruce Davidson, Sam Durant, Tom Farris, Bill Fick, Laura Fields, Leonard Freed, Juan Genovés, Ralph Gibson, Guerilla Girls, Lyle Ashton Harris, Ken Heyman, Thomas Hirschhorn, Vitaly Komar, Alexander Kosolapov, Dapper Bruce Lafitte, Pedro Lasch, Mary Ellen Mark, Spider Martin, Paul Pfeiffer, Marielle Plaisir, John Rhoden, Larry Rivers, Dario Robleto, Milton Rogovin, Sheldon Scott, Leonid Sokov, Lou Stoumen, Carol Summers, Mark di Suvero, Barthélémy Toguo, Kara Walker, Carrie Mae Weems, Peter Williams, Purvis Young, two unknown artists, and Ross Bleckner, Louise Bourgeois, Mike Kelley, Simon Leung, Lorna Simpson, Kiki Smith, and Nancy Spero for ACT UP.

Organization and Support

Turn the volume up! is organized by Xuxa Rodríguez, PhD, Patsy R. and Raymond D. Nasher Curator of Contemporary Art, with support from Curatorial Associate Julianne Miao.

This exhibition is made possible by the Mary Duke Biddle Foundation, the Janine & J. Tomilson Hill Family Fund, Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions, the Frank Edward Hanscom Quasi Endowment, and the John & Anita Schwarz Family Endowment.

  • Kara Walker, Harper's Pictorial History of the Civil War (Annotated), 2005. Portfolio of 15 prints. Offset lithography and silkscreen, 39 x 53 inches. Collection of the Nasher Museum. Purchase with funds provided by Monica M. and Richard D. Segal, the Neely Family, and Barbra and Andrew Rothschild.

    Kara Walker, Harper's Pictorial History of the Civil War (Annotated), 2005. Portfolio of 15 prints. Offset lithography and silkscreen, 39 x 53 inches. Collection of the Nasher Museum. Purchase with funds provided by Monica M. and Richard D. Segal, the Neely Family, and Barbra and Andrew Rothschild.

  • Black-and-white photograph of a speaker at a podium surrounded by microphones, addressing a large crowd gathered outdoors in front of civic buildings.

    Spider Martin, Dr. King Speaks to the Crowd of 25,000 people at the March's End, 1965. Archival digital print on exhibition fiber paper, edition 2/3, 24 × 35 1/2 inches (60.96 × 90.17 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Gift of Doug McCraw - Selma Project "Selma is Now", 2024.3.1. ©Spider Martin/Briscoe Center For American History.

  • Black-and-white photographic image of an adult holding a child beside another child, overlaid with a large red X painted across the composition and set against expressive black brushstrokes.

    Carol Summers, Kill for Peace from the portfolio Artists and Writers Protest Against the War in Viet Nam, 1967. Screenprint on paper, edition 81/100, 23 1/2 × 19 1/4 inches (59.69 × 48.9 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Gift of Mr. and Mrs. Samuel Dorsky, 1972.9.1. © Estate of Carol Summers. Photo by Peter Paul Geoffrion

  • Mixed-media work combining black silhouette figures with a nineteenth-century engraved landscape, including a wagon train, a bucket-carrying figure, and partially obscured text within a dark cloud-like form.

    Kara Walker, An Army Train from the portfolio Harper's Pictorial History of the Civil War (Annotated), 2005. Offset lithograph and screenprint on paper, edition 35/35, 39 × 53 inches (99.1 × 134.6 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Museum purchase with funds provided by Monica M. and Richard D. Segal, the Neely Family, and Barbra and Andrew Rothschild, 2006.7.1.6. © Kara Walker. Photo by Peter Paul Geoffrion.

  • In Necklace CNN, Hirschhorn creates a monumental necklace in the style of hip-hop “bling” using cheap and common materials. By constructing art out of what many people would consider trash, Hirschhorn not only provides commentary on what art is and where its value lies, but he also addresses issues of quality in popular culture. Enlarging the necklace to mammoth proportions draws attention to its gaudiness. As Hirschhorn states, “Enlarging makes the thing empty.” The “CNN” on the necklace refers to the Cable News Network, with its twenty-four-hour news cycle that by necessity creates news when none exists, or repeatedly discusses the same topics until they are hollow words without meaning. Hirschhorn draws an analogy between ratings-conscious reporting and the posturing and social status implied by a piece of jewelry. He highlights the precarious nature of culture when influenced by a desire for the sensational.

    Thomas Hirschhorn, Necklace CNN, 2002. Cardboard, foil, plastic, gold wrapping paper, and tape; edition 3/50; 98 1/2 x 31 1/2 x 4 inches (250.2 x 80 x 10.2 cm). Collection of the Nasher Museum. Gift of the Rubell Family Collection in honor of Blake Byrne, T’57. © Thomas Hirschhorn. Photo by Peter Paul Geoffrion.

  • Black silhouette figure kneels across the foreground of an engraved historical scene, contrasting with a crowd gathered amid trees and buildings in the background.

    Kara Walker, Confederate Prisoners Being Conducted from Jonesborough to Atlanta from the portfolio Harper's Pictorial History of the Civil War (Annotated), 2005. Offset lithograph and screenprint on paper, edition 35/35, 39 × 53 inches (99.1 × 134.6 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Museum purchase with funds provided by Monica M. and Richard D. Segal, the Neely Family, and Barbra and Andrew Rothschild, 2006.7.1.9. © Kara Walker. Photo by Peter Paul Geoffrion.

  • Bruce Davidson, Time of Change, 1963–1965

    Bruce Davidson, Time of Change, 1963–1965. Resin-coated print, 8 × 11 inches (20.32 × 27.94 cm). Collection of the Nasher Museum. Anonymous gift. 2018.24.16

  • Marielle Plaisir, J. Baker- Backlit, 2020. Printing on Duratrans, backlit transparent archival film; 30 × 48 × 5 inches (76.2 × 121.92 × 12.7 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Gift of Deborah Beckmann and Jacob Kotzubei, 2025.24.1. © Marielle PLAISIR Studios.  Photo by Brian Quinby.

  • Silhouette figure carrying a large bundle strides across an engraved landscape, dwarfing a smaller figure standing on a tree stump with a raised tool.

    Kara Walker, Signal Station, Summit of Maryland Heights from the portfolio Harper's Pictorial History of the Civil War (Annotated), 2005. Offset lithograph and screenprint on paper, edition 35/35, 53 × 39 inches (134.6 × 99.1 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Museum purchase with funds provided by Monica M. and Richard D. Segal, the Neely Family, and Barbra and Andrew Rothschild, 2006.7.1.13. © Kara Walker. Photo by Peter Paul Geoffrion.

  • Peter Williams, Incarnation, 2019. Oil-based enamel, oil, and graphite on canvas; 60 × 72 inches (152.4 × 182.88 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Gift of Hope H. Miller, in honor of Ira M. Miller; 2025.3.2. ©The Estate of Peter Williams. Photo by Brian Quinby.

  • Bruce Davidson, Time of Change, 1963–1965. Resin-coated print, 8 × 11 inches (20.32 × 27.94 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Anonymous gift, 2018.24.16. © Bruce Davidson. Bruce Davidson, Time of Change, 1962. Gelatin silver print, 10 × 8 inches (25.4 × 20.32 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Anonymous gift, 2018.24.108. © Bruce Davidson. Bruce Davidson, Time of Change, 1963. Gelatin silver print, 11 × 14 inches (27.9 × 35.6 cm). Collection of the Nasher Museum of Art at Duke University, Durham, NC. Anonymous gift, 2018.24.123. © Bruce Davidson.

  • Carrie Mae Weems, Ode to Affirmative Action, 1989

    Carrie Mae Weems, Ode to Affirmative Action, 1989. Photograph and record, Framed, 24 x 30 inches. Collection of the Nasher Museum of Art at Duke University, Fund for Acquisitions.

  • Selected works

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