David Butler Returns to 'Whiteland' to Expose Whiteness as a Political Weapon

David Butler, the Columbus artist known for his fearless exploration of race and power, has made a striking return to the fraught terrain of "Whiteland." Nearly five years after his initial group show interrogating whiteness, Butler launches a solo exhibition at Hammond Harkins Galleries on May 9. This new body of work is a direct response to the resurgence of Trumpism and the looming threat of Project 2025—a blueprint for authoritarian governance steeped in white, hetero-male supremacy.

Butler’s "Whiteland" is not just art; it is a sharp indictment of how whiteness operates as a system of power and violence. Using AI-generated composite images, he paints disturbing portraits of right-wing politicians, podcast hosts, police officers implicated in killings of Black people, and Black media figures who have compromised their communities by cashing in on Trump’s endorsements. The centerpiece is a chilling portrait of a masked ICE agent—drawn from real photos of officers involved in deadly encounters—complete with a face covering that gallery visitors can physically lift to "unmask" the agent.

This act of unmasking is a potent metaphor for Butler’s mission: to reveal the faces behind the systemic abuse and to dismantle the myth of whiteness as a benign identity. Drawing inspiration from street-level zines that circulate mugshots of Black and Brown people, Butler subverts this imagery by adorning his portraits with facial tattoos sourced from America First propaganda—forcing viewers to confront the racialized narratives that shape public perception.

Butler’s work is deeply personal and political. He recalls the painful juxtaposition of innocence and exploitation when Trump named a terminally ill Black child an honorary Secret Service agent during the 2025 State of the Union. This performative gesture echoed a moment from 2017 when Butler’s infant son was celebrated at a Pride parade even as Black activists were attacked nearby—a stark reminder of how marginalized communities are often used as props in political theater.

Unlike his earlier portraits of victims like Trayvon Martin, which exacted an emotional toll, Butler’s new approach introduces a layer of separation by depicting fabricated faces. This allows him to confront the toxic construct of whiteness without targeting individuals, emphasizing that the problem is systemic, not personal.

Butler is clear: "This is not me saying, ‘We need to tear down white people.’ It’s about tearing down the construct that says white people benefit from a system built on their skin color." In a political moment where whiteness is weaponized to justify authoritarianism, Butler’s "Whiteland" demands that we face this uncomfortable truth head-on.

For those who care about accountability and resisting the corrosive forces of racism and authoritarianism, Butler’s exhibition is a must-see wake-up call. It’s a reminder that art can be a powerful tool to expose the lies and violence underpinning the current regime—and to envision a future where such constructs no longer hold sway.

The opening reception is scheduled for Saturday, May 9, from 2 to 4 p.m. at Hammond Harkins Galleries in Columbus. Don’t miss this urgent reckoning with whiteness and power.