Shea butter, a citizens band radio and stacks of books may not be items normally associated with artwork displayed in a museum. Nonetheless, utilizing the above objects as well as various methods of transforming these media, Rashid Johnson has created a multifaceted exploration of African-American culture and identity.

Born in Chicago in 1977, Johnson grew up in an area and time highly infused with elements of black culture, including hip-hop music and Black Entertainment Television. Influenced by the status of the black individual in the United States as generally depicted in pop culture, as well as by his parents’ gradual shift away from an Afro-centric lifestyle, Johnson’s “A Message to Our Folks,” currently on display at the Mildred Lane Kemper Art Museum, delves into difficult questions of how one’s racial identity, as perceived externally and internally, shapes one’s personal identity.

Meredith Malone, associate curator of the exhibition, summarized Johnson’s work as consisting of multiple layers: “He makes links to key African-American cultural icons while also referring to his personal life and larger questions of cultural identity.” Expanding on black social activist W.E.B. Du Bois’ idea of the double consciousness, in reference to a person identifying as both American and black, Johnson uses doubled images, mirrors and contrasting ideas within single pieces. For example, in “Sweet Sweet Runner,” Johnson juxtaposes the idea of a black man running through Central Park for exercise and a black man running from the authorities. He exemplifies the multiple facets of his own personal identity through assemblages of domestic items on mirrored shelves. Although these compilations could appear indicative of black culture, in general, certain elements point directly to Johnson’s own experiences, such as the CB radio, a reference to Johnson’s father’s electronics business. Moreover, various allusions to self-discovery and the meaning of existence for the individual are prevalent throughout the exhibit and include books entitled “The Moment of Creation” and “Death by Black Hole” as well as an album entitled “Music Lets Me Be.”

Malone described Johnson’s work as “visually engaging.” Johnson creatively incorporates the viewers’ individual identities with the repeated use of mirrors and the looming sculpture of the crosshairs of a gun; it is unclear whether we are looking through a gun or standing as its target.

Johnson illustrates the emergence of blacks in the ethnic landscape of the U.S. through his self-portraits dressed as various prominent black cultural icons. Although the exhibition is evidently a nod to a widespread black culture, Malone said, “There is a large part of the show that is autobiographical. By emphasizing that this is his point of view, he is really trying to deconstruct any notions of some monolithic sense of blackness. You can use it as a launching point to talk about bigger issues of identity in general. It makes you think about yourself and how you have shaped your own identity.”

By nature, the exhibit enhances Wash. U. students’ exposure to culturally and socially diverse backgrounds and viewpoints, but as Malone also explained, Johnson “has a contemporary, interesting artistic approach that we thought deserved to be represented here. Also, being in St. Louis, which is still a very racially divided city, we thought this would help engage broader parts of the larger community.”

Malone has started the Contemporary Conversation Series, which involves three discussions, including a professor or a community member who is involved in black culture, about themes addressed in Johnson’s work. Additionally, Johnson has selected three films to be presented at the Tivoli Theatre Dec. 3-5 that capture cultural and racial questions referenced in his work.

The Kemper is the fourth and final venue for “Message to Our Folks.” The exhibition will be on display until Jan. 6, 2014.