The reaction to Ryan Wong’s satirical take on Joe Scanlan’s Donelle Woolford project has been intense. From confusion to anger, from elation to we’re not sure what, I thought I’d sift through some of them from around the internet and put them together for your (and my) convenience — though I admit some of them are hard to categorize.
Many commenters astutely pointed out that Wong’s piece was the ultimate form of “scanlaning” (aka calling out white privilege in the art world, though definitions of what this term actually means differ — see comments below). I also want to thank Ashton Cooper of Artinfo for clarifying that the post was a “meta-parody,” particularly since many people didn’t seem to realize that.
Now, let’s take a look.
Presenting ‘Ryan Wong’
We’re not sure
The … Wait, Is This a Joke?
Who Is ‘Ryan Wong’?
And the Assessments
And Some Really Thoughtful Threads on Facebook
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Black American Portraits features over two centuries of artworks centering Black artists and subjects.
A love of Black art and history was the bedrock of the friendship between Dell Marie Hamilton and Susan Denker, who had markedly different racial, economic, and generational subject positions.
With what he says is his final museum bow, Fitzpatrick shines a light on the colorful diversity that composes his city.
The question of race — however hidden, however camouflaged by the shouts of the crowds — is a constant theme and an unanswered challenge.
Weisman Museum of Art Presents Highlights From the Kinsey African American Art and History Collection
An exhibition at Pepperdine University in Malibu chronicles the achievements and contributions of African Americans over the last five centuries.
Brink is not a fun book, and it shouldn’t be.
Those who want to visit the museum muse have a surgical, KN95, N95, or KF94 face mask.
The residency program awards 17 visual artists a year of rent-free studio space in New York City. Applications are due by February 15.
This week, another Benin bronze is returned to Nigeria, looking at the Black Arts Movement in the US South, Senegal’s vibrant new architecture, why films are more gray, and much more.
It is precisely Moon’s openness to using any source that makes her work flamboyant, captivating, odd, funny, smart, uncanny, comically monstrous, and unsettling. And, most of all, over the top.
Tensions between resistance to Surrealism as cultural imperialism and the embrace of it as a universalist vision of freedom unfettered run through the show.