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BUFFALO — There are good art exhibitions and then there is writing about them. In the case of Eric Mack’s solo show at the Albright-Knox Art Gallery, I recommend you walk in without reading any of the text, because it doesn’t really help all that much and might burden you with interpretations that I think aren’t always proven — for instance, I don’t think “Mack’s works always smuggle the body into the exhibition space.”
This one-room exhibition has some seriously smart work by an artist who easily experiments with mixing forms and materials. He’s able to create those moments that demonstrate he’s headed in new and unchartered directions, even if a little more focus would’ve helped this one-room show polish the power of its punch.
There’s a curious tension between the more exciting and precarious work, like “Wind painting” (2016), and the more conventional work that looks like it might be tailored for the less adventurous collector set, like “People say…” (2017) — though it’s not always easy to figure out where one work starts and another ends. While the former is more visually exciting and conceptually rich, placing textiles in free-flowing forms and referencing everything from protest camp sites to laundry lines, the latter feels more directly in dialogue with the conventional parameters of art history and abstract painting, which isn’t the artist’s sweet spot.
“Willow within the Form of Prose” (2016) is the strongest work in the show. An assembly of parts, the resulting sculpture distills the best of Mack’s abilities to make something look simultaneously digital and analog, while engaging with the poetry of the material and the limitations of representation. There’s a breakdown in narrative, even when the titles suggest a subtext, and it contributes to the freeing energy that conjures up these fantastical installations, making me feel like the artistic process itself released a genie from a bottle.
The title of the show, Vogue Fabrics, is an intentional play off the name of a prominent fabric company, fashion magazine, dance, and London club, which are all of the same name. This highlights the fact that Mack’s best work walks the line between many worlds. His fluency in these languages suggests a type of visual “code switching,” but there’s no discomfort or adaptation at play as the artist is fully at home in this intersection between worlds that pokes at your expectations. It’s in that liminal space that his best work soars.
Eric Mack: Vogue Fabrics continues at the Albright-Knox Art Gallery (1285 Elmwood Avenue, Buffalo, NY) until June 18.
Editor’s Note: Names of three works were changed in the original review to reflect the accurate titles.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.