I wonder if it is possible for black Americans and white Americans to really see the same thing when they look at the creations of institutionally minted “modern” black artists.
The documentary film Bill Traylor: Chasing Ghosts is crowdfunding on Kickstarter to premiere alongside next year’s Smithsonian retrospective on the self-taught artist.
Bill Traylor’s drawings and paintings were not recognized by the art world until decades after his death in 1949.
There’s often no rhyme or reason to the selection of art in individual booths at fairs — other than, of course, a gallery’s aim to sell well.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
Let’s face it: navigating Armory Week and all its various satellites is a bitch. With so much art to see and endless booths to maneuver, it’s all very daunting. But we love it. Well, at least I love it.
Spontaneity and taxis are the two things I rely on the most. Spontaneity, because one should always open to possibilities, no matter what the schedule might dictate. Taxis, because who in their right mind wants to walk the five long-ass blocks to Pier 92, where the Armory Show’s Modern section was housed, from the subway (with a headwind off the Hudson River that somehow affects travel in both directions)?