With over 125 pieces on view, Half the Picture could have been refined, showing fewer works without compromising its curatorial punch.
The argument driving this engrossing show is that Buchanan was actually a thematically ambitious and multi-faceted artist who participated in the avant-garde movements of her day, bringing to them a distinct perspective informed by her sense of identity as black and female.
This past Sunday was both an auspicious and sobering time to visit the Brooklyn Museum’s exhibition Zanele Muholi: Isibonelo/Evidence.
In the first major retrospective of her sculptural bundles of yarn and found objects, the late Judith Scott is celebrated not just for having found a way to creatively express herself late in life, after being institutionalized with Down syndrome and undiagnosed deafness; instead, the Brooklyn Museum’s Judith Scott: Bound and Unbound honors her powerful, tactile acts of making.
“Thank you guys for coming,” Alexis Clements said last Thursday night to a small crowd at the Brooklyn Museum largely comprised of women. “Actually, I shouldn’t say ‘guys,’” she interrupted herself, “Thank you all for coming.” That introduction set the tone for a panel that the playwright, performer, and Hyperallergic contributor moderated, called “The Art of Feeling: Contemporary Arts Writing and the Internet.”
What excited me about the small exhibition currently on view at the Brooklyn Museum featuring a sampling of letters and lists from the writer Lorraine Hansberry — along with a wonderful audio recording of a conversation between her and Studs Terkel — was the way in which it showcased her voracious intellect.
Everything Sackler changes, and everything Sackler stays the same.