Questions of privilege aside, the range of abstract works reminded me how artists are providing nuanced ways of thinking about identity that move beyond exclusion/inclusion binaries.
Frank Bowling
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The Colors of the Sixties
Spilling Over: Painting in the 1960s at the Whitney Museum expands the common understanding of a pivot point in American art, while basking unapologetically in the pure pleasure of looking.
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The Met’s Wrong Turn on Revisionism
When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
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Historical Memory Haunts Frank Bowling’s New Paintings
Now 84, the renowned abstract artist reflects on his Guyanese upbringing and the legacy of colonialism in a striking new series of paintings.
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Frank Bowling, or the Odd Man Out
After starting out as a figurative artist, Frank Bowling began pouring paint in 1973; he has always been the figure who doesn’t fit.
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Gathering the Work of Guyanese Artists Far from Home
I visited Aljira, a Center for Contemporary Art, to see Un l Fixed Homeland less because of the ideas behind it and more because it features a group of Guyanese artists I didn’t know — artists I thought might offer diverse views of history, memory, perception, and documentation.
