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.
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.
When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
Now 84, the renowned abstract artist reflects on his Guyanese upbringing and the legacy of colonialism in a striking new series of paintings.
After starting out as a figurative artist, Frank Bowling began pouring paint in 1973; he has always been the figure who doesn’t fit.
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.