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
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.
The Met’s Wrong Turn on Revisionism
When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
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.
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.
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.