To commemorate the 400-year anniversary of the arrival of the first slave ships in the United States, a recent exhibition at the Allen Memorial Art Museum explores Paul Gilroy’s concept of the “Black Atlantic.”
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.
The book Mining the Museum: An Installation by Fred Wilson published in 1994 has particular insights that go beyond institutional critique and into our individual complicities that are crucial to consider now.
Wilson’s explicit reference to Africa expands the global network through which both cultural influences and African bodies were transmitted.
In a city where decorative glass art is embarrassingly popular, Glasstress at the Boca Raton Museum of Art highlights sociopolitical subjects.
The exhibition Black to the Powers of Ten at Oberlin’s Allen Memorial Art Museum showcases the artist’s extensive examination of black identity and labor.
In the artist’s intervention at Oberlin’s Allen Memorial Art Museum, white and black bodies suggest a deeper, racialized meaning.
1pm: The press preview for Frieze New York 2016 on Randall’s Island begins! Or so they say. I am power walking out the door of my office in Williamsburg.
SAN FRANCISCO — It’s summer in the USA, and that means it’s group-show season on both coasts.
PHILADELPHIA — It’s an illuminating mental exercise to ponder: what if Dr. Albert C. Barnes, the pharmaceutical tycoon and physician who assembled an unmatched collection of Post-Impressionist and early Modern paintings in Philadelphia, was actually an installation artist before his time?
All flags bear the stain of conquest.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.