Composed of photographs culled from vintage Ebony magazines, the faces in these collages are reconstructed into new selves.
For the first time in decades, more than 30 collages from Bearden’s Profile series is being shown together.
The most interesting part of this excellent exhibition is its presentation of black modernists, for here we enter relatively unfamiliar territory.
The characters of Romare Bearden’s collages, on view now at DC Moore Gallery, form a kind of pantheon, a great mythological scheme particular only to the black American South.
Derived from memory, Bearden’s bayou is at once real and mythic, the Black counterpart to William Faulkner’s apocryphal Yoknapatawpha County.
Though the exhibition is a little bit all over the map, there are some real gems to be found here.
Unlike many notable private art collections that serve the public good only after they have been donated to a museum (or turned into museums of their own), the Mott-Warsh Collection was conceived to fulfill a larger social purpose.
The Sugar Hill Children’s Museum of Art and Storytelling, which opened this past weekend in Harlem, says its target audience is kids between ages three and eight, but art lovers of any age will likely find it worth a visit.
Works from the private art collection of renowned poet and author Maya Angelou will soon go on public display.
HUDSON, NY — River Crossings, the recently opened show up at the historic Thomas Cole House and Olana, Frederic Edwin Church’s architectural ode to Orientalism, over-promises and under-delivers.
Next month, 28 contemporary American artists will infiltrate the homes of the two artists who are the “physical cornerstone of American art,” as co-curator Stephen Hannock puts it.
PHILADELPHIA — Art for Society’s Sake: The WPA and Its Legacy, on view at the Pennsylvania Academy of Fine Arts through April 6th, recalls an era in this country when the dissemination of art was a governmental duty, with the arts substantially funded on the federal level.