For over forty years, Quentin Morris has explored the possibilities of blackness. Larry Becker and Heidi Nivling have selected twelve of Morris’ works, dating as far back as 1980 and as recently as March, 2016, in the current exhibition, “Quentin Morris, Untitled.” I found this thoughtfully organized show moving and meditative. While all the pieces belong to the same dark universe, each one draws the viewer in with its subtle variations of shape, texture, and tone.
Read MoreAnd perhaps this last is one of the most significant points the exhibition makes: despite an international interest in the commercial vernacular and the visual impact of the media, the works in the exhibition can only be truly understood within the cultures that produced them. This leaves serious viewers with the realization that the information in many of the introductory labels is insufficient background for a real understanding of the art and how it functioned in its native territory.
Read MoreThe film has been widely described as a Nigerien remake of Prince’s iconic 1984 film, “Purple Rain,” shot in Tuareg and French with English subtitles. The music is intoxicatingly groovy. The visuals are dreamy and striking. And my feelings after seeing the film are absolutely electric–like the guitars.
Read MoreBetween and among the bodies, repeated patterns emerge and tensions twist. Each human interaction—which depends on the particular people attending—can be analyzed in terms of the submission and dominance of the players.
Read MoreLocated in a charming 2-story carriage house behind the Keefe’s house on a quiet residential street, the space was light-filled and welcoming on a recent Sunday afternoon when I visited to see the two person exhibit of works by Anne Canfield and Gary Petersen.
Read MoreThough varied in media, all the works selected are figurative and highly literal, and contextualize black identity and female identity through the lens of burden, even as a burden unto itself, a trope that can be both stereotypical and empowering.
Read MoreThe paintings share a single attribute, which animates and adds coherence to the collection: they are bold. Even when they are humble or uncertain, they bespeak grandeur.
Read MoreHill’s machine of choice, an IBM Copier II, transformed the objects of her life (keys, hair curlers, a glove, a C-clamp) into moody and Victorian-esque prints, with inky blacks and x-ray-like whites and the shallow depth of field that ironically creates a background of cosmic vastness.
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