By making his reflexive bodily movements the sole source as well as the transcriber of his ideas, Anastasi mobilized the concept of know-how, or techne. . . . His drawing practice helped him reconcile two emerging identities: one as a dedicated, ambitious artist and the other as an untrained amateur Conceptualist.
Bush’s painting and its presentation demonstrate how difficult it can be to determine the difference between the canny critical interventions of a professional artist and those of an amateur.
Centering on T.C. Cannon as narrator of the exhibition, and decentralizing my curatorial voice as the authority, was an intentional strategy I employed to activate Cannon’s Native perspective and to build empathy with the audience.
This special section of Panorama entitled “Riff: African American Artists and the European Canon” is an outgrowth of an Association for Critical Race Art History panel of the same name that took place at the annual meeting of the College Art Association in 2017. The five essays included in this section offer nuanced readings of artists spanning nearly a century, whose engagement with European art and artistic tradition vary from full-throated adulation to subtle and unspoken resonances.
This process of what I term a “re-membering” of history through Weems’s body and gaze indicts the landscape and the buildings that populate as key players in multiple histories.
Throughout his more than four-decade-long career in the arts, Brooker has created a distinctive artistic language that calls out to viewers to not only look at his work as arrangements of patterns, colors, and shapes on canvas or paper, but also as investigations into the divine.
In the context of the recent Confederate memorial debates, the National Memorial for Peace and Justice in Montgomery, Alabama, directly challenges the heroic narrative of the Confederacy as an honorable struggle and the idea that slavery was a benevolent institution.