Although Ukeles is known for her public and environmental “maintenance art” from the 1970s and 1980s, her focus on religion during this same period is not well known. By focusing on Mikva Dreams and her other mikvah projects, this article contextualizes and makes better visible Ukeles’s contribution to contemporary American art and its feminist discourses.
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.
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