Contributed by David Carrier / Few human developments have been more consequential, in terms of both art history and broader cultural expansion, than the movement of Africans within and out of their own continent. The mammoth exhibition “Project A Black Planet: The Art and Culture of Panafrica,” now at the Art Institute of Chicago in twelve high-ceilinged contemporary galleries, includes more than 350 drawings, paintings, photographs, sculptures, installations, watercolors and prints, but also books, magazines, posters, and record albums, made from the 1920s onward. It’s a lot, but never too much.
Tag: Simone Leigh
Art’s political economy: A response to Dean Kissick
Contributed by Saul Ostrow / In “The Painted Protest: How Politics Destroyed Contemporary Art” in the December issue of Harper’s, Dean Kissick presents a provocative critique, arguing that since the 1990s art’s politicized expressions of discomfort have diminished its quality and impact. As a remedy, he calls for artists to return to romantic ideals of beauty, strangeness, and emotion. He contends that artists should prioritize innovation and aesthetic rigor while focusing on universal human experience rather than political correctness. While his case is compelling on the surface, Kissick overlooks crucial historical and economic factors that have affected the art world. The shift in art’s focus is a result of not only political engagement but also a complex interplay of post-industrial social, economic, and cultural forces that emerged in the 1960s and have led to changes in how art is created, valued, and consumed.
Simone Leigh: Powerfully present
Contributed by Anne Swartz / Simone Leigh’s art, which focuses on the experience of black women, is powerfully present in New York City by way […]