The exhibition delivers a rather mixed message, while confirming the importance of the celebratory, abstract art made by artists of African descent who worked in the 1950s and 1960s.
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Irony-free and virtuosic, Hofmann’s sculptures do not belong in the mordant world of contemporary art.
Pouring over the living archives of the Non-Aligned Movement and the Organization of Islamic Cooperation, Naeem Mohaiemen’s three-channel video reflects upon the hopes and failures born within the alternative political and social imaginaries propelled by those who sought to counter the dual hegemony of the Western bloc and the Soviet Union.
Fagundo’s colorful image cycles consider the impulses built into perception, as well as the myriad possibilities of visual syntax.
Blietz’s paintings of Wisconsin cows take advantage of the amorphous dark blotches on the Holstein’s white hide to toggle back and forth between spatial depth and surface pattern.
Boardman’s work was always infused with a light touch, gestural freedom and a sense of spontaneity.
Nancy Rosen’s paintings seem to document women’s struggles for identity in contemporary urban America.
Leaning into the inherent ethereal effervescence of egg tempera paint, Kobayashi abandons the stodgy conventional approach predicated on tight draftsmanship and a methodical build-up of crosshatched lines. Instead, she builds color and form through veils of loose brushwork.
Love and climate change (and pain and pleasure and death and hate) heat up this otherwise glacial month.