July 20, 1994 |
Romare Bearden is certainly the most renowned African American artist of his generation and that's wrong. Wrong because there are not more of them, worse because no artist's gifts should be confined or promoted within a category of race. Bearden was one of the best artists of his generation, period. Further evidence of this comes with the L.A. County Museum of Art's newly opened exhibition, "A Graphic Odyssey: Romare Bearden as Printmaker."
July 20, 2012 |
This may be the information age, but more specifically, it's the mash-up moment. Images, sounds, words -- all are retrieved instantly from our collective digital memory bank by artists and advertisers alike, shaken, stirred and spilled back out. In the day when collage really did involve scissors and glue, the discontinuities it invoked had more power to jolt and disarm. Think Höch and Heartfield. Now, makers are mixers and the visual fabric of the everyday is a busy, buzzing patchwork.
March 7, 2013 |
The large, bold, unabashedly painterly paintings of Henry Taylor find a fitting stage at Blum & Poe. Spaciously hung in high-ceiling rooms, interspersed with a handful of found object sculptures, the paintings have a potent presence, with a rich and distinctly human character that one rarely sees now as a mainstay in painting. The work hews close to a strain of African American painting tracing back to Jacob Lawrence and Romare Bearden, one that drew simultaneously from folk art and modernism in its depictions of black life in America.
May 21, 1986 |
Born 72 years ago in Charlotte, N.C., Romare Bearden madehis mark with a cut-out collage technique, but he is also a skilled watercolorist and printmaker. His central theme is the rural black experience much like the one Steven Spielberg chronicles in his Hallmark card of a movie, "The Color Purple." Surprisingly, Bearden's work has an idyllic tone much like the Spielberg film.
CALIFORNIA | LOCAL
August 19, 2013 |
Albert Murray, the influential novelist and critic who celebrated black culture, scorned black separatism and was once praised by Duke Ellington as the "unsquarest man I know," died Sunday in New York. He was 97. Murray died at home in his sleep, according to Lewis Jones, a family friend and Murray's guardian. Few authors so forcefully bridged the worlds of words and music. Like his old friend and intellectual ally Ralph Ellison, Murray believed that blues and jazz were not primitive sounds, but sophisticated art, finding kinships between Ellington and Louis Armstrong and novelists such as Thomas Mann and Ernest Hemingway.
June 17, 1987 |
If you were part of the vocal minority that objected to the imposition of Western values on tribal art in " 'Primitivism' and 20th-Century Art," at New York's Museum of Modern Art three years ago, you're in for another struggle with "Perspectives: Angles on African Art," at the San Diego Museum of Art. Though they're not in the same league, the two shows invite similar criticism.