FIGURING IT OUT
To be different in America is to be both conspicuous and invisible. One calls attention to oneself while remaining unapparent. This season's exhibit at the Guggenheim, Going Dark: The Contemporary Figure at the Edge of Visibility, explores this space, focusing on depictions of Black Americans. Walking through is unnerving. The artworks question the legitimacy of the observer. And the sloping ground of the building undoes the physical stability of the viewer.
Depicting absence, erasures, removals, hidings and camouflages, these artworks also show the body resisting observation and, in resistance, becoming more present. In Rebecca Belmore's sculpture Mixed Blessing (2008) a hooded and gloved adult figure, draped in black feathers, without hips or legs, leans forward, armed outstretched, at the viewer's feet. Their charisma is arresting; one can't look away. Is this person performing a ceremonial obeisance or begging for their life to be spared?
The exhibit also gets at the reluctance towards figuration in much of contemporary art, which is something altogether different from abstraction. Why are there no more portraits, no more characterful faces? It's as if, in an age after photography, the face carries no meaning. This show highlights a generation of artists who grew up with Photoshop. At least three works incorporate the graphic conventions of that software, employing checkered transparency screens and acid blue or green backdrops, exposing artifice.
The Guggenheim's ramp, especially after dark, is a great Manhattan promenade. The walk up or down, inside a crowd, is sophisticated and assured. But each time I turned away from one of the artworks I lurched. Looking back to the rotunda and its sloping lines of ramp, rail, ceiling and floor undid me a bit, caused physical unease.
On the rainy evening I visited the difficult subject matter didn't seem to bother the mostly-tourist crowd, who took selfies with works without considering, or perhaps even knowing, the history of reconstruction, lynching, the Black Panthers or Tayvon Martin, all icons explored here. The gift shop, similarly guileless, was selling branded black hoodies. I wanted to turn to the crowd and ask, Did you see the same show I saw? And are you too thinking about what freedoms the body -- that is, your body -- enjoys to dress, walk, rest, to be safe in a place? Anyone who comes and looks carefully will find this exhibit hard to shake off. It shows that looking is not innocent, and casts doubt on whether we can ever see others for who they really are.
Rebecca Belmore, Mixed Blessing, 2011. Cotton jacket, synthetic hair, beads, Hyrdocal. Collection Musée des beaux-arts de Montréal. Copyright Rebecca Belmore.
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🎨 Rolph Scarlett
Rolph Scarlett - Yellow Bar - 1942
Rolph Scarlett - Untitled (15) - 1926
Rolph Scarlett - Red Form - 1946
Rolph Scarlett - Geometric abstraction - 1955
Rolph Scarlett - Untitled - 1946
Rolph Scarlett - Green Abstraction - 1940
Rolph Scarlett - Jester - 1928
Rolph Scarlett - Magritte - 1949
Rolph Scarlett - Anthropomorphic Abstraction - 1930
Rolph Scarlett - Blue, Red, Purple, Orange, and Yellow Abstraction
Rolph Scarlett - Abstraction - 1934
Rolph Scarlett - 1889-1984
Scarlett was Canadian-born, came of age in the Midwest, and spent few important years in Hollywood, where he designed stage sets. He was an industrial and theatrical designer, jeweler, and artist who turned to abstraction after meeting the Swiss artist Paul Klee in 1919. His work from this early period echoes Klee’s use of color, his confidence in naïve, primitive forms, and his blend of abstraction and figuration. In its flat spatial qualities it prefigures the Indian Space painting of the 1940s by a decade.
In spite of his self-imposed obscurity over the past half-century, Rolph Scarlett’s paintings are represented in a number of significant museum collections including the Guggenheim (which still owns over 30 works), the Smithsonian Institution, the Los Angeles County Museum of Art (from the important Leslie Collection), the Montreal Museum of Art, and the de Young Museum in San Francisco.
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Monday's image: August 14, 2023
May Stevens, Dark Flag, Acrylic on canvas, 152.7 x 152.7 centimeters, 1976, Whitney Museum of American Art, New York
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System Processor, 2023. 1/1
buy it now for .404eth here
Part of an experimental figurative series inspired by the 'Blue Screen of Death'. Digitally drawn on iPad using tools from Art Set 4, a digital canvas application.
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Monday's image: June 12, 2023
Thomas Roland Rathmell, Swimming Pool, Oil on canvas, 152.5 x W 121.5 centimeters, 1982, Newport Museum and Art Gallery, Newport, Wales
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ALT, 2023.
Limited Editions, .0404 eth, click here to buy one on Manifold.xyz
Part of an experimental figurative series inspired by the 'Blue Screen of Death'. Digitally drawn on iPad using tools from Art Set 4, a digital canvas application.
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