One hundred and fifty studio portraits of unidentified African Americans by unknown photographers now on view at the Metropolitan Museum of Art offer a fascinating peek at self-representation in the mid-20th century. By recently acquiring two major portrait groups represented in the show, the Met announces its intention to build its collection to include images of African Americans. (On view on the Upper East Side through October 8th).
At a time when sensitive portraits of African Americans were far from the norm, 19th century Boston artist Francesca Alexander’s tiny ink on paper sketch from 1852 of Julia Benson charms. (At Driscoll Babcock Galleries in Chelsea through Oct 22nd).
This painting from Jacob Lawrence’s 1941 series about the Great Migration of African-Americans from the rural south to the industrial north starkly describes how discrimination also took place in the north. (At the Museum of Modern Art through Sept 7th).
Jacob Lawrence, from the Great Migration series, tempera, 1941.
Nick Cave’s latest body of work – filling both of Jack Shainman’s Chelsea galleries – was inspired when Cave was stunned to find a spittoon in the shape of a African-American man’s head at a flea market. Since then, he’s collected similar figures, like this lawn jockey who recalls the legend of a slave boy who froze to death while holding a lantern for George Washington’s historic Delaware River crossing. Standing on a shoe-shine chair and surrounded by a shrine-like collection of bric-a-brac, Cave repositions an icon from America’s troubled past. (On view through Oct 11th).
Nick Cave, Fear Not, Therefore (detail), mixed media including cast-iron figure, shoe shine chair, ceramic birds, strung beads and metal flowers, 77 x 44 x 30 inches, 2014.
Color Field painter Sam Gilliam’s unstretched canvas from 1970 is a standout in Michael Rosenfeld Gallery’s current exhibition ‘Beyond the Spectrum: Abstraction in African American Art, 1950-1975’ for taking the space of a painting into the space of the gallery. Like a huge paint rag or a giant apron, this piece from 1970 evokes an object with use-value, hung momentarily on the wall. (In Chelsea through March 8th).
Sam Gilliam, One Thunder, acrylic on unstretched canvas, 70 x 23 x 11 inches, 1970.
