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Abstract shapes with black outline painting12/10/2023 ![]() In the 18-minute video work, “O’Grady transforms her hair into a moving abstract landscape. Lorraine O’Grady’s Landscape (Western Hemisphere) shows explicitly what blackness means when applied to the body and its features. ![]() Photo by: Kerry Ryan McFate / Pace Gallery Installation view of Blackness in Abstraction Pace Gallery 510 West 25th Street, New York, June 24, August 19, 2016. Mutu’s action also brings to mind writer Zora Neale Hurston’s essay, “ How It Feels To Be Colored Me.” Embodied in Mutu’s constrained throws is the full force of blackness and a visual translation of Hurston’s famous 1928 declaration: “I feel most colored when I am thrown against a sharp white background.” The results of Mutu’s performance now adorn the gallery walls in a material protest. The now-infamous protester who threw his shoe at President George W. A barefooted Mutu, dressed in a long black dress and matching gloves, strolled into Pace Gallery, and for a few minutes stood silently reaching into a basket and throwing a sticky black pulp against a white wall. The work, which is a part of the “To Come Thickly” section of the exhibition, occurred before the show opened to the public. The deep exploration the art in Edward’s exhibition allows into the color black and its many meanings is also seen in Wangechi Mutu’s performance, Throw. Photograph courtesy the artist © Wangechi Mutu Wangechi Mutu, Throw, 2016, site specific action painting site specific dimensions. They explore black as a material, a method, a mode, and/or a way of being in the world, necessitating complex thinking and sensorial engagement on the part of the viewer.” “ Blackness in Abstraction is a form of visual note taking, entirely provisional, experimental, suggestive, and capacious, like much of the art it presents.” She adds, “Less concerned about chronology and genealogy, it is one singular, very subjective trace of the persistent presence of the color black in art, with a particular emphasis on monochromes, from the 1940s to today by an international, intergenerational group of 29 artists. “Blackness, in the fullest sense of the word, has a seemingly unlimited usefulness in the history of modern art,” Edwards writes in the exhibition catalogue, echoing her 2015 essay. Courtesy of the Estate and Blum & Poe, Los Angeles/New York/Tokyo/ Photograph courtesy Blum and Poe © Estate of Kōji Enokura
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