Art. Word. Thought.
at Gazelli Art House, London (through 6 June 2021)
Reviewed by Niccy Hallifax
Walking into a London gallery again after a year of restrictions and lock-downs was strange but uplifting for the soul. More uplifting still was seeing an artist I have long admired, ever since I saw her work at the Saatchi gallery many years before. The Dust Became The Breath, at Gazelli Art House, is a solo exhibition for Aidan Salakhova, the prominent Azeri artist. [Read more…]
by Mark Goodman
For us the new year began far from home at the southern tip of Africa. Apartheid — “apartness” — was a euphemism for racial brutality, and the necessary condition for its enactment: the dehumanizing ghettoization that precedes violence. 2020 would be a year of reckoning for my country’s racial division and a year when being-apart became a universal condition. The disorienting isolation of quarantine spread with its own kind of virulence, eroding intimacy and fraying bonds. [Read more…]
at Karma Gallery, NYC
Reviewed by Hilton Als
NYRB
Reggie Burrows Hodges begins by painting a raw canvas black. Then he paints his figures and their atmosphere on top of that. His hand is everywhere in his work, in control but not controlling. Shall we call Hodges’s work controlled bleeding? While Color Field painters such as Helen Frankenthaler, Morris Louis, and the like managed their paint by splashing color here and there, their project was different from Hodges’s in a number of ways, including their use of color. While today we look on those distinguished Color Field paintings for the joy they express about physicality, the irrepressible eye, and a relative lack of fear when it comes to the decorative, there are, in these artists’ wonderfully gestural work, some shortcomings. Such as their use, or lack of use, of the color black, a hue that is of the utmost importance to Hodges, who has said: “I start with a black ground [as a way] of dealing with blackness’s totality. I’m painting an environment in which the figures emerge from negative space….If you see my paintings in person, you’ll look at the depth.” [Read more…]
Reviewed by Brandon M. Terry
The Sword and the Shield: The Revolutionary Lives of Malcolm X and Martin Luther King Jr.
by Peniel E. Joseph
Basic Books, 384 pp., $18.99
NYRB
Martin Luther King Jr. and Malcolm X met only once, at the US Capitol during the Senate debate over the 1964 Civil Rights Act. That chance encounter was immortalized in a photograph that shows the two men shaking hands and smiling but reveals little trace of the public feud that has linked them in our historical imagination. Their conflict has cast arguably the longest shadow over African-American politics and the struggle for racial justice of any contretemps since the one between W.E.B. Du Bois and Booker T. Washington at the turn of the twentieth century. [Read more…]
Reviewed Brandon M. Terry
The Dead Are Arising: The Life of Malcolm X
by Les Payne and Tamara Payne
Liveright, 612 pp., $27.52
NYRB
At the end of his remarkable, improbable life, Malcolm X was on the cusp of a reinvention that might have been even more significant than his conversion in prison from criminal predation to religious piety. Although he rose to prominence preaching the bleak, racialist metaphysics of Elijah Muhammad and the Nation of Islam (NOI), which depicted whites as “devils by nature,” in March 1964 Malcolm defected from the Nation and converted to Sunni Islam. Charging Muhammad with the sexual exploitation of his teenage secretaries, and the NOI with corruption, criminality, and idolatry, Malcolm pushed a dangerous feud toward its deadly conclusion. [Read more…]
Andrej Dubravsky, Aggressive Slav + Friendly Slav, at LAUNCH F18, NYC
by Sam Trioli
Andrej Dubravsky speaks to Sam Trioli about his new paintings for his current dual exhibition at LAUNCH F18, Aggressive Slav and Friendly Slav. Created from his countryside home in rural Slovakia, Andrej shares the effects on his work and life with returning to nature.
SAM TRIOLI: This exhibition highlights a new series of paintings for you. How did the Aggressive Slav/Friendly Slav series first begin?
ANDREJ DUBRAVSKY: I don’t even know if it’s a particular “series” with an exact start and end, to be honest. I just keep working all year long on various subjects in parallel, no matter if there’s any show coming up next month or in the next six months. Sometime before the works had to be shipped to New York City, I lined up many paintings outside in my garden and I picked from all of these paintings and sort of curated them in a way that would make a sense. This show makes it my first solo show in New York City. [Read more…]
at the Metropolitan Museum of Art, NYC (ended 1 November 2020)
Reviewed by Sanford Schwartz
Jacob Lawrence: The American Struggle
an exhibition at the Birmingham Museum of Art,
November 20, 2020–February 7, 2021;
the Seattle Art Museum,
February 25–May 23, 2021;
and the Phillips Collection, Washington, D.C.,
June 26–September 19, 2021.
Catalog of the exhibition edited
by Elizabeth Hutton Turner and Austen Barron Bailly.
Peabody Essex Museum/University of Washington Press,
188 pp., $45.00
NYRB
As we were waiting on line at the Metropolitan Museum to get into the exhibition Jacob Lawrence: The American Struggle, I told my friend that one reason why Lawrence, though long an esteemed name in American art, has a rather modest presence in our museums may derive from his not having made oil paintings. In a long career that stretched from the late 1930s, when he was barely in his twenties, through the late 1990s—he died in 2000, at eighty-two—he primarily used gouache (which is sometimes referred to as poster paint) or tempera. [Read more…]
by Greil Marcus
Up Jumped the Devil: The Real Life of Robert Johnson
by Bruce Conforth and Gayle Dean Wardlow.
Chicago Review, 326 pp., $20.05
Brother Robert: Growing Up with Robert Johnson
by Annye C. Anderson, with Preston Lauterbach,
and with a foreword by Elijah Wald.
Hachette, 203 pp., $24.99
Love in Vain: Robert Johnson, 1911–1938
by Mezzo and J.M. Dupont
translated from the French by Ivanka Hahnenberger.
London: Faber and Faber, 56 pp., $24.05
NYRB
There’s an old blues metaphor. You know, Robert Johnson found his sound at the crossroad when he made a deal with the devil. It seems to me that the country is at a crossroad, whether we are going to continue to invest and double down on the ugliness of our racist commitments, or [we’ll] finally leave this behind. —Eddie S. Glaude Jr.
The blues singer and guitarist Robert Johnson was born in Hazlehurst, Mississippi, in 1911, grew up in Memphis, and was fatally poisoned by a jealous husband during a performance at a juke joint near Greenwood, Mississippi, in 1938. He recorded twenty-nine of his own songs for the Vocalion label in San Antonio in 1936 and in Dallas in 1937. In 1938, with the blues musician Johnny Shines, he traversed most of the eastern part of the country, playing from St. Louis to Chicago to Detroit to Harlem. Later that year the producer John Hammond, who had celebrated his recordings in New Masses, knew Johnson had to perform at his historic “Spirituals to Swing” concert at Carnegie Hall; learning of his death, Hammond played two of his songs on a phonograph on the stage. [Read more…]
at the Whitney Museum of American Art, NYC (through 31 January 2021)
Reviewed by Anna Shapiro
NYRB
The Whitney’s show, Vida Americana: Mexican Muralists Remake American Art, is a study in revisionism, recasting the standard story so that those formerly disregarded and excluded from the canon of modern American art are instead given a place in it. Exhibitions in recent years have been doing that rewriting in accord with values newly freed from stigma, discovering or rediscovering artists who are female or non-European-American, or who simply didn’t fit the strictures of formalist Modernism. The artists in this show, however, were truly avant-garde in their social values, championing the underdogs of history when it was deeply unfashionable to do so. [Read more…]
at the Scuderie del Quirinale
Reviewed by Ingrid D. Rowland
Raffaello 1520–1483
Catalog of the exhibition edited by Marzia Faietti and Matteo Lafranconi, with Francesco P. Di Teodoro and Vincenzo Farinella Skira
543 pp., €46.00 (paper) (in Italian; an English translation will be published in October 2020)
The New York Review of Books
Like the artist himself, the long-anticipated Raphael exhibition that opened in Rome on March 5, 2020, was struck down by infectious disease. Raphael succumbed to a sudden fever on April 6, 1520, his thirty-seventh birthday. The exhibition that marked the five hundredth anniversary of his death lasted only four days. On March 9, the Italian government issued a decree prohibiting “every form of gathering in public places” to prevent the spread of the coronavirus, and every public institution in Italy shut its doors. Raphael’s birthday came and went with his legacy under lockdown. [Read more…]
Reviewed by Dwight Garner
The Silence
by Don DeLillo
Scribner, 128pp., has $19.22
NY Times
Don DeLillo’s slim new novel, The Silence, is a pristine disaster novel with apocalyptic overtones. It’s a Stephen King novel scored by Philip Glass instead of Chuck Berry. A plane from Paris to Newark crash-lands. Two of the main characters are on this flight, and they survive. Power grids have gone down all over the world. Aliens? The Chinese? The Joker? QAnon? [Read more…]
by Joseph Giovannini
NYRB Online
“This is a hostile takeover of the museum, and if the design succeeds in hijacking the institution, Los Angeles will be living for a long time with a wanton act of architecture, and the bitter memory of a very expensive betrayal of the public trust.” —Joseph Giovannini
There are two demolitions going on at the Los Angeles County Museum of Art, the largest encyclopedic museum west of the Mississippi, with collections spanning many historical periods and cultures. Over the last several months, the museum has razed three of the four structures on the East Campus, the original core of the institution—themselves only sixty years old—and excavators are now polishing off the last and largest, the Ahmanson Building. The East Campus will soon be a bowl of dust. [Read more…]
Reviewed by Marty Sartini Garner
Palo Alto
on Impulse!
Pitchfork
Thelonious Monk once said: “Weird means something you never heard before. It’s weird until people get around to it. Then it ceases to be weird.” By the time Monk and his quartet strode into the auditorium at Palo Alto High School on October 27, 1968, people hadn’t just gotten around to his oblong, minimalist take on jazz—they’d left it behind. After decades of toiling in New York’s clubs to little outside recognition, Monk had briefly tasted superstardom, culminating in a 1964 Time magazine cover. Less than half a decade later, he’d slipped to No. 6 on DownBeat’s International Critics Poll ranking jazz’s best pianists, and writers routinely dismissed his playing as stale and uninspired. Still, he was Thelonious Sphere Monk: If he was no longer weird, and no longer a superstar, he was still a legend. A legend who couldn’t afford to miss a $500 payday at a high school. [Read more…]
Interview by Accra Shepp
NYRB
My father, the saxophonist Archie Shepp, has recorded more than 110 albums since 1962, performed all over the world, and received numerous honors, including the 2016 Jazz Master’s Award from the National Endowment for the Arts. In the 1960s, he helped define “free jazz,” a new idiom in which the details of melody, harmony, and rhythm are all improvised to create a grand conversation: voices rise and fall, sometimes echoing one another, sometimes dissonant and discordant. In the 1970s and 1980s he wove the blues into his music, extending our understanding of this tradition. His cultural influence reaches far beyond the realm of jazz, touching artists as diverse as Ntozake Shange and Chuck D. [Read more…]
By Amethyst Ganaway
Food & Wine
We are demanding, not asking, for “Land, Bread, Housing, Education, Clothing, Justice And Peace.” —Amethyst Ganaway
Black people in America have used food as a means of resistance, rebellion, and revolution since being forcefully brought here in the late 1500s. Food has always been a part of the culture and identity of Black communities and has played a role as a source of both comfort and strength for a people constantly subject to abuse, discrimination, and misunderstanding. [Read more…]
From David Lynch Theater Presents: “Do You Have a Question for David? Part 1” [Read more…]
Reviewed by Bill McKibben
Our Final Warning: Six Degrees of Climate Emergency
by Mark Lynas
London: 4th Estate, 372 pp., $27.99
The New York Review of Books
So now we have some sense of what it’s like: a full-on global-scale crisis, one that disrupts everything. Normal life—shopping for food, holding a wedding, going to work, seeing your parents—shifts dramatically. The world feels different, with every assumption about safety and predictability upended. Will you have a job? Will you die? Will you ever ride a subway again, or take a plane? It’s unlike anything we’ve ever seen.
The upheaval that has been caused by Covid-19 is also very much a harbinger of global warming. Because humans have fundamentally altered the physical workings of planet Earth, this is going to be a century of crises, many of them more dangerous than what we’re living through now. The main question is whether we’ll be able to hold the rise in temperature to a point where we can, at great expense and suffering, deal with those crises coherently, or whether they will overwhelm the coping abilities of our civilization. The latter is a distinct possibility, as Mark Lynas’s new book, Our Final Warning, makes painfully clear. [Read more…]
by Sarah A. Seo
Driving While Black: African American Travel and the Road to Civil Rights
by Gretchen Sorin
Liveright, 332 pp., $28.95
Overground Railroad: The Green Book and the Roots of Black Travel in America
by Candacy Taylor
Abrams, 360 pp., $35.00
The New York Review of Books
In 1963, after Sam Cooke was turned away from a hotel in Shreveport, Louisiana, because he was black, he wrote “A Change Is Gonna Come.” He was right. The next year, Congress passed the Civil Rights Act of 1964, which dismantled a cornerstone of the racial caste system known as “Jim Crow” by banning discrimination in employment and public accommodations. Change seemed to be coming in other areas of American law as well. Congress followed with the Voting Rights Act of 1965, and during the 1960s the Supreme Court waged a “Due Process Revolution” that established more criminal defense rights, such as the guarantee of state-funded counsel for indigent suspects and defendants. The decade seemed poised to bring about a more equal and just America. [Read more…]
Reviewed by Michael Gorra
Sontag: Her Life and Work
by Benjamin Moser
Ecco, 816 pp., $39.99
New York Review of Books
Susan Sontag began to read philosophy and criticism as a teenager at North Hollywood High, when she still signed her editorials in the school newspaper as “Sue.” She read Kant and La Rochefoucauld, Oswald Spengler and Rudolf Steiner. She read Kenneth Burke, who would become her teacher at the University of Chicago, and of course many novels, Thomas Mann above all; an entry in her diary recalls getting caught stealing a copy of Doctor Faustus at a Los Angeles bookshop. One day at a newsstand she picked up Partisan Review and began to tremble as she read Lionel Trilling’s “Art and Fortune,” his 1948 attempt to determine if the novel remained a living form. That set her future. That was when she began to dream of New York, and even of writing for that very journal. And Trilling, a critic forever “talking about the things that mattered,” became a model for her own work.1 [Read more…]
Reviewed by Patrick Lohier
Heads of the Colored People
by Nafissa Thompson-Spires
Thorndike Press, 293pp., $32.99
Harvard Review
In Nafissa Thompson-Spires’s debut short story collection, Heads of the Colored People, a doctor suggests that an adolescent girl’s sudden and overwhelming bout of hyperhidrosis is caused by anxiety, and then asks, “Is there a history of trauma?” The heart of this collection of twelve stories, the thing that Thompson-Spires communicates with great verve, humor, and empathy, is the answer to that question—a booming “Yes!”—especially as experienced by Black Americans. [Read more…]