In Hank Willis Thomas’s LOVERULES—From the Collections of Jordan D. Schnitzer and His Family Foundation, at the Henry Art Gallery in Seattle, the material is the spectacle of American media itself, and the most commercial parts of it: advertisements, sports, logos, slogans—in this place, the United States, at this time—now, or what passes for now, which in Thomas’s hands includes the last four hundred years.
In a Bracing Exhibition at the Guggenheim, Artists Challenge the Way History Is Told
Ashley James’s group show “Off the Record” exemplifies how curators with strong vision might reform institutions from within.
Leslie Hewitt,
Reviews - May 28, 2021
When Sadie Barnette was a kid growing up in Oakland, California, her father didn’t talk much about his time in the Black Panther Party. It’s possible he simply had other things to say. Rodney Barnette, who is now in his late seventies, has lived an uncommonly fascinating life. Born and raised in one of the oldest Black communities in the Boston area, he got involved in community organizing early on, followed the teachings of Malcolm X, was drafted into the army, earned a Purple Heart in Vietnam, took a job with the US Postal Service, joined the anti-war movement, took some time off to read W. E. B. DuBois and Karl Marx, helped the national campaign to free Angela Davis, and opened the first Black-owned gay bar in San Franc