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From David Hammons, a Tribute to Pier 52 and Lastingness
Their artistic paths crossed like ships in the night. But at long last, two New York legends meet in “Day’s End,” an immortalizing homage by Hammons to Gordon Matta-Clark and art history.
“Day’s End,” David Hammons’s site-specific sculpture in Hudson River Park, reimagines the vanished Pier 52 as an open-air pavilion.Credit.Simbarashe Cha for The New York Times
May 13, 2021, 1:39 p.m. ET
In 2014, the director of the Whitney Museum of American Art, Adam D. Weinberg, invited the artist David Hammons to tour the museum’s still empty new building. Weinberg remembers them standing together at the panoramic fifth-floor window overlooking the Hudson and talking about the history of the waterfront facing the museum, about what was there and what was gone.
Recently, English shared with me his reflections on our current moment, how art has changed over the past several decades, and why generalizations of Black art are so problematic.
You are very keen on the problems of generalization within the art world with regards to how African American art is taught, critiqued, and discussed. What is your biggest problem with these generalizations? How, in your opinion, can historians work to remove and/or reduce their use of generalizing?
My issue with generalization is that it feels an irresponsible way to respond to art’s diversity and specificity. If you understand art as something different from yourself, as the work of another consciousness, then it is very hard to generalize about it. Art reflects the immense variation in the field of experience, offers us opportunities to explore and come to terms with that plenitude. Accounts of art that suppress variation, that are nonchalant about those precious opportunities, need to be resisted.
,” Hervé Télémaque offers “One artist’s improvisation on another’s.” Haitian-born painter Hervé Télémaque is based in Paris, France.
The war of rum and gin From Pétion-Ville a little road runs toward Port-au-Prince and the airport. Near a puddle there, Jacob Lawrence drew an arrow pointing to New York.
“If it is’nt love.” Jean-Michel Basquiat walks alone, wearing an elegant suit and bare, painful feet. An optimist for sure! In fact a “foolish optimist,” according to the drawing. He only speaks the language of the Bronx, Brooklyn, and Manhattan. Not a word in French or Creole, but two words in Spanish, “
What museums can learn from Philip Guston and his frank take on âwhite culpabilityâ
By Murray Whyte Globe Staff,Updated January 6, 2021, 3:42 p.m.
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Philip Guston s Riding Around, from 1969.Genevieve Hanson/The Estate of Philip Guston, courtesy Hauser & Wirth Private Collection
ANDOVER â Itâs right there on the wall of the little rotunda at the Addison Gallery of American Art: Philip Gustonâs âCorridor,â a 1969 painting of a diminutive white-hooded Klansman tilting his head to read a clock on the wall. Itâs the only place around here youâre likely to see such a thing for a while, despite best-laid plans to the contrary. More than that, itâs a window into the museum worldâs slow lope of change alongside a culture in sudden fast-forward.