ブルックリン美術館のインスタグラム(brooklynmuseum) - 12月28日 05時47分

The tension between abstraction and figuration cut across the entire art world in the 60s and 70s, but it was further complicated for Black artists. Some of them felt that they should all produce images of Black people, to advance political and cultural causes. Others, like Barkley Hendricks, Emma Amos, and Alice Neel, painted subjects of personal interest who happened to be black without any overt or explicit political intent. Nevertheless, the very idea of painting the Black figure—rarely seen in Euro-American fine art—was a revolutionary act at the time. #SoulofaNationBKM⠀
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Installation views of Barkley L. Hendricks’s Brilliantly Endowed (Self-Portrait), ( 1977) and Blood (Donald Formey) (1975) ⇨ Emma Amos’s Eva the Babysitter (1973) and Alice Neel’s Faith Ringgold (1977) in Soul of a Nation: Art in the Age of Black Power. Photos: @dp.jolly and @jonathan_dorado

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