Revealing new Fine Arts Museums trove of African American art […] when the Fine Arts Museums of San Francisco made a deal early this year to get 62 functions by 22 contemporary African American musicians, the museums chose to create a full scale exhibition with catalog in four weeks — a fraction of the normal lead time — to observe. The arrival of a new manager at FAMSF along with a new president at the base, combined with the established interest of the museumled by the memorial in February to the present and purchase. The series has been an engaging look at a moment in American art that looks important with each passing year, but that could have drawn little notice were it not for Arnett’s obsession. One of other coups, it had been he who constructed in one spot and popularized the outstanding, highly commended abstract functions of this quilters of Gee’s Bend, Ala., vacationing them at the early 2000s to major American museums. With a very simple pairing of disused rocking chairs and a part of the uprooted tree, “Her and Him Hold on the Root” (1994) elegantly conjures notions of the entanglements of love and the depths of heritage, death and loss. Art such as that at “Revelations”– functions coaxed from humble materials by manufacturers without formal art practice — occupies an unsteady location in the annals of visual reflection. In the early 20th century, even if it wasn’t discounted (or, just as probable, discarded as crap), some of it could have been blessed by the “American folk art” trend that swept museums and the popular media of the era. The exhibit’s catalog and accompanying texts go to great lengths in describing the series, rather, as “a wide overview of a radical facet of contemporary art exercise”– even”a recognizable cultural phenomenon … which also addressed international elements of the human state.” Burgard’s catalog article traces the history of African enslavement, segregation and the battle for civil rights, which he sees as intellectual and psychological sources, pausing only at the end to decry the work’s historic marginalization as “`folk,’`naive,’ or ‘outsider. ”’ In the long term, as FAMSF has acknowledged as well as other museums are only beginning to admit, the answer will lie not only in incorporating portion of an present collection into a temporary exhibition of one set of artists in one area and era, but seeing that the whole of art history through a broader lens.
source http://www.artingerdesigns.com/showing-fine-arts-museums-trove-of-african-american-artwork/
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