LOVE DIFFERENCE
LOVE DIFFERENCE
May 15 – June 15, 2021
Eric Brown
“My recent paintings were made during a pandemic. Making them was a daily meditative practice. It was like keeping a journal. French philosopher Roland Barthes draws an analogy between text and textiles (“text” comes from the Latin texere, to weave). Through a repetition of mark-making, my paintings appear woven. They are not painted to look like textile. Their appearance is a byproduct of the painting process. The completed painting is a record of my experience making it. The eye follows “threads” of paint, their accumulation creating a larger whole. My new work is paradoxical: slow yet fast, precise yet open, deliberate yet intuitive. I am freer for having made them.”
Janet Taylor Pickett
“My Blackness is a declarative statement in my work. There are wonderful discarded objects brought home by my father and botanical prints my mother found from various second hand stores. Makers of things and tellers of stories surrounded me. In the late 1960’s and early 1970’ in the midst of sociopolitical activities, I began to formulate an aesthetic language, a visual synergy. The symbolism of the African American quilt, the pejorative images of the watermelon became part of my cryptology.”
Zhang Hongtu
…In Memory of Tseng Kwong Chi (1991) is a photo series that looked to the work of one of Zhang’s contemporaries, the Hong Kong-born performance artist Tseng Kwong Chi, who died of AIDS in 1990. Appropriating Tseng’s photographs, Zhang used the work of his friend to further extrapolate upon the mechanisms by which iconography constructs identity and how artistic intervention can disrupt the language of power. Created for the 1991 exhibition Dismantling Invisibility; Asia and Pacific Island Artists Respond to the AIDS Crisis, Zhang’s work selected fifteen photographs from Tseng’s acclaimed self-portrait series East Meets West (also known as the Expeditionary Self-Portraits, 1979-89) and reconfigured them into photo collages using his familiar epoxy technique. In these photos, Tseng performed the role of “ambiguous ambassador” and posited himself the stereotypical tourist sites (the Eiffel Tower, the Grand Canyon, the Hollywood sign) while dressed in a Mao suit. The series was a subversive yet ludic exploration of cultural identity, perception, and the status of the individual amid the monumental. In Zhang’s reworking of these photos, he cut out the figure of his close friend and colleague, leaving a ghostly silhouette in his absence. The removal of Tseng’s body next to the famous profiles of monuments and natural wonders created a displacement that was not only a deeply sentimental tribute to a dear friend, but, in the words of Zhang, “dismantled” the imagery further, disrupting historical continuity…
“Art and China After 1989, Theater of the World”
Guggenheim 2017
Page 237
https://www.guggenheim.org/exhibition/art-and-china-after-1989-theater-of-the-world
Related:
Janet Taylor Pickett is included in Century: 100 Years of Black Art at MAM
