![]() ![]() ![]() This exhibition, and Bowling’s extensive writings, argued for an expansive notion of Black art encompassing both abstract and figurative. Willliams and Daniel LeRue Johnson) in his 1969 exhibition 5+1 at the State University of New York at Stony Brook. In 1966 he relocated to New York, where he joined a group of abstract artists and included many of them (such as William T. While many Black Americans were pointing to Africa as a mother continent, Bowling’s maps celebrate a more fluid and open idea of identity and belonging in the world, enacting what scholar Kobena Mercer calls a “decolonial space of decentering.” Texas Louise and Dan Johnson’s Surprise were included in Bowling’s solo exhibition at the Whitney Museum of American Art in late 1971.īorn in Bartica, Guyana, Bowling moved to England in his teens. Continents emerge from and disappear into color oceans and rivers are combined with pools and trails of liquid paint. He poured waves of acrylic over stencils of continents, which were removed before more paint was applied, leaving ghostly outlines. ![]() In the late 1960s and early 1970s, Frank Bowling’s work drew from Color Field painting of the 1940s and 1950s, yet maintained representational images. ![]()
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