Many of these examples are traditionally representational: interestingly, much of the discussion
about Open Casket has hinged on the appropriateness of Schutz's characteristically grotesque painterly style, and on the limitations of abstraction or figuration in political art.
Not exact matches
Radio Boston spoke to Boston ICA director Eva Raspini, artist Steven Locke, and Barbara Lewis, director of the William Monroe Trotter Institute for the Study of Black History and Culture,
about the latest controversy related to Dana Schutz's «
Open Casket.»
Schutz's painting of Till,
Open Casket (2016), sparked protests and conversations
about capitalising on black suffering after its inclusion in the last Whitney Biennial.
While
Open Casket will not be part of Eating Atom Bombs, the work provides an opportunity to contemplate questions
about what art can and should say, as well as the responsibility of art museums in these conversations.
The recent controversy
about Dana Schutz's painting
Open Casket (2016) at the Whitney Biennial is reminiscent of similar incidents in the United States that keep popping up with frenzied fury.
By Paco Barragán The recent controversy
about Dana Schutz's painting
Open Casket (2016) at the Whitney Biennial is reminiscent of similar incidents in the United States that keep popping up with frenzied fury.
«Art often exposes the fault lines in our culture, and «
Open Casket» raised difficult questions
about cultural appropriation, race, and representation.