There is no longer any excuse for scholars, curators, and critics to
exclude black artists from any conversation about contemporary performance art.
In 2005, Performa launches the first performance biennial, with identity - focused artists including Marina Abramovic, Ron Athey, Sharon Hayes, and Clifford Owens, whose later show at PS1, «Anthology,» restages the whole history of performance art from the perspective of
excluded black artists by performing particular «scripts» — one of which, written by Pope.L, is «Be African - American.
Not exact matches
(She has featured Jones» work before in numerous group shows that expose how
black artists were historically
excluded from the abstract art canon.)
Kerry James Marshall is an American
artist focused on a history of
black identity,
excluded from the artistic canon throughout the history.
Many significant
black folk
artists were
excluded, and some challenged the distinction Corcoran made between fine art and folk art.
While her subjects are always African - American, Sherald renders their skin - tone exclusively in grisaille — an absence of color that directly challenges perceptions of
black identity and seeks, in the
artist's words, «to
exclude the idea of color as race.»
Alongside her own work, she curated exhibitions of other female
black artists at a time when they were
excluded from institutional recognition.
Museums like the Whitney, Guggenheim, and even the more progressive Brooklyn Museum have been historically known to
exclude black women
artists — and only in recent years have they begun to welcome them in.
Through this project — positioned on billboards in Toronto and eight major cities across Canada — the
artist critiques the lacuna of
black women from visual culture while asserting their empowered presence and identity in the very spaces from which they have been historically
excluded.