In the meantime, I cannot help wondering about the "subtlety" of inviting an African American artist to highlight the historic past of labor exploitation in the sugar trade before erasing one of its monuments and replacing it with a monument to gentrification.
Although the artists often intersect one or more of the categories, they were loosely assigned to each to help illustrate how sexual identity, politics, internal experience and pleasures and pressures of domestic life are explored through their work.
Today at Crystal Bridges Museum of American Art, a new installation in our 20th century galleries is brimming with great works by women. These range from a Miriam Schapiro "femmage" to one of Susan Rothenberg's breakthrough horse paintings of the mid-1970s.
I went to the Whitney Museum of Art to partake in one of their latest offerings, Blues For Smoke, a saucy gumbo of Walker, Hammons, Whitten, O'Grady, among many others. The exhibition serves a mostly-brown stew, bubbling over with work tucked into nearly every corner.
Kara Walker is no stranger to controversy. On Thursday, March 7, 2013, the African-American visual artist addressed a room of more than 100 people in New Jersey's Newark Public Library to talk about her work and its most recent firestorm.
The rise of feminism corresponds roughly with the expansion of the artworld to include women's production. This is a history that began predominantly in impelling women's art as an expression of the identification of women apart from men.
Sixteen years ago, Santa Fe had a vision to establish a contemporary art museum with the focus of bringing contemporary art to the city with an accompanying biennial. In 2008, Denver decided to join the biennial craze.
With all of Dr. King-Hammond's success, nothing may bring her more satisfaction then the gift of spreading the love that art can bring to one's life. This is something the doctor can attest to first hand.