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Charles Childs

Charles Childs wrote the catalogue essay for Some American History, a bold and hugely important exhibition hosted by the Institute for the Arts, Rice University, Houston Texas, February 1971. It was in effect a major exhibition of work - a large multi-media installation - by Larry Rivers, supplemented with contributions by Ellsworth Ausby, Peter Bradley, Frank Bowling, Daniel LaRue Johnson, Joe Overstreet, and William T. Williams, The exhibition was commissioned by the Menil Foundation, and sought to animate aspects of race within American history. The boldness of the exhibition owed much to the central presence within the exhibition of the work of Larry Rivers, a white Jewish artist whose practice frequently incorporated images of Black people and issues relating to African American history. As such, Some American History created a curatorial model that has still, thirty years on, not been widely embraced by a gallery network that by and large insists that only ‘Black’ artists ought to address ‘Black’ issues or ‘Black’ audiences. Slavery, lynchings, the skewed sexualisation of the Black woman, the poets and prophets of the Black Power movement, these and other subjects were boldly taken up by Rivers, in his distinctive Pop Art influences montages, mixed media pieces and assemblage sculptures.

The exhibition came with an invaluable catalogue, including a hugely important essay by Charles Childs, which opened with “In the turbulent dialectic of black peoples’ drives to affirm their own cultural identity, the idea of having a white artist comment on black subject matter, on first glance, seems unacceptable. Yet, one of the most famous artists of this generation, Larry Rivers, has pursued just this sort of endeavor and questions as to his intent and motivation say more about the “hang ups” in all of us than they do about just what, precisely, Larry Rivers is up to.”

Another fascinating aspect of the exhibition was the representation of Ellsworth Ausby, Peter Bradley, Frank Bowling, Daniel LaRue Johnson, Joe Overstreet, and William T. Williams. These were artists, many of whom tended to be identified with abstraction, and not with pronounced narratives of social realism. To this extent, their contributions were as intriguing as they were poignant. Joe Overstreet contributed his celebrated and witty The New Jemima (1964), Frank Bowling contributed one of his powerful, vibrant map paintings, Middle Passage (1970), characteristically layered with meaning. And  Peter Bradley contributed a mixed media construction, Marcus Garvey (1970), a work that made use of iconic images of Garvey, including one of the most celebrated, by James VanDerZee.

 

Related items

click to show details of Some American History - card

»  Some American History - card

Announcement relating to an exhibition, 1971

click to show details of Some American History - catalogue

»  Some American History - catalogue

Catalogue relating to an exhibition, 1971