At the Studio Museum in Harlem, through June 28:
Trenton Doyle Hancock: Skin and Bones
The spring edition of Harlem Postcards is, as usual, a lively and intriguing welcome into the galleries (“Harlem Postcards”). Love the “golden grapes” by Awol Erizko, inspired by an Egyptian kitsch image (T-shirt), and Elaine Reichek’s embroidered interpretation of a beaux-arts architectural detail (“Harlem Arcadia”).
The featured show, TDH (Amer., b. 1974): Sprawling, subversive, naughty, adolescent, densely-doodled cartoons; as per the title, the insides and outsides of human anatomy, real and imagined, rubbery, R. Crumb-“screwy,” Kerry-James-Marshall comics c. 2000, prehistoric and futurist, interspersed with hand-scripted odd-ball texts to match. Keith Haring-like autonomy in the continuous, fluid contour drawing and mixed male messages. Not particularly my sensibility; but surely, interesting critical investigations will be derived from this first (mid-career) retrospective for a driven, idiosyncratic draftsman. If you do get caught up, you’ll be spending a good chunk of time unraveling it all.
More me (metaphorically; isn’t that the bottom line?) was the upstairs group show, “Salon Style.” (I once wrote a review, “Make-Up and Art” — see “Publications” page, 2012). On the one hand, hair and (more recently in the grand scheme) nails, have become overdetermined tropes of black womanhood (globally), in specific terms of representation; on the other, related representations have been enormously influential, socially, politically and aesthetically, in the art world and beyond, since the early postwar years; and continue to be explored energetically. (I didn’t mention, in my post on the BMA Kehinde Wiley show, 2/23/15, the monument to ancestral-goddess hair, Bound, 2014). Here, I was happy to see one of Chris Ofili’s idealized 70s-style fantasy watercolor portraits juxtaposed with one of Lorna Simpson’s similar photo-collage image-concepts (I noticed a kinship while both had simultaneous shows in NYC last year; see post, 11/3/14); as well as a demure Hank Willis Thomas manipulated “re-photograph”–ode to the perfect (female) Afro, and a small-scale Chakaia Booker (just because Booker’s formal “rubber-tire” inventiveness is always amazing). But the star of this show is surely Pamela Council, with her “blaxidermy” (the artist’s term) art of artificial nails, from a series homage to the late, great Olympic runner Flo-Jo (Florence Griffith Joyner).
Being partial to both bricolage and Minimalist aesthetics, I was engaged by the bookish installation downstairs, Unbound (2015), in which artist Samuel Levi Jones has lined the gallery walls with tattered book spines, bindings, and covers, faded to beige and rust tones and arranged grid-like, to suggest both the immobility of entrenched, institutionalized epistemes and the malleability of collected knowledge vis-a-vis new contexts.
Highlights from two smaller installations of works from the permanent collection:
Upstairs in “Concealed” I would note: an early Willie Cole “domestic iron” piece, in which iron-burnt impressions suggest spear-shaped, worn masks (early 1990s); a realist charcoal portrait of a contemporary figure turned hybrid under a under a heavy, Baga-type mask by Robert Pruitt; and a manipulated photo-portrait by Paul Anthony Smith, in which a Kuba mask is superimposed on the sitter and “flecked” (actually pricked over with a sharp implement) to appear as shining.
Downstairs, “In Profile”: a small Barkley Hendricks “icon” of a shaded-glasses-70s dude that resonates right now with the similar recent, gold-backed portraiture of Titus Kaphur (see post 12/8/14) and Wiley (at BMA); also, a ceramic rosebud-blooming head by Simone Leigh, and a rough-hewn hair-shop-sign assemblage by Alison Saar, both of which would have looked great upstairs in “Salon.”