Hilton Kramer has a great piece in the New York Observer about the Romare Bearden retrospective which just opened
at Washington’s National Gallery, and which I can’t wait to see:
What’s new to me in this exhibition is some of the early work from the 1940’s, executed in the vernacular expressionistic style that was then a common pictorial idiom for painters attempting to align themselves with the politics of social protest. As an African-American, born in North Carolina and raised in Harlem in the Jim Crow era, it was all but inevitable that Bearden would ally himself with that imperative. As early as 1934, in an essay called “The Negro Artist and Modern Art,” Bearden affirmed that alliance in declaring that “An intense, eager devotion to present-day life, to study it, to help relieve it, this is the calling of the Negro artist.”
Yet even in this early period, Bearden’s art never conformed to the simplistic conventions of the 1930’s social-realist school. Picasso was a more potent influence on his work than, for instance, the likes of William Gropper, and when Bearden hit his stride in the 1960’s, it was in the medium of Cubist collage that he found a style in which he could triumphantly integrate the demands of his modernist aesthetic aspirations with those of his embattled social conscience.
Click here to read the whole thing. Yes, I know, Kramer is the Antichrist of art criticism in certain way-cool circles, but the man knows his stuff–and he writes about what he sees, not what he thinks he should have seen.