Plenty agree with Boston Globe art critic Sebastian Smee, who finds “familiar forms of patronizing ‘identity art” – art that addresses, in the most dutiful, box-ticking ways, the familiar tropes of exclusion and wrongdoing… wearingly predictable.” (more)
In the United States of denial, I don’t know how predictable any justice is, which is why I’m fond of Oscar Arredondo’s A Mile in My Moccasins from 2001. Subtlety is not his strong suit. (Insert eye roll from Smee here.) Arredondo holds his subject matter in his heavy hands like a bear preparing to smash a food chest. And why not? I love Jane Austen but wouldn’t want to live in her novels.
Arredondo wonders why one baseball logo is acceptable, at least in Cleveland….
Welcome to Cleveland, Home of the ….
And others like it wouldn’t be.
Welcome to Cleveland, Home of the….
More here.
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