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All images: ©Lynette Yiadom-Boakye. Courtesy of the artist, Jack Shainman Gallery, New York and Corvi-Mora, London
All images: ©Lynette Yiadom-Boakye. Courtesy of the artist, Jack Shainman Gallery, New York and Corvi-Mora, London
If we look at the history of portrait painting, Lynette
Yiadom-Boakye’s work, at Jack Shainman’s Gallery on 20th street, is
quite subversive of this genre on a few levels, but in subtle and even disarming
ways.
First of all, these pieces just don’t seem to fit any of
the previous categories in the field of portraiture. These are not
psychological portraits, these are not ego-stroking portraits commissioned by
the well-heeled, these are not documentary portraits - a la GĂ©ricault - to show social exclusion or aberration. In fact, these portraits by Yiadom-Boakye
seem to violate a central premise that most of western portraiture has been
based on – you start with a real subject, learn his/her overarching nature, and
you capture it.
From Van Eyck’s Arnolfini portrait, through Raphael’s
Baldassare Castiglione, through GĂ©ricault to
Francis Bacon, Lucien Freud and beyond, you’ve got some real person as the
source and artistic success is measured by the extent some interestingly salient
feature about that person can be perfectly revealed. Yiadom-Boakye throws all
that away and just paints what have been described, in previous reviews of her
work, as ‘fictitious’ subjects. She just creates the portraits out of nothing,
from her own imagination.
Perhaps what’s even a little more subversive – in our
contemporary art world or culture in general - is that the fictitious subjects
are black folks who are not depicted as, on the one hand, impoverished, violent
or suffering, or, on the other hand, as overachievers who beat the odds and
should be admired. In fact, this show is called “The Love Within,” and I
assumed, based on the good will of the characters portrayed, that this title
might refer to the love and sense of unity and community that often exists
within any segregated population within a dominant culture. We could go even
further and say Shainman is being a bit subversive by even hanging this show in
New York City’s lily white art corridor: if not subversive then certainly
provocative. Dare I say that this show might even look a bit out of place given
the usual offering of white people stuff in Chelsea and given the usual racial
demographics involved in the folks who go gallery hopping and who buy art?
So Yiadom-Boakye has her fictitious subjects presented as
if she is following in the tradition of portraiture, but the fake subjects violate
the most sacred tenet of portraiture. So why is she doing this? Well, since she
is not observing the traditional practices of portraiture, she doesn’t have to depict real people.
Her art is not about documentation or psychological revelation. I think she’s
trying to depict black ‘subjects’ or black folks apart from the charged contexts
in which we usually see them in our cultural offerings. They are not being
glorified, they are not being vilified – they are just black folks. Basically, this is just a bunch of paintings
of black folks, but that’s what makes the show so amazing – nobody ever seems
to just do paintings of just black folks.
Given all the racial conflicts and
dilemmas and controversies that pervade our society, it becomes significant
when black folks can just be depicted as black folks. I guess this is the big
secret of the show – when we look at a portrait of a black man in this show,
what do we expect to see and what are we actually seeing here? For the most
part, we see guys who seem to be totally benign, if not engagingly warm and
open. The artist seems to be asking: what will it mean, or how will people be
affected, if she presents a black person without any social or cultural baggage
whatever? In fact, the artist is so interested in removing her subjects from
any possible context, that she does not even paint shoes on them. She feels
that shoe style might reflect the period of time or social or cultural context in
which the subjects live.
I think this is an interesting show to see given the
recent racially charged stories that are pervading our news sources.
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