One of my internets sisters, the MODEL MINORITY always gives me something to think about. She ruminates on missing the KEHINDE WILEY show at the Brooklyn Museum of Art. I did catch the show and I thought that the work was profound. The JEAN MICHEL BASQUIAT show was more extensive than WILEY’s installation, but WILEY’s jawn had more presence.
What riveted me to the paintings were their arrogant regality. I understand that he used the work of 17th century masters to form the backdrop for his series, but there was a louder resonance for me in seeing Black men in this juxtaposition.
CHOCOLATE SNOWFLAKE and I went on a date to the museum to view the exhibit and enjoy the once a month party that the museum hosts every first Saturday of each month. The Brooklyn Museum of Art has presented hundreds of exhibits from Black artists but this was the first that I could remember having prime gallery space on the upper floors. The museum’s gallery was unusually crowded and I found it astonishing to see all the non-Blacks that had come to view the exhibit. I think that it was the very first time that some of these people may have looked into the face of a Black man.
I can’t say I blame them either because you have to be able to look at people as equals on a human level before you can earn the right to look at them as beautiful. WILEY’s portraits were beautiful and bold. They weren’t menacing, but they were also uncomprimising. It was making the statement to me that said, “And what?”
C.S. burst my majestic bubble when she told me that KEHINDE WILEY was a fudge and his subjects were more than likely some of his young paramours. In her opinion the exhibit was cartoonish and it only put the images in the realm of grotesque parody.
Whatever, whatever, at least I got me a free cotton t-shirt from the event.
