.ClevelandArt, once a bastion of conservatism regarding contemporary art, is courageously wading into the rising culture wars over the history of race in America in the best way it can, by exhibiting powerful works by Black artists rooted in that history.
Cleveland Museum of Art surveys works by vanguard Black artists in 'Currents and Constellations'CLEVELAND, Ohio — The Cleveland Museum of Art, once a bastion of conservatism regarding contemporary art, is courageously wading into the rising culture wars over the history of race in America in the best way it can, by exhibiting powerful works by Black artists rooted in that history.
Conflicts over the teaching of that history include the racial politics that led to the recent recall of left-leaning school board members in San Francisco. Meanwhile, despite deriding left-wing cancel culture, conservatives are working to ban books from school libraries and to empower citizens to sue school districts over conspiracy theories that children are being force-fed university-level teachings on critical race theory.
The exhibition centers on 17 works in the museum’s Focus Gallery but includes another nine installed amid four permanent collection galleries in ways that show how works by Black artists could reveal new understandings of the museum as a whole. The newly installed Kaphar painting is a reinterpretation of a hackneyed equestrian portrait of George Washington painted by the little-known artist John Faed in 1899 that now belongs to the Tuscaloosa Museum of Art in Alabama.
Instead, by displaying the Kaphar in the context of the Peale portrait and the African power figure, the museum is taking the position that it can be a place where the complexity of America’s racial history can be safely explored. Representing the “facing toward’' theme, Lee has chosen Mario Moore’s defiantly confrontational seminude portrait in which the artist’s wife, Danielle Eliska Lyle, is shown in panties, coolly staring down the viewer while standing proudly amid a pastoral landscape over which she appears to exercise dominion. The painting is a defiant declaration of racial and sexual power.
Among numerous art historical and cultural references, “African King’' evokes the tradition of depicting Veronica’s Veil, the cloth miraculously imprinted with the image of Christ after St. Veronica wiped blood and sweat from his face on the Via Dolorosa at the Sixth Station of the Cross.
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