Redefining American Art with Black Feminist Perspectives
Trouble the Water
The first section, “Trouble the Water,” which takes its name from the Black American spiritual “Wade in the Water,” provides a useful introduction to the various frameworks. Mounted on dark blue walls, this section delves into the “powerful links between water and notions of freedom, life, spirituality, and transformation.” The placement of the works showcases the different meanings of water across time and cultures. For instance, Martin Johnson Heade’s oil painting, “Summer Showers,” placed beside a Mexica sculpture of the rain god Tlaloc juxtaposes a 19th-century waterscape painting with an Indigenous work in a different medium. “Summer Showers” contrasts the dark, angry storm clouds in the foreground with the sun-lit hay fields, billowing clouds, and blue sky in the background. It serves as a key example of water as a dramatic and dangerous force in American romantic painting. On the other hand, the rain god Tlaloc was worshiped by the Mexica (also known as Aztecs) for his ability to nurture the earth and agriculture. The carved stone sculpture was likely created as an offering to prevent catastrophic events like droughts and floods, highlighting the Mexica’s dual recognition of water’s power to both nourish and destroy. Through the relationship of these objects to water, this juxtaposition forces viewers to seriously consider the impacts of settler colonialism on indigenous ways of life.
In this section, the careful arrangement of these artworks allows for a profound exploration of the complex relationship between water and different cultures. It invites viewers to think beyond the surface and delve into the deeper meanings and historical contexts associated with water. The combination of the Western painting and the Indigenous sculpture creates a powerful visual and intellectual experience that challenges our preconceived notions and broadens our understanding of the significance of water in art and history.
Witness
“Witness” explores portraiture as a tool for self-representation for women and people of color who sit for these portraits. The use of floor-to-ceiling, salon-style hanging is truly a delight. Paintings are hung in a large group that extends above and below eye level, creating the sense that you are surrounded by figures who watch you as you watch them. This arrangement highlights the unique relationship between the viewer and the portraits and encourages visitors to slow down and simply look. It gives a new perspective to portraiture, emphasizing the power and significance of these images in representing different identities and experiences.
As you stand among these hanging portraits, you can almost feel the stories and emotions they hold. Each portrait becomes a window into the lives and worlds of the subjects, inviting viewers to connect on a deeper level. It is a testament to the importance of portraiture in capturing and preserving the essence of individuals and communities, and how it can serve as a powerful tool for social and cultural exploration.
A Quiet Place
“A Quiet Place” and “To Give Flowers” both focus on specific themes that are depicted across all kinds of American art. Just like “Witness,” “A Quiet Place” encourages viewers to pause and look with care. It poses the question, “Who has access to rest? To peace and quiet?” The works included in this section are peaceful landscapes and images of figures resting. A plush couch and rug create a unique calm and intimate environment that invites viewers to sit, reflect, and look with intention. It provides a moment of respite in the midst of the bustling art gallery, allowing viewers to connect with the art on a more personal and meditative level.
This section reminds us of the importance of finding moments of quiet and stillness in our lives and in art. It shows how art can create spaces for reflection and contemplation, offering a break from the chaos of the world. The combination of the peaceful imagery and the inviting environment makes “A Quiet Place” a truly special and memorable part of the exhibition.
To Give Flowers
“To Give Flowers” draws on the saying “to give someone their flowers” from Black funerary and gospel traditions and explores the use of flowers in the art of different cultures. This section was a personal favorite as it included an indigenous Mexica sculpture of the Maize God and colonial-era paintings of the Virgin Mary surrounded by flowers. As a Latina, it was both exciting and deeply validating to see pre-colonial Mexican art centered alongside other floral works as a vital point of comparison. It showcases the rich cultural diversity and the interconnections between different art forms and traditions.
The inclusion of these diverse floral works highlights the universal language of flowers and their significance in different cultures. It allows viewers to appreciate the beauty and symbolism of flowers from a global perspective and understand how they have been used throughout history to convey emotions, beliefs, and cultural values. This section adds a unique and meaningful dimension to the exhibition, enriching the overall experience for visitors.
Several Seats
Although most of the galleries were highly insightful and presented a wide scope of American art, the section “Several Seats” felt somewhat surface-level. It features portraits of wealthy, white individuals from the museum’s collection arranged below eye level along the wall. This allows visitors to critically look down on the subjects of the portraits and their connections to colonialism and slavery. However, the isolation of these portraits from the rest of the gallery, along with labels that seemed more focused on quick one-liners rather than serious critique of collecting practices, gave the impression that “Several Seats” lacked the critical punch of the other rooms. The arrangement of these portraits did not encourage a deep conversation between Western and non-Western art in the same way as the other sections. A more integrated approach, with comparisons between these portraits and those of historically marginalized people, could have made the criticism of these Eurocentric collecting practices more impactful and meaningful.
Despite this, the section still offers a valuable opportunity for reflection on the history of collecting and the role of art in representing different social and cultural groups. It prompts viewers to think about the biases and limitations of traditional collecting practices and encourages a more inclusive and diverse approach to art history.
As a whole, “Toward Joy” takes a deliberate and purposeful approach to the display and collection of American art. It directly addresses the criticisms of historical collecting practices as exclusionary and Eurocentric. By applying Black feminist frameworks and including art by marginalized artists across time periods, it curates a unique display of American art that feels fresh, profound, and essential to the development of museum curatorial practices. It is a testament to the power of art in challenging and transforming our understanding of history and culture.
Conclusion
“Toward Joy: New Frameworks for American Art” is now on view on the fifth floor of the Brooklyn Museum as a part of the permanent collection. It invites visitors to explore the rich history and diverse expressions of American art through a new lens. Whether you are a seasoned art enthusiast or a casual visitor, this exhibition offers a thought-provoking and engaging experience that will leave a lasting impression.
Contact Katherine Welander at [email protected].