Darby English – författare

Art historian Darby English is celebrated for working against the grain and plumbing gaps in historical narratives. In this book, he explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of black cultural politics: Contemporary Black Artists in America, shown at the Whitney Museum of American Art, and The DeLuxe Show, an integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto.1971 takes an insightful look at many black artists' desire to gain freedom from overt racial representation, as well as their and their advocates' efforts to further that aim through public exhibitions. Amid calls to define a "black aesthetic" or otherwise settle the race question, these experiments with modernist art favored cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight.The power and social importance of these experiments, English argues, came partly from color's special status as a racial metaphor and partly from investigations of color that were underway in formalist American art and criticism. From Frank Bowling to Virginia Jaramillo, Sam Gilliam to Peter Bradley, black modernists and their supporters rose above the demand to represent or be represented, compromising nothing in their appeals for racial reconciliation. At a time when many debates about identity sought closure, these exhibitions offered openings; when icons and slogans touted simple solutions, they chose difficulty. But above all, as English demonstrates in this provocative book, these exhibitions and artists responded with optimism rather than cynicism to the surrounding culture's preoccupation with color.

In this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. 1971: A Year in the Life of Color looks at many black artists’ desire to gain freedom from overt racial representation, as well as their efforts—and those of their advocates—to further that aim through public exhibition. Amid calls to define a “black aesthetic,” these experiments with modernist art prioritized cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color’s special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists—among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas—rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture’s preoccupation with color.

A passionate, rigorous, and persuasive look at the helpful complexity of art during a time of profound cultural turmoilBy turns historical, critical, and personal, this book examines the use of art—and love—as a resource amid the recent wave of shootings by American police of innocent black women and men. Darby English attends to a cluster of artworks created in or for our tumultuous present that address themes of racial violence and representation idiosyncratically, neither offering solutions nor accommodating shallow narratives about difference. In Zoe Leonard’s Tipping Point, English sees an embodiment of love in the face of brutality; in Kerry James Marshall’s untitled 2015 portrait of a black male police officer, a greatly fraught subject treated without apparent judgment; in Pope.L’s Skin Set Drawings, a life project undertaken to challenge codified uses of difference, color, and language; and in a replica of the Lorraine Motel—the site of Martin Luther King, Jr.’s assassination in 1968—a monument to the unfinished business of the integrated nonviolent movement for civil rights. For English, the consideration of art is a paradigm of social life, because art is something we must share. Powerful, challenging, and timely, To Describe a Life is an invitation to rethink what life in ongoing crisis is and can be—and, indeed, to discover how art can help.Published in association with the Hutchins Center for African & African American Research

Taking its title from Ralph Ellison's Invisible Man, exhibition Black Is, Black Ain't (April 20 – June 8, 2008) explored a shift in the rhetoric of race from an earlier emphasis on inclusion to a present moment where racial identity is being simultaneously rejected and retained. Curated by the Renaissance Society's Associate Curator and Education Director Hamza Walker, the exhibition brought together works by twenty-seven black and non-black artists whose work collectively examines a moment where the cultural production of so-called "blackness" is concurrent with efforts to make race socially and politically irrelevant. The publication features essays by Huey Copeland, Darby English, Greg Foster-Rice, Amy M. Mooney, Kymberly N. Pinder, Krista Thompson, Hamza Walker, and Kenneth Warrren.

Los Angeles-based artist Silke Otto-Knapp has developed a painting practice characterized by its rigorous process and attentiveness to the medium’s possibilities. Using layers of black watercolor pigment, she builds up delicate surfaces, producing subtle variations in density and a powerful sense of atmosphere. Otto-Knapp’s exhibition at the Renaissance Society, In the waiting room, presented a new group of large-scale free-standing paintings in that evokes a multidimensional stage set. Some depict silhouetted bodies while others introduce scenic elements reminiscent of painted backdrops.Offering a close look at the exhibition, this volume includes an array of illustrations, a conversation between curator Solveig Øvstebø and the artist, and four newly commissioned essays by Carol Armstrong, Darby English, Rachel Hann, and Catriona MacLeod, grounded in art history and performance studies.

Kerry James Marshall: The Histories is the most extensive publication on the artist to date, celebrating half a century of his work. It reveals the complex ways in which he has transformed histories of Western painting, centering Black bodies in ambitious compositions set in barber shops, public housing projects, parks, and beauty salons. It charts his use of portraiture to memorialise individuals such as Nat Turner, Harriet Tubman, and Olaudah Equiano. A new series, illustrated here for the first time, looks at under-acknowledged aspects of the history of Africa. With lavish illustrations of all the works in the accompanying exhibition, it also includes chapters on Marshall’s Rythm Mastr project and his various public commissions including his stained glass windows for the cathedral in Washington D.C.. A survey by Mark Godfrey is accompanied by shorter essays by Aria Dean, Darby English, Madeleine Grynsztejn, Cathérine Hug, Nikita Sena Quarshie, Rebecca Zorach, and an interview between Kerry James Marshall and Benjamin H.D. Buchloh.

Larger-than-life biblical figures from a renowned American sculptorAmerican artist Charles Ray (born 1953) has devoted most of the past decade to creating sculptures of figures, animals and inanimate objects, often carved from blocks of metal in a state-of-the-art process that combines skilled handwork with industrial technology. This monograph reflects on the fabrication and installation of Adam and Eve (2023), a major sculpture by Ray that is currently on view at Manhattan West, Brookfield Properties’ development adjacent to Moynihan Train Hall and Madison Square Garden. The sculpture, which depicts the biblical figures Adam and Eve in their old age, consists of two large-scale humans rendered in solid stainless steel at nearly 10 feet tall. A significant and highly personal text by art historian Darby English, exploring this work and Ray’s illustrious career, is accompanied by extensive photography illustrating the installed sculptures and their creation.