In “A Dozen Black Artists Explore the Triumphs and Tribulations of Life in America in a New Online Exhibition,” Artnet News offers a sneak peek at a new online exhibition: “Renaissance: Noir,“ on view online through July 3 at UTA Artist Space. At least one of the participating artists, Morel Doucet, hails from the Caribbean: Haitian born and Florida-based. [Shown above is Doucet’s “Cane Sugar (i’m learning to love the parts of myself that no one claps for).”
What the gallery says: “‘Renaissance: Noir’ investigates Blackness on the continuum of the historiographies of African American artists’ narratives that assert, individually and collectively, their state-of-mind and state-of-being Black. An existence of ‘double consciousness,’ as coined by W.E.B. DuBois, where one is constantly combating the ‘isms’—racism, colorism, sexism, capitalism, colonialism, escapism, and criticism—through the act of artistic activism.
In claiming agency over ‘otherness’ and cultural emancipation from a Eurocentric lens, exuberant thought-provoking paintings, prints, photographs, sculptures, and conceptual works serve as chronological annals that delineate the social, political, and historical journey of the Black experience through intergenerational narratives that span over 40 years of artistic production.”
Why it’s worth a look: This new virtual exhibition at UTA Artist Space brings together works by 12 Black artists (Tawny Chatmon, Wesley Clark, Alfred Conteh, Larry Cook, Morel Doucet, Monica Ikegwu, Ronald Jackson, M. Scott, Ronald Jackson, M. Scott Johnson, Delita Martin, Arvie Smith, Nelson Stevens, and Felandus Thames) and is organized by Myrtis Bedolla, owner of the Baltimore-based Galerie Myrtis.
A portion of the proceeds from the exhibition will be donated to Artist Relief, a project run by 23 grant-making organizations that are providing aid to artists hit by economic headwinds.
For more information, see https://news.artnet.com/exhibitions/renaissance-noir-at-uta-1885608
[Image above: Morel Doucet, “Cane Sugar (i’m learning to love the parts of myself that no one claps for)” 2019.]