The work of Carrie Mae Weems (born 1953), a highly honored contemporary African American artist, is widely praised for its examination of “race, gender and class.” This latter formulation, associated with the rise of identity politics, is virtually embedded in the DNA of so much contemporary art, especially that which is considered, or considers itself, “political” or “radical.” But the focus is really on race and gender, while class is relegated to a negligible position in the triad.
The latest installment of Los Angeles-based artist Sandow Birk’s ongoing project American Qur’an at P.P.O.W. Gallery in New York City adds twelve suras (chapters) to what, when finished, will be a complete English transcription of the Muslim sacred text illustrated with scenes of contemporary American life.
American Qur’an by Sandow Birk at P.P.O.W. Gallery, New York City, September 7-October 12, 2013
Here’s the review by my good friend Clare Hurley.
A recent exhibit commemorating the centennial of the 1913 Armory Show in New York raises important issues on the history of art in the 20th century.