It's not the easiest thing to build a show on the theme of criticizing the criticism of the art that's shown. That's what "The Theater of Refusal: Black Art and Mainstream Criticism," at the University of Maryland Baltimore County, tries to do. It raises an important issue, but in the end it comes up short.
The purpose of this traveling show, according to its curator, Charles Gaines, "is to reveal the strategies of marginalization in the critical writing about a group of contemporary black artists and to propose an alternative." In other words, what critics write keeps black artists on the margins of the art world by implying that the art they make, even if it's good, addresses issues that are not pertinent to the mainstream art establishment.
The show consists of art by 11 black artists, including Lorna Simpson, David Hammons, Adrian Piper, Sandra Rowe, Gary Simmons and Carrie Mae Weems; panels quoting critics' comments about the artists, and others showing the press each artist has received over the years; and a reading area with publications about the artists.
There's some powerful art. Piper's searingly ironic "Free #2" shows a photograph of a lynched black man with the legend "land of the free," and a photograph of troopers and a dog attacking a black man with the legend "home of the brave." Lorna Simpson's "Lower Region," also using photographs and text, deals with rape in a simple, effective way.
Hammons' "African American Flag" replaces the traditional colors with red and black stripes and black stars on a green field. It asserts that our national symbol has no black representation. And, since the red in the flag is traditionally supposed to represent the blood spilled in defense of our freedoms, this reminds us that African American blood has been spilled.
Gary Simmons has two versions of "Us/Them": two black towels, one printed with "Us" and the other with "Them," and two white bathrobes, printed with the same words. Since these words take the place of the husband's and wife's "his" and "hers," he makes the point that no matter how closely we all live together, we can't get rid of the "Us" and "Them" mentality. It also points out that if we were all the same color it would take signs to turn people into us and them; when we're not, the differences in color unfortunately become the signs.
The printed criticism is where this project gets muddy. In some of the quotes it's clear what's marginalizing. But other quotes seem to be trenchant, positive and unexceptionable. It would help if the show pointed out what's marginalizing and how, and indicated how these works ought to be addressed.
Gaines' essay in the accompanying catalog addresses the issue, but many people who see the show won't read it; those who do will find the writing at times dense. It would be better if it dealt more thoroughly with the "alternative" Gaines mentions.
Good concept, partly realized. Worth another try.
ART REVIEW
What: "The Theater of Refusal: Black Art and Mainstream Criticism"
Where: Fine Arts Gallery, University of Maryland Baltimore County, 5401 Wilkens Ave.
When: 10 a.m. to 5 p.m. Tuesdays through Saturdays, through Dec. 17
Call: (410) 455-3188