How are politics and a tense election season impacting the arts community? It is a question that was on the minds of many during several art and fundraising events leading up to the U.S. Election Day on Nov. 5.
For acclaimed multidisciplinary artist and community organizer, Derrick Adams, art and politics are inextricably linked. Adams, who received an award at the American Federation of Arts (AFA) annual Gala & Cultural Leadership Awards on Oct. 30 at Guastavino’s in New York City, shared with the audience how early rejections of his work for its political and racial subject matter emboldened him to embrace the political nature of his creative practice.
“Believe it or not, the work that I made when I was at Columbia [University] 2001-2003, was constantly dismissed,” he shared. “But when I had that response I immediately realized I was a political artist because politics is not something that is always sought by the artist. Sometimes politics is something that is part of the ingredient within the work that is activated by the response of the audience.”
In recent years, Adams has expanded his politics off the canvas and into community-based projects such as establishing The Last Resort Artist Retreat and the Black Baltimore Digital Database. Through the former initiative, Adams and his team provides a space for rest and community-building for artists, while the latter focuses on preserving Baltimore’s cultural history. It is because he is unafraid to address political subject matter in his art and in his community projects that Adams was selected as an AFA honoree alongside philanthropist, collector, and curator Beth Rudin DeWoody and director general of the Kunsthistorisches Museum Vienna, Weltmuseum Vienna, and Theatermuseum, Dr. Sabine Haag.
At The Art Show, Adams would have been in like-minded company with artists such as Delita Martin and David McGee. Martin and McGee were two of numerous artists presented as part of the Spotlight On…Houston initiative at this year’s fair, which was held at Park Avenue Armory in New York City from October 30 to November 2.
Like Adams, Martin and McGee embraced political themes in their works and showcased pieces which focused on the experiences of Black women in America. Martin presented large-scale prints which are richly layered by her drawing, sewing, collage-making, and painting. For her, depicting Black women is an attempt to change the political narrative surrounding their existence, particularly as racist and misogynistic language has been part of this election season.
“As a Black woman and as an artist it is our responsibility to offer our story. I want to offer a different narrative and show we are incredible, beautiful, smart and talented and all these amazing things,” she said.
Meanwhile, McGee is taking a slightly more, shall we say, no-holds-barred approach to addressing the political issues Black women face. At the fair he presented works from his Avenging Angels portrait series. The works–inspired by art history, Shakespeare, and Blaxploitation films–depict Black women dressed as if they are going to a high society ball, yet they are armed with weapons. It is a commentary on the role Black women have played in fighting back against political oppression, and with style to spare.
“We are living in an age of critical urgency and women are tired of being taken for granted. Women are moral agents and this is more than fantasy revenge,” McGee explained. “These are women who are plotting rightfully to take their place. Fashion is important. But for my women they are just a lure to pull you in and they will get their revenge.”
At the MacDowell National Benefit event held on October 28 at Gotham Hall in New York City, the topic of politics also loomed. And when one reflects on the history of MacDowell, how could it not? The 117-year-old organization has had some of the most politically outspoken and active fellows in history such as Audre Lorde, Ta-Nehisi Coates, and James Baldwin. The latter has a library on the MacDowell grounds named after him. According to the organization’s website, Baldwin called MacDowell his “favorite sanctuary for writing,” and his residences there helped produce some of his most powerful works such as Notes of a Native Son, Giovanni’s Room, and Another Country.
The honoree at this year’s ceremony follows in such footsteps when it comes to taking a stand. Art collector and philanthropist Komal Shah, received the 5th annual Marian MacDowell Arts Advocacy Award, for her role in amplifying underrepresented women artists. During her passionate speech she addressed the barriers women face in the art world from not receiving enough exhibition and permanent collections opportunities to egregiously low pay compared to male artists.
Reflecting on the evening, executive director Chiwoniso Kaitano shared, “I was deeply moved by the joy and enthusiasm in the room—a true celebration of MacDowell, our vibrant community of artists, and the essential impact of our work.”
It is an impact that like the work of Adams, Martin, McGee, and Shah will always have a purpose no matter the political climate according to art collector and publisher, Greg Miller. “An event like this [MacDowell National Benefit] foregrounds how fundamental–no matter the [political] climate–is artmaking and artists are to a culture,” he said. “And how over a century they will endure no matter what happens.”
The column, On the “A” w/Souleo, covers the intersection of the arts, culture, entertainment, and philanthropy in Harlem and beyond and is written by Souleo.
