I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Lehmann Maupin is pleased to announce its inaugural exhibition for McArthur Binion. Hand:Work marks an important point in the artist’s career, as both an evolution of and departure from his most well-known body of work, the 'DNA Series'. Since the 1970s, Binion has honed a distinct style of painting using oil stick and wax crayon. His grid paintings at first glance appear composed in typical minimalist style, but upon further inspection reveal densely layered, multimedia works with extensive reference to the artist’s personal history. While many of these past paintings have focused on the accumulation of social and bureaucratic documents and identification that amass over a lifetime, Binion’s most recent works are remarkably self-reflective paintings and give a more intimate glimpse into the artist’s labour-intensive practice. There will be a reception for the artist on January 17, from 6 to 8 PM at 501 West 24th Street.
Over the course of his career, Binion has defied classification as an artist. His highly distinctive, innovative, and self-referential practice, as well has his early life in rural Mississippi, would confuse some to classify him an outsider, however he attended the prestigious Cranbrook Academy of Art and was the first African-American student to graduate from the school’s MFA painting program in 1973. After graduation, Binion moved to New York City and found himself in a hotbed of artistic activity—socialising and working among Jean-Michel Basquiat, Brice Marden, and Sol LeWitt. But after two decades in the city, Binion chose another route, moving to Chicago to teach. Throughout the 1980s and ’90s, his style evolved from more gestural abstraction to increasingly pared-down, colourful, geometric abstraction. Binion’s earliest incorporation of found material came during the 1980s, when, using stickers from fruit wrappers that depicted racial stereotypes, he realised the potential for building up an 'under-conscious' of a painting. During the mid-’90s, Binion incorporated his first personal mementos into his work, and in the early 2000s, he hit upon his unique amalgamation of these aesthetic elements, incorporating pages from his personal phone book, his birth certificate, and family photos beneath dense grids. These works made their international debut in 2017 at the Venice Biennale.
For Binion, his personal documents represent the sum total of one’s social life: relationships, citizenship, vocation, and family life. The revealing and obscuring of these aspects of his life also addresses the larger sociopolitical reality of African-American identity—often obscured or erased from common knowledge, yet always present in tandem with major movements in American culture. In his newest Hand:Work paintings, Binion takes an introspective approach that is more closely aligned with the artist’s own self-perception—effectively, his first self-portraits. Using copies of a photo of the home where he was born, along with a photograph of his hand as the ground layer of the paintings, Binion pares down his identity to its most essential elements. These images are tiled in repeated succession, layered under his repetitious line work in oil stick. These gestures themselves relate to memories Binion has of his early childhood farm life, a disciplined approach to the cyclical, sustained effort he maintains in his work today. Through the insertion of his hand, literally in the photographs, and figuratively in his intricate, overlapping mark-making, the artist relates to his earliest introduction to artistry in his mother’s quilting, a tradition he modified and carried into his practice.
Through the incorporation of his hand as a self-generating subject, Binion pushes his work into new conceptual territory, expanding his repertoire to that of an artist engaged in performative self-portraiture. Taking full control of his identity as an artist, Binion emerges as a powerful voice exploring the nuanced ramifications of personal and social identity in the 21st century.
Concurrent with this exhibition at Lehmann Maupin, the Cranbrook Art Museum, Bloomfield Hills, MI, will be showing Binion/Saarinen: A McArthur Binion Project through March 10, 2019.
McArthur Binion (b. 1946, Macon, MS; lives and works in Chicago) received his BFA from Wayne State University, Detroit, in 1971, and his MFA from the Cranbook Academy of Art, Bloomfield Hills, MI, in 1973. Binion’s works were featured prominently in the 57th Venice Biennale, VIVA ARTE VIVA, curated by Christine Macel. Solo exhibitions of his work have been organised at the Contemporary Arts Museum, Houston, (2012); and the University of Maryland University College Gallery, Adelphi, MD (2010). Recent group exhibitions featuring his work include Picturing Mississippi, 1817–2017: Land of Plenty, Pain, and Promise, Mississippi Museum of Art, Jackson, MI (2017); Dimensions of Black: a Collaboration with the San Diego African American Museum of Fine Art, Museum of Contemporary San Diego, San Diego (2017); New at NOMA: Recent Acquisitions in Modern and Contemporary Art, New Orleans Museum of Art, New Orleans (2017); Through the African American Lens, National Museum of African American History and Culture, Washington, DC (2017); Circa 1970, The Studio Museum in Harlem, New York (2016); Prospect.3: Notes for Now, New Orleans (2014); When the Stars Begin to Fall: Imagination in the American South, The Studio Museum in Harlem, New York (2014); and Black in the Abstract, Contemporary Arts Museum Houston, (2013). His work is in numerous public and private collections, including the Cranbrook Art Museum, Bloomfield Hills, MI; Detroit Institute of Arts, Detroit; Kemper Museum of Contemporary Art, Kansas City, MO; Metropolitan Museum of Art, New York; National Museum of African American History and Culture, Washington, DC; New Orleans Museum of Art; The Phillips Collection, Washington, DC; Wayne State University, Detroit; and the Whitney Museum of American Art, New York.
The ten paintings in McArthur Binion's show (all 2017 or 2018) were from a series called 'Hand:Work.' In one sense, the title is literal: a photographic image of the artist's hand recurs throughout the paintings, serving as a building block and a serial motif.
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