Author: Shelley Rice
As many of the readers of this magazine know, I am an art critic, not an opera critic – or even an opera fan. My interest in this production was simple: I wanted to see what would happen when a formidable African American concept artist like Kara Walker confronted and re-interpreted a cornerstone of European culture.
Shelley Rice on Kara Walker’s stage design, set design and costumes for Bellini’s opera Norma as presented in Venice.
Photo Michele Crosera.
“He makes clear that even the most successful African American men and White Women make good within roles scripted for them by others, in narratives that provide them with few options or real alternatives. Hoop dreams and football fantasies, like suitable marriages, happy households and feminine charms, are constructed ideals, actualized within well-defined social cages, gilded though they may be.”
Shelley Rice on Unbranded: A Century of White Women 1915-2015 by Hank Willis Thomas.
No anxious moments, 1918/2015, digital chromogenic print, 2015.
Warm and textured, sensuously appaeling and grand in scale, the prints envelope their viewers, simultaneously attracting spectators with their physicality and repelling them with the implications of the subject matter they depict: palatial chambers in tatters, roofs and walls blown apart, objects (chairs, pianos, beds, chandeliers, tools) once used to sustain and enrich life, now metaphors only for survival in the face of death.
Shelley Rice analyzes recent photowork of Wafaa Bilal.