Black Americans got involved in the Punk scene during the ethos of the mid-seventies, just as Fusion, Disco and early Hip-Hop were going through a nexus and a simultaneous disbanding to stand on their own accord, distancing themselves from one another as they crossed paths at the intersection of Black American music.
This is the last article in a series of articles on the friendship between ‘two’ African American artists, a “friendship beyond understanding”. In every article The Harlem Renaissance is the context of the story. This article is about the friendship between the poet and novelist Claude McKay and the activist poet Charles Ashleigh.
It is obvious that, for these Zimbabwean artists, migration is not just a topic or a social issue, but life experiences. Just as those who work in South Africa to make a living, many of the artists are also here, above on everything else, to make a living through their creativity.
The Medium is the Message we can therefore say finds purpose in curating nuanced work. It contains work from a group of artists that explores shades of colour, blackness and identity. It seeks to “return to the raw constituents of painting, to find what can be said about black identity today, through medium alone.”
(…) Rashid Johnson’s photographs are arenas of action, places where people come together and cultures comingle. Seeing in the Dark and the abstractions are deeply personal works. However different they might seem, they both explore the conflicts and convergences of the artist’s race and class, and the dual spaces he inhabits as a middle class Black American. The portraits are encounters that help him to test, and sometimes bridge, the social divides within his life and his community; the abstractions, on the other hand, are an almost Utopian space where the bedrocks of two cultures can co-exist and flourish. Together these two series, made when the artist was very young, laid the foundation for all of the mature explorations to come.