DETROIT, MICH.- The Detroit Institute of Arts presents “30 Americans,” a dynamic exhibition of contemporary art by African American artists, on view Oct. 18, 2015–Jan. 18, 2016. “30 Americans” includes 55 paintings, sculptures, installations, photographs and videos by many of the most important African American artists who rose to prominence during recent decades by exploring racial, gender, political and historical identity in contemporary culture.
Among the renowned artists included are Barkley Hendricks, Kerry James Marshall, Carrie Mae Weems, Lorna Simpson and the late Jean-Michel Basquiat and Robert Colescott. Their influence on a younger generation can be seen in the works of artists such as Kehinde Wiley, Nick Cave, Mickalene Thomas and Kara Walker.
The exhibition is drawn from the acclaimed Rubell Family Collection, Miami. In describing the origins and development of the exhibition, Don and Mera Rubell state: “As the show evolved, we decided to call it 30 Americans. ‘Americans,’ rather than ‘African Americans’ or ‘Black Americans,’ because nationality is a statement of fact, while racial identity is a question each artist answers in his or her own way, or not at all. And the number 30 because we acknowledge…that this show does not include everyone who could be in it.”
““30 Americans” powerfully demonstrates contemporary African American artists’ interests in the complexities of identity and developing a range of artistic approaches to portray or reference its distinctions and similarities,” said Valerie J. Mercer, DIA curator and department head, General Motors Center for African American Art. “This is the first time the work of most of these artists will be on view at the DIA, as well as in Detroit. We’re honored to have the opportunity to share the creative brilliance of the contemporary African American artists whose art is included in the prestigious Rubell Family Collection.”
The exhibition is organized around several artistic approaches used to explore identity: defying Western art traditions; portraying black subjects as real people as opposed to types; sampling multiple sources of inspiration; adopting improvisational and expressionistic styles to demonstrate creative and technical virtuosity; the use of symbols, materials and images that imply or trigger associations about gender, race, religion, class and sexuality; transforming the body’s appearance to examine the relationship between societal assumptions and identity; and confronting American history regarding race, racism and power in the United States.
While photographs are generally not allowed in special exhibitions, with permission from the Rubell family, visitors will be able to take photos in “30 Americans” provided that no flash, tripods, monopods or selfie sticks are used.
