Logan Cryer writes about Jayson Musson’s exhibit of new quilted wall works at Fleisher-Ollman, and says their materiality must be considered. With the use of many visible stitched lines factoring into the pieces and their reference to Gees Bend quilts to be noted, the work raises questions.
Read MoreIn the beastly hot days this month, we’ve sought some respite in travel: Roberta went to New York for a few days, others went to the beach or mountains. We’ve all been busy and busy reading. Here’s a quick look at upcoming content on Artblog, plus an event to give your two cents to the City on what they should do with the Roundhouse (former Police HQ), and a long read in the New Yorker by Alice Gregory about her trip to Africa and the work of a groundbreaking art collective, the Congolese Plantation Workers Art League.
Read MoreLike Romare Bearden’s collages, Musson brings together a spirit of formal experimentation with a deep-rooted cultural awareness. The title of his canvas Knowledge God may refer to the 1995 song of the same name by Raekwon, of the Wu Tang Clan. The repeated patterns of the Coogi fragments echo like musical phrases across the canvas, creating a sort of sweater sound collage. Just as Bearden’s collages often evoke sense of communal ritual (as in his series, The Prevalence of Ritual), Musson draws on shared reference points that span high-brow to low-brow to create visually arresting and thought-provoking work.
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