 – On view through Saturday, December 7, 2024 at the Jordan Schnitzer Museum of Art at Portland State University, “Color Outside the Lines” is an exhibit that…){kind=link}
PORTLAND, OR (PNAN) – On view through Saturday, December 7, 2024 at the Jordan Schnitzer Museum of Art at Portland State University, “Color Outside the Lines” is an exhibit that aims to explore whether such groups can reclaim color as a tool for challenging established norms. Artists include: Derrick Adams, Polly Apfelbaum, Antonius-Tín Bui, Iván Carmona, Lauren Hana Chai, Caitlin Cherry, Sam Gilliam, Hock E Aye Vi Edgar Heap of Birds, Ana María Hernando, Jenny Holzer, Salomón Huerta, Anish Kapoor, James Lavadour, Christopher Myers, Faith Ringgold, Isaka Shamsud-Din, Andy Warhol and Stanley Whitney.
There is an ongoing debate in the field of art history centers around the dominance of form versus color. From ancient Greece to modern times, artists and critics have weighed which element holds greater significance. In his book, Chromophobia (2000), artist and writer David Batchelor argues that color is often linked with groups that have traditionally faced discrimination within mainstream society, including women, people of color and queer communities.
‘Color’ examines the ways artists have used color to question institutions, beliefs and expectations. Some of the artists included celebrate and amplify colors intrinsic to their cultures, showcasing beauty once dismissed or rendered invisible. For instance, artists Faith Ringgold and Christopher Myers create works inspired by African quilts and stories. These pieces emphasize the vivid contrasts in color often prevalent in African textiles.
Other artists employ color to confront stereotypes and subvert expectations. “Eye Candy” (2022) by Derrick Adams incorporates images of a Black man wearing brightly colored leotards; these images are borrowed from 1970s underwear advertisements, prompting contemplation of ideas around masculinity, sexuality, and who is considered worthy of being portrayed.
Additionally, some artists utilize color as a tool to challenge institutions or to assert control. “Fruit Molotov Cocktail” (2017) by Caitlin Cherry depicts a dying clay figure against the backdrop of a blazing colonial New England home, a symbol of the dismantling of colonial structures. Several prints by Anish Kapoor initiate discussions about the artist’s relationship with color and notions of whether a color can be owned, and if so, who can own it.
