Nasher Museum of Art at Duke University, Durham (NC, USA)
Publication country
United States
Abstract
(en)
Situates the 1984 Obeah series in a broader context of the artist's life and work, asserting that it constitutes both the culmination of his interest in material, form, color, and surface as well as a stream of consciousness. Explains formal and thematic sources of the depictions of Obeah women (practitioners of a type of sorcery originating in sub-saharan Africa), observed by the artist in his secondary home in St. Martin. Evaluating the significance of folk religion, magic, and corporeal control, the author suggests that Bearden identified with a "fusion of divine and commonplace" in the African American experience, and that the series' strength lies in its alignment of muse and medium.
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