Odyssey: Jack Whitten at The Met Breuer
I never thought that I would be interested in writing criticism or reviews, but it’s now one of my favorite styles of writing. I’ve been taking a really fun class this semester called ‘The Art of the Critical Review’ that has definitely challenged my writing and helped me grow. I wrote this review of an exhibit that I saw for the class that I ended up loving. My professor liked it, and so do I, so I thought I’d share it. I hope y’all enjoy! Also, this exhibit closes this weekend, so if you consider yourself an art heaux, definitely go check it out.
The work of artist and sculptor Jack Whitten deserves the utmost praise from the art world and beyond. Odyssey, composed of over fifty of Jack Whitten’s “previously unknown” sculptures and paintings, brought the third floor of The Met Breuer to life. The sculptures and paintings, sturdy and made from unsuspecting materials like egg shells, molasses, chocolate and ash, are largely influenced by the time he spent living in New York City and Crete, Greece. Whitten’s paintings are almost like sculptures themselves; most are three-dimensional and textured, while commanding the space in the room.
Whitten explores themes of race, identity, and the Black experience in his work in a way that is both understated, yet incredibly poignant. Overtly political art (and most cultural production, in general) often tends to receive a certain special value. The work of Whitten is important because of the way that he allowed the inherent politics of his experience and positionality in the world to shine through in his work. This power of this work is especially important in this current political moment because it makes the audience question whether art is ever neutral or apolitical.
One prominent sculpture, titled The Guardian III for Jack, tells a particularly personal story. Made from black mulberry and nylon fishing line, this sculpture is described as a guardian figure for Whitten and his wife in their home. The hefty block of dark wood is smoothly carved and resembles a small, sharp knife on the front. The sculpture is mounted onto the wall and possesses a very arresting presence. According to the description in the exhibit, sculpture “projects defensive power,” and was sculpted specifically to portray that energy.
Photos courtesy Daria Harper
Equally complex were the paintings from Whitten’s Black Monolith collection, which featured works of art dedicated and inspired by prominent Black artists, activists, and celebrities of his day. The Black Monolith X (The Birth of Muhammad Ali), is an abstract painting which portrays Muhammad Ali’s evolution from a famous boxer, to an activist. Upon first glance, the painting is mesmerizing, with deep colorful swirls circular shapes; it doesn’t resemble a person or a birth at all. However, after reading the brief description card and consuming the work more closely, the motion of Ali’s transformation becomes almost as clear as day.
The work of Jack Whitten speaks as loudly today as it did fifty years ago. The spirit in his sculptures and paintings goes beyond beauty and fills the soul of those viewing his art. Through his nods to Black art aesthetics and historical storytelling, Whitten’s work expands the narrative of the Black experience in an invigorating way.