‘Lynette Yiadom-Boakye: Under-Song for a Cipher’
“Art looks good held up by a color field,” Darryl Pinckney writes about Lynette Yiadom-Boakye’s show of recent paintings at the New Museum. “In Yiadom-Boakye’s seventeen unframed portraits of black people, the paint continues to the edges of each canvas. There are no titles or wall texts beside them. Some are full-length, or nearly so, except for a triptych of horizontal portraits of a black male in profile, not always in the same shirt, reclining on a red striped blanket. Three paintings are of women, one of whom wears a white leotard; another is seated Indian fashion, seeing to the bun in her hair. Two barefoot women in profile in long skirts are depicted together, one seated in front of the other, who stands with a pair of field glasses aimed at something we can’t see to our right. It is the only painting in the exhibition that is not of one person or of one person and a cat or a bird.”
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