Lubaina Himid: Work from Underneath @ The New Museum in New York

Lubaina Himid, Le Rodeur: The Lock, 2016. Acrylic on canvas, 72 x 96 1/8 in (183 x 244 cm). Courtesy the artist and Hollybush Gardens. Photo: Andy Keat

Lubaina Himid, Tenderness Only We Can Bear, 2018. Acrylic on paper, 28 3/8 x 40 1/8 in (72 x 102 cm). Courtesy the artist and Hollybush Gardens. Photo: Gavin Renshaw

Lubaina Himid, Le Rodeur: The Cabin, 2017. Acrylic on canvas, 72 x 96 1/8 in (183 x 244 cm). Courtesy the artist and Hollybush Gardens. Photo: Stephan Bauman

Lubaina Himid, So Many Dreams, 2018. Acrylic on paper, 28 3/8 x 40 1/8 in (72 x 102 cm). Courtesy the artist and Hollybush Gardens. Photo: Gavin Renshaw

Lubaina Himid, Le Rodeur: The Exchange, 2016. Acrylic on canvas, 72 x 96 1/8 in (183 x 244 cm). Courtesy the artist and Hollybush Gardens. Photo: Andy Keat

Lubaina Himid, How Do You Spell Change?, 2018. Acrylic on paper, 28 3/8 x 40 1/8 in (72 x 102 cm). Courtesy the artist and Hollybush Gardens. Photo: Gavin Renshaw

Lubaina Himid, Le Rodeur: The Captain and the Mate, 2017–18. Acrylic on canvas, 72 x 96 1/8 in (183 x 244 cm). Courtesy the artist and Hollybush Gardens. Photo: Andy Keate

“Lubaina Himid: Work from Underneath,” 2019. Exhibition view: New Museum, New York. Photo: Dario Lasagni

Lubaina Himid, Why Are You Looking…, 2018. Acrylic on paper, 28 3/8 x 40 1/8 in (72 x 102 cm). Courtesy the artist and Hollybush Gardens. Photo: Gavin Renshaw

“Lubaina Himid: Work from Underneath,” 2019. Exhibition view: New Museum, New York. Photo: Dario Lasagni

Lubaina Himid, There Could Be an Endless Ocean, 2018. Acrylic on paper, 28 3/8 x 40 1/8 in (72 x 102 cm). Courtesy the artist and Hollybush Gardens. Photo: Gavin Renshaw

“Lubaina Himid: Work from Underneath,” 2019. Exhibition view: New Museum, New York. Photo: Dario Lasagni

Turner Prize–winning British artist Lubaina Himid is debuting an entirely new body of work for her first solo museum exhibition in the United States. Himid has long championed marginalized histories as a pioneer of the British Black Arts Movement of the 1980s and ’90s. Her drawings, paintings, sculptures, and textile works critique the consequences of colonialism and question the invisibility of people of color in art and the media. While larger historical narratives are often the driving force behind her images and installations, the artist’s works beckon viewers to pay attention to the unmonumental details of daily life. Bright, graphic, and rich in color and symbolic referents, Himid’s images recall history paintings and eighteenth-century British satirical cartoons.

“Work from Underneath” is on view through October 6 at the New Museum 235 Bowery New York, NY. photographs courtesy of The New Museum

Spilling Over: Painting Color in the 1960s @ the Whitney Museum of American Art in New York

Morris Louis (1912-1962), Gamma Delta, 1959-60. Magna on canvas, 103 1/8 × 152 1/2 in. (261.9 × 387.4 cm). Whitney Museum of American Art, New York; purchase with funds from the Glen Alden Foundation and the McCrory Foundation, Inc. 69.57. © 2018 Maryland Institute College of Art (MICA) / Artists Rights Society (ARS), New York

Richard Anuszkiewicz, The Fourth of the Three, 1963. Acrylic on composition board, 48 1/16 × 48 1/16 in. (122.1 × 122.1 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 64.4. © 2019 Richard Anuszkiewicz/Licensed by VAGA at Artists Rights Society (ARS), New York

Installation view of Spilling Over: Painting Color in the 1960s (Whitney Museum of American Art, New York, March 29-August 2019). From left to right: Morris Louis, Gamma Delta, 1959-60; Frank Stella, Gran Cairo, 1962; Miriam Schapiro, Jigsaw, 1969; Alvin Loving, Septehedron 34, 1970; Bob Thompson, Triumph of Bacchus, 1964; Helen Frankenthaler, Orange Mood, 1966. Photograph by Ron Amstutz

Frank Stella, Gran Cairo, 1962. Alkyd on canvas, 85 9/16 × 85 9/16 in. (217.3 × 217.3 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 63.34. © 2019 Frank Stella/Artists Rights Society (ARS), New York

Frank Bowling, Dan Johnson's Surprise, 1969. Acrylic on canvas, 115 15/16 × 104 1/8 in. (294.5 × 264.5 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 70.14. © 2019 Frank Bowling/Licensing by Artists Rights Society (ARS), New York

Alvin Loving (1935-2005), Septehedron 34, 1970. Acrylic on shaped canvas, 88 5/8 × 102 1/2 in. (225.1 × 260.4 cm). Whitney Museum of American Art, New York; gift of William Zierler, Inc. in honor of John I. H. Baur 74.65. Courtesy the Estate of Al Loving and Garth Greenan Gallery, New York

Emma Amos (b. 1938), Baby, 1966. Oil on canvas, 46 1/2 × 51 in. (118.1 × 129.5 cm). Whitney Museum of American Art, New York; purchased jointly by the Whitney Museum of American Art, with funds from the Painting and Sculpture Committee; and The Studio Museum in Harlem, museum purchase with funds provided by Ann Tenenbaum and Thomas H. Lee T.2018.33a-b. © Emma Amos; courtesy of the artist and RYAN LEE Gallery, New York

Spilling Over: Painting Color in the 1960s gathers paintings from the 1960s and early 1970s that inventively use bold, saturated, and even hallucinatory color to activate perception. Many artists during this era adopted acrylic paint—a newly available, plastic-based medium—and explored its expansive technical possibilities and wider range of hues. Color Field painters poured paint and stained unprimed canvas, dramatizing materiality and visual force of painting. At the same historical moment, an emerging generation of artists of color and women explored color’s capacity to ignite new questions about perception, specifically its relation to race, gender, and the coding of space. Spilling Over looks to the divergent ways color can be equally a formal problem and a political statement.

Spilling Over: Painting Color in the 1960s is on view through August 18 at the Whitney Museum of American Art 99 Gansevoort Street New York, NY. photographs courtesy of the Whitney Museum of American Art