![]() ![]() ![]() I remember being captivated by the zealousness of “world-building” efforts dedicated to sensationalizing its end. The game premiered a decade earlier among a “cohort” that included the TV series The Walking Dead (in its third season), the game Resident Evil (in its sixth), the Hollywood blockbuster World War Z, and Cao Fei’s morbidly humorous Haze and Fog, a zombie film that offered incisive observations of middle-class ennui and environmental ruin, inspired by Cao’s own fascination with eschatological imaginations in the broader culture. When the HBO adaptation of the video game The Last of Us came out at the start of 2023, it already felt nostalgic for an earlier cultural moment of imagined future apocalypses. Ives, Minneapolis hangs next to two of the very few figurative works in this survey of the Casablanca Art School, a post-independence generation of teachers and students from the Moroccan institution, where Melehi. Ultimately the work remains a painting not a banner: sandwiched in between the red and black is a narrow strip of yellow and grey.Īt Tate St. Then again, he was never the kind of artist to take make his point so didactically. He could be hoisting a flag over American territory. The colors, included in Marcus Garvey’s pan-African flag and other motifs of left-wing liberatory struggle, hint at Melehi’s politics. A block of pitch black pushes down on the monochrome red of the canvas’s bottom half. There’s a heaviness to the 1963 acrylic painting that he titled after the city, which opens this exhibition. Later there would be a move to New York and friendship with the likes of Jim Dine and Frank Stella, but at that time the Moroccan artist was a junior teaching assistant at the College of Art and Design and felt like an outsider in the American Midwest. In the early 1960s, Mohamed Melehi was “an immigrant, a lost person” in Minneapolis.
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