蜜柚直播

It had to be interesting.

鈥淭he art that ultimately proves most interesting is the art that makes you uncomfortable when you see it,鈥� Don Rubell said at a talk earlier this year at the S茫o Paulo (Brazil) Museum of Modern Art, as reported by Artnews magazine.

Among the interesting 鈥� and important 鈥� pieces they have collected are works by African-American artists.

This Friday, Oct. 5, the 蜜柚直播 Museum of Art opens 鈥�30 Americans,鈥� art by African-American artists from the Rubell family collection.

The Rubells, who show their expansive collection at the Miami-based Rubell Museum, have a good eye.

They purchased pieces from emerging artists, some who now have international reputations, and pieces by established artists who continue to grow in stature.

鈥淭his is some of the most significant art of our time,鈥� Julie Sasse, TMA鈥檚 chief curator, says of the exhibit.

Among them: Kehinde Wiley, who was tapped to do President Barack Obama’s portrait; Robert Colescott, who taught at the University of 蜜柚直播 and gained an international reputation for his works, which colorfully mock sexual and racial stereotypes; Mark Bradford and William Pope.L, who were listed among magazine’s 20 most influential artists of 2017; graffiti artist, poet and painter Jean-Michel Basquiat — a painting by the late artist sold for more than $110 million last year, the most ever paid for a work by an American artist. The list of impressive names go on.

鈥淭hese are rock stars of the art world,鈥� Sasse said about many of the artists in the traveling exhibit.

鈥淭he scale, the quality, the time period of these works 鈥� there鈥檚 no way (TMA) could put an exhibition of this caliber together. The Rubells are sharing a big gift.鈥�

Here鈥檚 a peek at what鈥檚 in the show:

Nick Cave

鈥淪oundsuit,鈥� 2008, synthetic hair, fiberglass and metal

Cave is an Alvin Ailey-trained dancer whose art often echoes the grace of dance.

His 鈥淪oundsuit,鈥� a series of 8-feet tall wearable and outrageous sculptures, has brought him plenty of buzz.

鈥淭his sculptural form is based on the scale of my body,鈥� Cave says in the catalog of the show. 鈥淚t creates a camouflage, masking and forming a second skin that conceals race, gender and class, forcing one to look without judgment.鈥�

And to be in awe.

Said a New York Times review of the 鈥淪oundsuit鈥�: 鈥淲hether Nick Cave鈥檚 efforts qualify as fashion, body art or sculpture, and almost regardless of what you ultimately think of them, they fall squarely under the heading of Must Be Seen to Be Believed.鈥�

The elaborate suits are actually designed to be worn by dancers, and they make a musical sound as they move.

Xaviera Simmons

鈥淥ne Day and Back Then (Standing),鈥� 2007, Chromira C-print

Simmons transforms herself into different characters for her photographs. Here, she is in black face, dressed in black, and standing in the midst of golden reeds as she looks directly at the camera, proud and defiant. It鈥檚 jarring and provocative. Her work often demands we rethink what we understand about memory, time, politics and landscape. 鈥淲hen I see this,鈥� TMA鈥檚 Sasse says, 鈥淚 think she鈥檚 saying 鈥榯his is how you see us.鈥� 鈥�

Rashid Johnson

鈥淭he New Negro Escapist Social and Athletic Club (Thurgood),鈥� 2008, Lamda print

Forbes magazine has called Johnson 鈥渙ne of the four or five most important contemporary American artists.鈥� This piece is one in a series about the members of a fictional club. 鈥淭hurgood鈥� is a reference to Thurgood Marshall, the first African-American to sit on the Supreme Court.

Johnson developed this series after learning about a club founded in 1904 at a black university. 鈥淚 thought it was an interesting moment to talk about the black upper class and how they had developed these clubs in order to help each other,鈥� Johnson said in an interview with ArtPulse magazine.

鈥溾�� I wanted to frame that group in a poetic sense with these portraits, as well as leave a lot of open-ended space to interpret how they might participate with one another. We are not given any information as to how the club works, what their ceremonies or rituals are. All we see are the members.鈥�

Mickalene Thomas

鈥淏aby I Am Ready Now,鈥� 2007, acrylic, rhinestone and enamel on wood panel

Thomas, called a 鈥渞enaissance rock star鈥� by Smithsonian magazine, reimagines images from the 1970s, when black power and feminism were on the rise. 鈥淭he late 鈥�60s and 鈥�70s for me is a particular space for black women and black people where they were really sort of defining themselves,鈥� she said in an NPR interview.

鈥淒efining themselves and their place in the world culturally, artistically, how they feel about their own sense of identity. With mantras and slogans 鈥� 鈥榃e鈥檙e black and we鈥檙e proud.鈥� This forging their foundation, saying, 鈥楲ook at us, we鈥檙e here, this is our validation.鈥� 鈥�

Her influence is clear in this diptych: the women on the right is cool, composed, direct. On the left, the interior without the anchor of the woman explodes into abstraction.

Kehinde Wiley

鈥淓questrian Portrait of the Count-Duke Olivares,鈥� 2005, oil on canvas

Wiley, the artist behind President Barack Obama鈥檚 portrait, calls on the Old Masters and inserts a black subject 鈥� often someone he finds on the street 鈥� to transform the story. This image is based on a Diego Vel谩zquez painting of the same name. The rearing horse is under control in the rider鈥檚 hands, the sword, indicative of nobility, and the baton, which implies the subject鈥檚 leadership skills, are all found in the Vel谩zquez painting. Portraits like the original Vel谩zquez were intended to convey the subject鈥檚 social status, power and wealth. By replacing Olivares with a young black man dressed in a hoodie and baggy pants, those traits are transferred to him.