ARTFORUM
Robert Colescott Venus Over Manhattan
Artforum reviews Robert Colescott: Women in the February 2023 print issue.
While the painter’s satires of old masters and chestnuts—most famously, of Emanuel Leutze’s hagiographic Washington Crossing the Delaware, 1851—have been celebrated as acidulous detournements of art history, his images of women (often the fetishized, aspirational type of white woman described above) are among his most challenging and unassimilable.
Robert Colescott, "Untitled," c. 1970. Acrylic on canvas; 79 x 58 3/4 in (200.7 x 149.2 cm)
Robert Colescott, "Olympic Event," 1972. Acrylic on canvas; 78 1/4 x 58 1/2 in (198.8 x 148.6 cm)
Robert Colescott, "WEST of CHICAGO," c. 1975. Acrylic on canvas; 78 1/2 x 59 3/8 in (199.4 x 150.8 cm)
Robert Colescott, "why did we come here?," 1966-1967. Acrylic on canvas; 78 3/4 x 59 in (200 x 149.5 cm)
Robert Colescott, "WHiTE GODDESS etc.," 1968. Acrylic on canvas; 63 7/8 x 51 in (162.2 x 129.5 cm)
Robert Colescott, "6 Witnesses," 1968. Acrylic on canvas; 78 3/4 x 59 in (199.7 x 149.9 cm)
Robert Colescott, "Mourning After," 1967. Acrylic on canvas; 78 3/4 x 59 in (199.7 x 149.9 cm)
Robert Colescott, "Untitled," c. 1968. Acrylic on Fabriano paper; Sheet: 41 x 27 1/4 in (104.1 x 69.2 cm) Framed: 46 x 32 1/4 in (116.8 x 81.9 cm)
Robert Colescott, "Untitled," c. 1968. Acrylic on Fabriano paper; Sheet: 27 1/4 x 41 in (69.2 x 104.1 cm) Framed: 32 1/4 x 46 in (81.9 x 116.8 cm)
Robert Colescott, "Cloud Watch," 1963. Oil on canvas; 59 x 68 in (149.9 x 172.7 cm)
Robert Colescott, "There Are Two of Us," 1955. Oil on canvas; 69 x 57 3/4 in (175.3 x 146.7 cm)
Robert Colescott, "IMAGINE ACROBATS," 1964. Oil, graphite, and collaged canvas on canvas; 68 1/2 x 49 1/2 x 2 in (174 x 125.4 x 5.1 cm)
Robert Colescott, "FENCiNG WOMEN," 1964. Oil, graphite, and collaged canvas on canvas; 69 1/2 x 48 1/2 x 2 1/2 in (176.5 x 123.2 x 6 cm)
Robert Colescott, "MOM'S OLD FASHION ROOT BEER," 1974. Acrylic on canvas; 78 5/8 x 59 3/8 in (199.7 x 150.8 cm)
Robert Colescott, "Mom's Old Fashion Root Beer," 1973. Crayon on paper; Work: 24 x 19 1/8 in (61 x 48.6 cm) Framed: 31 1/2 x 26 3/8 in (80 x 67 cm)
Robert Colescott, "Mom's Old Fashion Root Beer," 1973. Colored pencil and graphite on paper; Work: 24 x 19 in (61 x 48.3 cm) Framed: 31 1/2 x 26 3/8 in (80 x 67 cm)
Robert Colescott, "Mom's Old Fashion Root Beer," 1973. Crayon on paper; Work: 24 1/8 x 19 1/8 in (61.3 x 48.6 cm) Framed: 32 x 27 in (81.3 x 68.6 cm)
Robert Colescott, "Untitled," c. 1975. Graphite on paper; Work: 20 1/8 x 28 in (51.1 x 71.1 cm) Framed: 28 x 35 7/8 in (71.1 x 91.1 cm)
Robert Colescott, "Beauty Queen," 1976. Graphite on paper; Work: 25 1/2 x 19 5/8 inches (64.8 x 49.8 cm) Framed: 33 x 26 7/8 in (83.8 x 68.3 cm)
Robert Colescott, "To have and to have not," 1996. Acrylic on paper; Sheet: 41 1/2 x 29 5/8 in (105.4 x 75.2 cm) Framed: 49 9/16 x 37 9/16 in (125.9 x 95.4 cm)
Robert Colescott, "Sepic River Madonna III," 1992. Acrylic on paper; Sheet: 40 1/4 x 29 1/2 in (102.2 x 74.9 cm) Framed: 48 1/2 x 37 1/2 in (123.2 x 95.3 cm)
Robert Colescott, "Old Crow on the Fence," 1978. Acrylic on canvas; 48 x 66 in (121.9 x 167.6 cm)
Robert Colescott, "Black as Satan," 1992. Acrylic on canvas; 84 x 72 in (213.4 x 182.9 cm)
Robert Colescott, "Tobacco: The Holdouts," 1987. Acrylic on canvas; Work: 90 x 114 in (228.6 x 289.6 cm) Framed: 92 3/4 x 116 3/4 in (235.6 x 296.5 cm)
Robert Colescott, "Pancho Villa," 1971. Acrylic on Egyptian linen; 78 3/4 x 58 3/4 in (199.7 x 149.2 cm)
Robert Colescott, "Death of a Mulatto Woman," 1991. Acrylic on canvas; 84 x 72 in (213.4 x 182.9 cm)
Robert Colescott, "Laureate at the Bather's Pool," 1984. Acrylic on canvas; 84 x 72 in (213.4 x 182.9 cm)
Robert Colescott, "The French Secretary," 1976. Colored pencil and graphite on paper; Work: 28 1/8 x 20 1/8 in (71.4 x 51.1 cm) Framed: 36 x 28 1/8 in (91.4 x 71.4 cm)
Robert Colescott, "UNTiTLED," 1977. Colored pencil and graphite on paper; Work: 28 x 20 in (71.1 x 50.8 cm Framed: 35 7/8 x 28 1/8 in (91.1 x 71.4 cm)
Robert Colescott, "My Monument 3," 1977. Watercolor and graphite on paper; Sheet: 30 1/4 x 22 1/4 in (76.8 x 57.8 cm) Framed: 37 3/4 x 29 3/4 in (95.9 x 75.6 cm)
Robert Colescott (b. 1925, Oakland, CA; d. 2009, Tucson, AZ) was honored as the first African American artist to represent the United States with a solo exhibition at the Venice Biennale in 1997. He was the subject of a traveling retrospective curated by Lowery Stokes Sims and Matthew Weseley which began at the Contemporary Arts Center, Cincinnati, OH, in late 2019, accompanied by a comprehensive monograph published by Rizzoli Electa. Colescott’s work is represented internationally in such notable institutions as the Akron Art Museum, Akron, OH; American Research Center in Egypt, Alexandria, VA; Baltimore Museum of Art, Baltimore, MD; Brooklyn Museum of Art, Brooklyn, NY; California African American Museum, Los Angeles, CA; Corcoran Gallery of Art, Washington, D.C.; Dallas Museum of Art, Dallas, TX; Denver Art Museum, Denver, CO; Detroit Institute of Arts, Detroit, MI; de Young Fine Arts Museums of San Francisco, CA; Henry Art Gallery, Seattle, WA; High Museum of Art, Atlanta GA; Hirshhorn Museum & Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art, Los Angeles, CA; Metropolitan Museum of Art, New York, NY; Museum of Contemporary Art, Los Angeles, CA; Museum of Fine Arts, Boston, MA; Museum of Modern Art, New York, NY; National Gallery of Art, Washington D.C.; New Museum, New York, NY; Oakland Museum of California, Oakland, CA; Pinault Collection, Paris, France; Rubell Family Collection, Miami, FL; San Francisco Museum of Modern Art, San Francisco, CA; Seattle Art Museum, Seattle, WA; Tucson Museum of Art, Tucson, AZ; University of Arizona Museum of Art, Tucson, AZ; Wadsworth Atheneum Museum of Art, Hartford, CT; Walker Art Center, Minneapolis, MN; Whitney Museum of American Art, New York, NY; among many more.
Artforum reviews Robert Colescott: Women in the February print issue.
Robert Colescott: Women traces the development of the artist’s depictions of female subjects over the course of his sixty-year career.
A new exhibition at Venus Over Manhattan traces the controversial artist’s decades-long exploration of race and gender.
With 30 works, this exhibition focuses on female subjects, painted upon Colescotts return to America in 1950.