A few are also battling with audience and (I’d argue) the white gaze.ĬRT was developed as an academic concept to help understand the structural and racial disparities that endure in our society, engendering differential experiences of law and policy across lines of difference. Tressie McMillian Cottom), and the celebrations, critiques, histories, and mourning that happens within these lived experiences. Collectively, these artists are grappling with the politics of identity (shout out to Cherise Smith), the thickness of self and living as a person of color (shout out to Dr. Hence my original conundrum: Is the title/prompt a big ask, a catch-all, or both?Īside from the title, there are some interesting things happening in each of the Row Houses. So, I’m at a loss concerning the title in conjunction with the work. But who are we asking to look twice? Everyone? Anyone? Additionally, anything with “The Curious Case …” as an introductory phrase positions the remainder of what follows the sentence as something odd. Therefore, I assume that positioning the title in this way is meant to make you do a double-take. We all know that Critical Race Study is anything but a theory. If artists chose not to explore the “frameworks,” then artists could include work about “how the term is leveraged as a catch-all for personal assumptions and/or systems of belief but also respond to the more generalized lived realities that inform the theory.” In conjunction with the artwork, the title/prompt feels like a catch-all. Theory?, invited five artists and an artist collective to contribute work that explores the frameworks of Critical Race Theory (CRT). Round 53 at Project Row Houses, titled The Curious Case of Critical Race…. Later efforts from Banks began to show a drift toward commercial pop, much like Genesis' material, making A Curious Feeling and, to a lesser extent, 1983's The Fugitive his most compelling work.Installation view of “The Curious Case of Critical Race…. Vocalist Kim Beacon, who has worked with the Walkie Talkies, String Driven Thing, and Thin Lizzy, is quite significant throughout, as is the atmospheric percussion work of Chester Thompson.
Banks has refreshingly disposed of any coagulated instrumental pretentiousness that one might have thought would be present, as cuts like "For a While," "In the Dark," and the title track verge on a new age sort of keyboard/guitar beguilement. Banks manages to capture the wonderment and allure that enveloped Genesis' Peter Gabriel days in a number of his tracks, yet he filters out the instrumental intricacies, unorthodox time signatures, and complex poetry which enveloped these works to create a milder but equally effective progressive realm, thus generating a fair amount of musical distinction across the album. Solid keyboard movements lend themselves to mystic, fantasy-like excursions found in tracks such as "From the Undertow," "Somebody Else's Dream," and "The Waters of Lethe," one of the album's strongest cuts. Tony Banks' first solo album borrowed faint elements of Genesis' early progressive sound, making his debut release the strongest in his catalog.
0 kommentar(er)
