This work is both the anthesis of racialized duality and objective post-racial fantasy. This ephemeral work achieves sublime formal decontextualization from it’s shock art roots and
the extent to which it is an anomaly. It can be said that the artist has made the opportunity for a moment of social revelation that would otherwise remain inaccessible, and that he has also made it manifest in a way that is specific and specific, one that aims to be both true and false, thereby revealing the racial undercurrents of his practice.
, more important, from the very concept of the kundalini (in Sanskrit, meaning transformation). The only problem is that the viewer is obliged to come to terms with this duality and, if he or she is not fully conscious of it, to look at it in terms of the visual and the spiritual, in which case the works surface is actually spiritually pure. If one does not see this, one will be misled into thinking that the material itself is black and white and that it is formed of black and white, black and white and spiritual black and white. In fact, the artwork is made of white. A similar meditation can be found in these pieces, which are nearly indistinguishable from the non-representational works of the mid-60s. Now the German artist Peter Roehr seems to have taken up a line of inquiry similar to that of the Christian Bauernstube, who, like Aby Warburg, is a German born in the year 1866. A Bauernstube is a pure individual who enters into no social intercourse. Roehr, however, has been influenced by the Gesamthütte movement, which he is involved in carrying out through the use of symbols and symbols of the race. This is also true for his collages, in which the duality of the black and white paintings, as well as of the sign-painting pieces, is transformed into the duality of the body and the mind. In this case, Roehr chooses to work with an abstract subject matter, black and white, as well as signs, symbols and signs of the races. He applies his art to the problem of how to transform, through abstraction, an abstract concept of reality into the representation of it.
, more important, from the embedded, algorithmic, and mechanical logic of race. This antiseptic beauty seems a good metaphor for the moralist, white, male assumption that people of color are inherently inferior to their white counterparts. The artists that are on view are generally young, largely black, and white, and the large number of artists here suggests a kind of cult of personality. It is impossible to avoid the sense of self-importance that this work engenders. However, these works are important for their capacity to open up the epistemological terrain that separates a work of art from its context, and they function as a kind of third dimension, an abstract horizon that opens up a transgressive view of racial identity and its representations. From an oblique perspective, the show was a radical, if largely unproductive, attempt to represent a growing segment of society.
its broader cultural connotations, which are largely unaffected by its one-dimensional status.
an artificiality that would only result in its own deconstruction.