In the sprawling show at Artists Space, Philadelphia artist Jonathan Lyndon Chase explores the intersection of hair cutting, grooming, and caregiving as they relate to the creation of a Black queer community. The exhibit features dozens of bold figurative paintings and sculptures, inspired by Cubism, Surrealism, and Pop Art, which purposefully include the experiences of Black nonbinary individuals often missing from the Black hair narrative. Chase’s artworks challenge traditional representations of gender and sexuality, employing vibrant colors and shifting perspectives to convey an erotic undercurrent. Additionally, the artist incorporates actual hair products into their pieces, blurring the line between found objects and painted replicas. This thought-provoking exhibition raises important questions about the relationship between Black hair, identity, and community.
Black Hair as a Cultural and Political Topic
Black hair has long been a significant cultural and political topic, sparking discussions and debates among various individuals and communities. One prominent figure who offered his views on Black hair was Malcolm X, who argued against straightening Black hair to conform to white beauty standards. According to Malcolm X, this practice was a form of racist brainwashing, as it implied that Black hair was not beautiful or acceptable in its natural state. His stance on Black hair served as a powerful statement that challenged societal norms and promoted acceptance and appreciation of one’s natural hair.
In addition to Malcolm X’s views, there have been numerous films and documentaries that have shed light on the issue of Black hair. For instance, Regina Kimbell’s documentary “My Nappy Roots: A Journey Through Black Hair-itage” and Chris Rock’s documentary “Good Hair” explored the Black hair industry and brought attention to the challenges and beauty associated with it. These documentaries highlighted the complex relationship that Black individuals have with their hair, as well as the influence of societal standards and perceptions.
Furthermore, the influence of Black hair extends beyond documentaries and films. Broadway plays, such as “Jaja’s African Hair Braiding” written by Jocelyn Bioh, celebrate the artistic and cultural significance of African hair braiding. This play pays homage to the masterpieces created by West African immigrants in a Harlem braiding shop. By recognizing and celebrating African hair braiding as an art form, this play contributes to the broader conversation about the cultural importance of Black hair.
Representation of Black Nonbinary People’s Hair Experience
While discussions on Black hair have often focused on the experiences of Black men and women, the representation of Black nonbinary people’s hair experiences has often been overlooked. Jonathan Lyndon Chase’s exhibition at Artists Space seeks to address this gap in representation. Chase’s artistic exploration of hair cutting, grooming, and caregiving sheds light on how these practices contribute to the creation of a Black queer community.
Chase’s exhibition features a collection of bold figurative paintings and sculptures that draw inspiration from art movements such as Cubism, Surrealism, and Pop Art. These artworks depict Black queer individuals engaging in activities such as shaving each other’s heads, emphasizing the intimate and caring nature of these acts. The use of vibrant colors and dynamic figures evokes an emotional response and prompts viewers to reflect on the experiences of Black nonbinary people and their relationship with their hair.
One notable painting in the exhibition is titled “The Shape Up,” which portrays two Black queer individuals, one shaving the other’s head. The painting captures the electric colors reminiscent of Matisse and incorporates elements of Cubism, with nipples doubling as eyes. This blending of artistic styles and symbolism creates a thought-provoking image that invites viewers to consider the complexities and beauty of Black nonbinary hair experiences.
Furthermore, Chase’s artworks incorporate actual hair products, such as Black curls, grooming mirrors, brushes, and durag packaging with images of Black models. By integrating these hair products into the artwork, Chase blurs the line between the real and the painted, inviting viewers to question the role of representation and the significance of these products in shaping cultural and personal identities.
Exploring Hair Cutting, Grooming, and Caregiving in Black Queer Community
Chase’s exhibition also delves into the intersection of hair cutting, grooming, and caregiving within the Black queer community. The paintings featured in the exhibition portray Black queer individuals engaging in acts of hair cutting and shaving, emphasizing the intimate and transformative nature of these rituals.
The exhibition includes paintings that depict Black queer individuals shaving each other’s heads, capturing the vulnerability and trust present in these acts of care. The colors used in these paintings, such as electric reds reminiscent of Matisse, evoke a sense of intensity and passion, further emphasizing the emotional connection between the individuals involved. The figures in the paintings also exhibit elements of Cubism, with disjointed body parts and shifting perspectives, adding to the complexity and depth of the artwork.
In addition to the paintings, Chase incorporates actual hair products into his artwork, further blurring the boundaries between art and life. Snippets of Black curls, grooming mirrors, brushes, and even durag packaging with images of Black models serve as both artistic elements and symbols of identity and cultural representation.
The incorporation of hair products in the artwork reflects the importance of grooming and hair care within the Black queer community. It highlights the significance of these practices as acts of self-expression, self-care, and connection. By including these hair products in the artwork, Chase not only celebrates the cultural and personal significance of grooming within the Black queer community but also invites viewers to reflect on their own experiences with hair and identity.
Furthermore, the exhibition explores the role of advertisements in reflecting and shaping cultural norms and identities. Paintings depicting advertisements for hair products resemble Andy Warhol’s hand-painted Pop works, drawing attention to the influence of consumer culture on beauty standards and personal expression. The presence of these advertisements in the exhibition prompts viewers to consider the ways in which advertising reflects and perpetuates societal norms and expectations.
Comparisons to Art Movements and Artists
Chase’s artwork in the exhibition shows clear influences from various art movements and artists, including Picasso’s Cubism, Picabia’s distorted figures, Warhol’s Pop Art, and Oldenburg’s sculptures. These influences contribute to the unique visual language and style of Chase’s artwork while also drawing connections to art history.
The use of distorted figures and disjointed body parts in Chase’s paintings is reminiscent of Picasso’s Cubism. Picasso’s exploration of multiple perspectives and fragmented forms can be seen in Chase’s artwork, particularly in the portrayal of the Black queer individuals shaving each other’s heads. The figures in these paintings shift and turn, suggesting movement and depth, while also challenging traditional notions of representation and beauty.
Picabia’s distorted figures also find resonance in Chase’s artwork. The incorporation of nipples doubling as eyes in the painting “The Shape Up” echoes Picabia’s exploration of the human form and the blurring of anatomical features. This blending of figures and body parts adds a surreal and thought-provoking element to the artwork, inviting viewers to question the boundaries of identity and representation.
Warhol’s influence can be observed in Chase’s incorporation of advertisements for hair products in his paintings. The hand-painted Pop works reminiscent of Warhol’s style highlight the influence of consumer culture on beauty standards and personal expression. By incorporating these advertisements, Chase draws attention to the ways in which advertising shapes cultural norms and expectations.
Additionally, the sculptures in the exhibition bear resemblance to Claes Oldenburg’s giant sculptures of everyday objects. The oversized jar of hair gel and other hair product sculptures in the “Barbershop” evoke Oldenburg and Coosje van Bruggen’s sculptures, which transform everyday items into monumental works of art. Through these sculptures, Chase explores the concept of everyday objects and their significance within Black queer culture, challenging the viewer’s perceptions of what constitutes art.
Humor, Pathos, and Controversy in the Artwork
Chase’s artwork in the exhibition encompasses elements of humor, pathos, and controversy, creating a multifaceted viewing experience. The presence of humorous and crude elements adds a lighthearted and sometimes provocative tone to the artwork, inviting viewers to engage with the artwork in a playful manner.
For example, the inclusion of penises scrawled on the wall and a coffee table with an exposed rear end remakes the Pop-era Allen Jones’s “Chair” with a base of a woman in bondage. These elements, while crude and potentially controversial, serve to challenge societal norms and notions of propriety. They evoke a reaction from the viewer and prompt exploration of power dynamics and societal taboos.
Despite the presence of humor and crude elements, there is also an underlying sense of pathos in the artwork. The experiences of Black queer individuals navigating multiple worlds and the challenges they face in finding understanding and acceptance from caretakers are explored with vulnerability and depth. This exploration of pathos adds a layer of emotional complexity to the artwork, inviting viewers to empathize with the experiences of Black queer folk.
The artwork in the exhibition also delves into the exploration of identity and the role of caretakers within the Black queer community. The act of shaving someone’s head serves as a metaphorical representation of shedding societal expectations and embracing one’s true self. It reflects the journey of self-discovery and the role of caretakers in supporting and affirming one’s identity. Through these themes, Chase highlights the importance of acceptance, community, and mutual care within the Black queer community.
Comparison to Previous Exhibition
Chase’s current exhibition at Artists Space has been compared to his previous exhibition titled “Wind Rider,” which was held at Company. The previous exhibition received high praise for its experimentation and boldness, setting high expectations for Chase’s current exhibition.
“Wind Rider” at Company showcased Chase’s exploration of the cowboy aesthetic and challenged traditional gallery installation norms. The paintings were displayed in unconventional ways, such as propped on old telephones or mounted perpendicular to the wall. This disregard for traditional gallery practices created a sense of freedom and experimentation in the exhibition, allowing viewers to experience Chase’s vision in a unique and immersive manner.
The paintings in “Wind Rider” were vibrant, explosive, and unapologetic in their use of color, race, and gender. The exhibition showcased Chase’s singular and distinctive vision, introducing viewers to a new realm of artistic possibility. The sheer impact of “Wind Rider” made it a tough act to follow for Chase’s current exhibition at Artists Space.
While Chase’s current exhibition at Artists Space is thoughtful and thought-provoking, it has been deemed by some as falling short of the extraordinary bar set by “Wind Rider.” The inclusion of influences from other artists, such as Picasso, Picabia, Warhol, Basquiat, Jones, and Oldenburg, has led to the perception that there is not enough of Chase’s unique and singular vision in the artwork. These comparisons to his previous exhibition highlight the challenges and expectations that artists face in following up a critically acclaimed show.
Lessons on Black L.G.B.T.Q. Grooming and Beyond
Chase’s exhibition at Artists Space offers valuable lessons on Black L.G.B.T.Q. grooming and extends beyond the surface-level exploration of hair. The artworks in the exhibition serve as metaphors for life, inviting viewers to reflect on the historical, cultural, and political implications of hair within the Black community.
Hair holds immense significance in many communities, with Black hair in particular carrying deep historical, cultural, and political implications. The representation and acceptance of natural Black hair have often been underrepresented or marginalized. Chase’s artworks draw attention to the importance of embracing and celebrating one’s natural hair, challenging societal norms and promoting acceptance.
The exhibition also highlights the communal aspect of grooming within the Black L.G.B.T.Q. community. Hair cutting, grooming, and caregiving become acts of connection, care, and affirmation within this community. By depicting Black queer individuals engaging in these acts, Chase emphasizes the role of acceptance, community building, and mutual care in creating a support system for Black L.G.B.T.Q. individuals.
Furthermore, the artwork prompts viewers to consider the broader implications of hair and identity, not only within the Black L.G.B.T.Q. community but also in society at large. Hair serves as a marker of personal expression and cultural identity, and the celebration and acceptance of diverse hair experiences contribute to a more inclusive and understanding society.
The exhibition invites viewers to engage in a dialogue about the historical, cultural, and political significance of hair, fostering a deeper understanding of the complexities surrounding this topic. It acts as a reminder to approach discussions on Black L.G.B.T.Q. grooming and identity with empathy, respect, and a willingness to learn and grow.
Exhibition Details
Jonathan Lyndon Chase’s exhibition, titled “his beard is soft, my hands are empty,” is currently on display at Artists Space in Lower Manhattan. The exhibition showcases Chase’s bold figurative paintings and sculptures that explore the themes of Black hair, grooming, and caregiving within the Black queer community.
The exhibition will run through December 2, offering visitors ample time to experience and engage with Chase’s artwork. Located at 11 Cortlandt Alley, Artists Space provides a contemporary and immersive environment for viewers to explore the thought-provoking themes presented by Chase.
Overall, Jonathan Lyndon Chase’s exhibition offers a comprehensive exploration of Black hair as a cultural and political topic, the representation of Black nonbinary people’s hair experiences, and the intersections of hair cutting, grooming, and caregiving in the Black queer community. Through his artwork, Chase brings attention to the historical, cultural, and political implications of hair, prompting viewers to reflect on their own understanding of identity, acceptance, and community.
