At the Rubell DC

 

With more than 7,400 works by more than 1,000 artists in its collection, the Rubell family has become a prominent mover of the art world, extending its reach from Miami to Washington DC with the Fall opening of the Rubell Museum DC in the Southwest Waterfront area. Ensconced in the heart of an African-American community, the Randall Junior High School building abandoned for decades was recently renovated to become an art venue, leading to the unavoidable gentrification of the neighborhood. The challenge will be to keep its soul despite its new purpose. From the entrance through the auditorium going up up and down the stairs of the three levels, corridors, classrooms (now galleries) are a constant reminder of its previous life. 

Bathed in the sunlight drawing shapes on the floor, the wide space of the auditorium is the perfect setting for four major pieces by their size and quality, two on each side. Kehinde Wiley's Sleep, 2008, and Another Man's Cloth, 2006, from El Anatsui are like magnets for the viewers as they walk in. The punchy introduction is followed by a visit of the first gallery (twenty four total!) where the viewers can immerse themselves in Keith Haring's cartoonish series Untitled (Against All Odds), 1989, dedicated to Don Rubell's brother deceased from AIDS, while listening to the music of What's Going On, an album from Marvin Gaye's, previous student at the school. The surprisingly small size of the rooms allows intimate solo or group shows. One of the galleries is dedicated to female artists with nudes from Mickalene Thomas, Cecily Brown, Marlene Dumas and Lisa Yuskavage, another to African-American male artists with works from Glenn Ligon, Rashid Johnson, Gary Simmons and Leonardo Drew who takes over the show with Untitled #25, 1992, a giant wall of cotton placed in the middle of the room, a feat in itself. The self-taught artist Purvis Young from Miami, gets two walls in a corridor for his paintings about funerals, protesters and pregnant women, and Hank Willis Thomas for his Unbranded Series, 2006-2008, in which he highlights the perverted use of black men's image in advertisement, a wall to wall display of photographs filling a gallery and an adjacent narrow passage.  It is the occasion to discover the caricatural portraits from Tschabalala Self empowering black females, accompanied by a wall text about intersectionality, and Sylvia Snowden's series Shell;Glimpses, 2010-2012, about her daughter's character depicted through an abstract expressionist vein with brash colors and heavy impasto. 

The list of artists goes on: Maurizio Cattelan, Carrie Mae Weems, Christian Boltanski, Danh Võ, CadyNoland,... Sometimes represented by one small piece lost among the overcrowded display like Kara Walker or Robert Colescott, the fifty artists selected for the exhibition are all "responding to pressing social and political issues" through their works as described on the museum's website. The walls are covered with  paintings, drawings and photographs, along the stairs, the landings, the corridors, leaving little space to take a step back. A few sculptures are located in the central halls on the first and second floor. The visit ends in the basement where three installations are relegated possibly due to their sensitive subject and shocking visual impact on some visitors especially children. Starting with the least controversial, a room filled with plastic detritus thrown among broken classical columns, all covered with imitation gold leaf. A refusal to Accept Limits, 2007, from John Miller invites the visitors to wander among  glittering piles of garbage. Next door, in contrast, three pieces from Josh Kline bring a miserabilist touch with a lighted shopping cart filled with various items and a too realistic female body lying on the floor in a fetal position, thrown in a transparent plastic bag. The long-winded wall text poorly printed about capitalism predicts a dismal future. Is Casja von Zeipel a provocateur? Post Me, Post You, 2022, her pornographic installation with all the props made a stir last Spring at the Frieze New York Art Fair and appears more appropriate for a sex-dungeon. Enough said about it and forget the selfies... gross. 

What's Going On, the vague title of the show, allows the inclusion of diverse works and a long list of artists, the ultimate aim being the presentation of the Rubell Family Collection for the benefit of the visitors (and the Collection). However, more can be less. 

photographs by the author:

John Miller "A Refusal to Accept Limits", 2007.

Tschabalala Self, "Two Girls", 2019

Cecily Brown "Black Painting 4", 2003