Reflective Surfaces by Jeff Grunthaner
by Jeff Grunthaner
The paradox of Chris Ofili New Museum Show, “Night and Day,” is the way he makes you believe “great art” without quotes exists, while simultaneously quoting from the great tradition of art as it exists in the Western tradition. Ofili is a painter who will routinely astonish you with a painterly bravura, while yet relying on traditional almost conventional pictorial strategies to compose his work. The overwhelming question is can an artist as skilled as Ofili, a black Londoner, who from a very early stage in career found success via Saatchi and the artists he collected, actually relate to the cannon is a way that matters? It’s not like the New Museum show, which echoes a show recently exhibited at the Tate, will make or break his career, but how does it contextualize itself in \New York? Is there an audience here perhaps more or less responsive than those found in other institutions elsewhere?
Chris Ofili’s career is rooted in a kind of hybridity that makes his extreme inclination for the conventional—a centered figure, generally a portrait—into something completely else. The intrigue lies not so much in the materials listed with the descriptions placed alongside his works, as much as the way he uses the materials. One has NEVER seen glitter or elephant dung used in this way. Not in a painting. And to be honest, if you have it owes everything to Ofili’s pioneering artistry. Few painters are as sensitive to the sculptural qualities of their media (oil, acrylic, what-have-you). This is what makes his paintings so wildly present, so absorbing in a technical way that TRANSCENDS THEIR SCALE. The genius of Ofili lies in his artistry, the solitude of a painter laboring on canvas. In this respect, he is quite possibly without peer.
And yet the genius of specialization can only go so far. Ultimately, what one looks for in a work, whether one is a disinterested connoisseur or a curious newbie to painting, is whether the art lives and breathes beyond the confines in which you take it in. Market aside, it’s unlikely that anyone will leave the Chris Ofili show feeling transformed—despite the artist’s dedicated commitment to incorporating aspects of the tradition in novel, personally expressive, even visionary ways. For the New Yorker, whether she be poor and struggling or comfortable and bourgeois, the theme of a black figure on canvas is not a startling innovation, to say the least. We meet this everyday when we transfer trains, which is not to say that every artist can rival Ofili in skill (few can, in my opinion). Nevertheless, THE MESSAGE BEHIND THE WORK, if message there be, lies in some dimly lit ether-realm of the facelessness of black folk trying to adapt to a society that rebukes them for reasons purely based on race.
Otherwise stated, Ofili falls flat in relation to the political import of his work, Of course, he’s know as a “political painter,” incorporating black faces into a space otherwise reserved for whites, and doing this in a way that vies, perhaps even outshines, their venerable classical models (at least to the mediated gaze of contemporary eyes). But what exactly is the space he inserts his figures into? It’s one thing to liberate the black figure into a space already carved out for it by the cannon; it’s another completely to give such figures their own freedom. To be sure, Ofili’s figures are not thematically restricted to representations of black folk—religious and pop-culture iconography plays a heavy role. Yet everywhere he seems to casually place the image of blackness into his pieces, juxtaposing it easily into the classical maneuvers of sculptural and cubist precedents.
This makes Ofili’s work feel all to comfortable and all-too-distant is light of current events in New York and the world around. There’s a sheltered, studio-quality to the paintings that makes them as aesthetically delightful as they are innocuous. What we’re impressed by is their skill, the way they resolve themselves into compositional gestalts. We don’t really see the world through them (perhaps due to Ofili’s penchant for the visionary), nor do we even witness a world that’s a plenum of plurality. Rather, “Night and Day” gives us an extended survey of how one artist’s practice relates and reflects—not so much redacts—the tradition of “great painting” in Western Art. Not only are Ofili’s paintings wholly rooted in the Western Cannon, but despite their “exotic” materials—elephant dung, most notably, but also glitter and other reflective materials—viewers are left with nothing or less than conventions. Brilliantly wrought, but utterly traditional.
It is exactly the denial of the reflective that makes Ofili the artist that he is. His work revels in surface, in the incorporation of exceptional and even symbolic media (elephant dung, glitter) into a wholly foreign tradition. True to his inspiration in hip-hop and other areas of pop culture, he initially tended to literalize these materials—as when he performed a David Hammonsesque performance work, pandering elephant shit to a public either indifferent or excited (he sold a few pieces, and even developed a piece out of it: “Shithead” (1993). But in the end Ofili submerges his materials into something unrecognizable. To be sure, there is tactility to Ofili’s use of elephant dung that feeds into the sculptural quality of his work. But this is not a political gesture so much as an aesthetic one. What I mean to challenge is Ofili’s importance as a “political painter.”
The contrast boils down to the expressivity of faces in Ofili’s work versus their expressivity qua paintings. In a work like “The Adoration of Captain Shit and the Legend of the Black Stars (Third Version)” (1998), Ofili paints a drugged-out looking figure against a visionary-psychedelic backdrop. The figure could be a boxer, or James Brown. Either way, it’s only an inspiration. Hands of praise or struggle emerge towards the figure. There’s no trace of reality in the portrait. The real-life model whom Captain Shit is based on simply isn’t there. The painting doesn’t speak to this world, but the world of pop-culture imagery. This is less a political move than a gesture. Remapping the iconography of everyday life can only take protest so far. What’s needed is to unmake images, to locate their historical origins, not merely create a pictorial confluence of different traditions melding together. Ofili, for his nonpareil artistry, doesn’t deliver this.