So anyway, I've played around with a lot of things like that. And for me the glitter, the color, all those things-- that pink-- all of those things are reflective of this kind of florid kind of quality that people seem to despise so much in Rococo painting. But we know everybody loves that stuff.
And you see those Bouchet paintings and those Fragonard paintings, and that stuff is masterfully done. There's no denying it. So anyway-- I do have some things that are in here several times-- but you can see how stylistically I'm sort of moving through a variety of different treatments of the subject, while at the same time incorporating, not only elements of the way in which culture is transferred through the diaspora, the way black communities are linked through certain religious practices, through certain beliefs, through certain mythologies, the way they are linked, but also the way in which there's a kind of confrontation with another kind of idealized form that is not yourself and not an idealized form of you're making. And how periodically, you know, the way in which history repeats itself gives artists an opportunity to engage with history and with culture, but not in a way where you can do pictures about current events. I mean, to do pictures about current events always leads to political cartoons and/or propaganda posters.
But if you really want people to take advantage of the thing that an artwork can do, which is allow you the kind of space for a certain kind of meditation on a subject, that requires a lot more investment of time, that's not about something that's happening in the immediate environment or in the immediate moment. This is all that paintings and artworks can do really. I mean, photojournalism does a much better job at getting you fired up about things that happened today and yesterday. Paintings don't do that so well, because they take so long to make in the first place. So if they take so long to make in the first place, then-- yes-- OK, so anyway, OK, here we go.
Come on. You can come up. You can come up because I'm going to stop.
But anyway, I'm sure a couple of these things. There's a lot of stuff in that painting. It's a black painting, but there's a lot of stuff in it. Just installation as an art form is just another modality. And a group of paintings, there's a triptych that are based on a Barnett Newman painting called "Who is Afraid of Red, Yellow, and Blue." I did a painting, an exhibition at the Vienna Secession, called "Who's Afraid of Red, Black, and Green," in which these are all paintings that are exactly the same size as the Barnett Newman painting.
And they do all the same things that the Barnett Newman painting do, but then they add another dimension besides. So it's a text-based painting, all red, black, green, red color field painting. But it's a way in which you don't allow for the pure transcendental experience that color field paintings are supposed to elicit. So the red one, the black one, and there's a green one.
And there are things about James Baldwin that figure prominently in this one and the first one. Then photography, that color, there's something important about that color. That's Naomi.
That's Cheryl. And then, so you make objects that perform a certain kind of way. You know, so those Nkisi figures from the Congo, the things they call nail fetish figures, I mean, those things that accumulate all this material over time. So can you make contemporary artworks that look like that but don't try to do the same things those do?