VIBE: MoAD brings Romare Bearden to San Francisco. Last time Bearden’s work was in the Bay Aea was 2004 at SFMoMA. Bearden, an American artist of African American heritage, is widely acknowledged as one of the most talented and original visual artists of the twentieth century. The exhibition, organized by the Romare Bearden Foundation, includes 84 lithographs, etchings, collagraphs, collagraph plates, screen prints, drypoints, monotypes, and engravings produced over three decades by Bearden. It will be on view from Friday, May 6 through Sunday, July 3, 2011.
This is one of those, “If you haven’t heard of Bearden, don’t tell anyone. Just go see it and bring yourself up to speed.” If you’re familiar with Bearden, you schmoozed with the celebs at the opening night reception, and bragged to your friends. Exhibition • Bearden Biography
San Jose Mercury
SAN FRANCISCO — To enter the realm of prolific African-American artist Romare Bearden is to surrender to a rhapsody of color. Though he’s best known for his exquisitely composed, textured collages, a new exhibition at the Museum of the African Diaspora — “From Process to Print: Graphic Works by Romare Bearden” — concentrates on the artist’s less familiar but no less dazzling explorations of printmaking, rendered in a variety of techniques he honed over a nearly 30-year period, from the turbulent 1960s through the early 1980s. [Read more from Sura Wood in the San Jose Mercury]
This comprehensive review of Romare Bearden’s work in a myriad of print making forms opened this weekend at the Museum of the African Diaspora. Given that the Bay Area doesn’t have many of his works on display, this is a rare opportunity to enjoy the depth and breadth of his work in a format other than his more well-known collages.
Romare Bearden was a painter, collagist and printmaker who was born in the South, yet lived in NY City for most of his life, traveled to Paris and was a founding member of Spiral, an influential member of the artistic life of New York CIty; he was also a city social worker in Harlem for almost 30 years. He was not “simply” a great black African-American artist or the “man with scissors.” [Read more from Nancy Ewart in the Examiner.com]