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When Pablo Picasso and other early modernists appropriated elements of so-called “primitive” African art for Cubist and proto-Cubist works such as 1907’s Les Demoiselles d'Avignon they perpetrated a kind of artistic colonialism similar to the economic colonialism that brought back African treasures to French museums and galleries in the first place. It was an exclusively European, almost exclusively male club that marginalized not just the African culture it emulated, but also the women that were often the subjects of their art. In Mickalene Thomas: Tête de Femme, African-American artist Mickalene Thomas breaks up the modernist boys club a century after its formation and takes aim at the lingering effects of its subtle misogyny and racism that continue in the visuals of our present-day culture. Please come over to Picture This at Big Think to read more of "How Mickalene Thomas Breaks Up the Modernist Boys Club."

The annual rite of February’s African-American History Month in America feels more and more like a mixed blessing with each passing year. On one hand, setting aside time to learn the story of Jackie Robinson, for example, ensures that the story of the struggle won’t be forgotten. On the other hand, what does designating a specific month for African-American history say about the other months? Can we and should we really compartmentalize history in this way? Similarly, when well-intentioned museums stage group exhibitions for African-American and/or women artists, does the value of making up for past wrongs outweigh the continuation of using such categories? Artist Carrie Mae Weems, subject of the exhibition Carrie Mae Weems: Three Decades of Photography and Video, the first solo retrospective ever of an African-American woman artist at the Solomon R. Guggenheim Museum in New York City, believes that the time for racial- and/or gender-based shows is over. Why Carrie Mae Weems doesn’t want your “black” art exhibitions (or your women’s shows either) may help end the days of such curatorial practices and open up a new way of seeing not just these artists, but difference itself. Please come over to Picture This at Big Think to read more of "Why Carrie Mae Weems Doesn’t Want Your “Black” Art Exhibitions (or Your Women’s Shows Either)."