A fascinating examination of the multifaceted career of artist, activist, curator, and writer Howardena Pindell (b. 1943) offering a fresh perspective on her abstract practice from the late 1960s through the early 1980s—a period in which debates about Black Power, feminism, and modernist abstraction intersected in uniquely contentious yet generative ways. Sarah Louise Cowan not only asserts Pindell’s rightful place within the canon but also recenters dominant historical narratives to reveal the profound and overlooked roles that Black women artists have played in shaping modernist abstraction.
Read more at Yale University Press