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Kehinde Wiley, Abed Al Ashe and Chaled El Awari (The World Stage: Israel), 2011, Roberts & Tilton, Los Angeles
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by Charlie Finch

Right away, you might respond, "Is black, gay art too kitschy?" but I don't think that is the issue. For years and years, African-American art was ghettoized by the liberal elites as nothing but kitsch, neoprimitive sculptures, family scenes from the hood and moody dreamscapes. Even the Florida Highwaymen, those anonymous and subtle travelling black interpreters of the 1950s Florida landscape, were dismissed as kitsch.


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