Circle Study #11 1972

Curator: This is Benny Andrews' "Circle Study #11," created in 1972. It is an acrylic and collage on canvas. Editor: Well, my first thought is that it’s surreal! The figures are oddly proportioned, casting elongated shadows in a kind of desolate landscape, and the palette is quite muted. There is an isolated mood of quiet expectancy that reminds me of childhood games. Curator: Andrews often incorporated collage elements to bring texture and dimensionality into his work, disrupting the smooth surface of traditional painting. Consider how this emphasis on materiality intersects with the narrative he's presenting, which has strong elements of folk-art. Editor: Yes, I can see that. Look at the arrangement of figures around the central open space. The way their postures and expressions seem both celebratory and…subdued. There's a definite community dynamic here. It makes you wonder what event or social practice it depicts or what societal conditions impacted the making of the artwork. Curator: Andrews’ works often addressed themes of social justice and identity, deeply rooted in his experiences growing up in rural Georgia during the Civil Rights era. This painting style reminds me of work by naive or outsider artists of his period. Note the almost caricature-like representation of the people and how that choice might contribute to the painting's larger narrative. Editor: Right, the slightly awkward, almost clumsy renderings of the figures serve to humanize them. It adds a layer of vulnerability that undercuts any sense of grandiosity, or even, perfection, highlighting everyday experiences. So, perhaps we are seeing a localized, folk expression being elevated to high art. Curator: I think Andrews pushes back against the traditional canon by centering the experiences of marginalized communities and their visual cultures, thus questioning the politics of who and what gets represented. The artist’s position shapes our view, too. Editor: The painting evokes complex sentiments around rural community practices while subtly challenging traditional art paradigms, I noticed elements reminiscent of games that underscore everyday realities of Andrews’ setting and the people that occupied that realm.