To Be Black, Female and Fed Up With the Mainstream
Holland Cotter, The New York Times
October 2017
One reason for the hullabaloo around Dana Schutz’s painting of the murdered Emmett Till in the current Whitney Biennial is the weakness of the work. It looks half-baked, unresolved. Like a lot of recent ‘political’ art, it doesn’t try for a weight suitable to, and therefore respectful of, its racially charged, morally shattering subject. The result, to use one writer’s words, is “a tasty abstraction designed purposefully or inadvertently” to evoke an image of ‘common oppression.’