Mr. America 1967

Editor: Here we have Benny Andrews’ "Mr. America," painted in 1967 using oil paints. The texture is so prominent; you can almost feel the ridges of the paint. I'm struck by how the heavy brushstrokes seem to both construct and deconstruct the figure simultaneously. What's your interpretation of this piece? Curator: Consider the labor involved. Look at the thickness of the impasto. Each stroke is a deliberate application of pigment, built up layer upon layer. This isn’t just representation; it's a material assertion. Think about what "Mr. America" might symbolize in 1967—what anxieties or ideals are being worked out through the very act of applying paint? Is it building an ideal or exposing its fragility? Editor: That’s interesting! So, you see the heavy layering of paint as a way to show the...strain, perhaps, of upholding the "Mr. America" image? Almost like the ideal is cracking under pressure. Curator: Exactly! And think about the social context. This was a time of significant social upheaval in America. The civil rights movement, anti-war protests… could the distressed texture also be seen as a critique of the materials that constitute American identity? The figure's gaze is rather vacant, almost like a mask. Editor: That makes me wonder about the hat too, its shape and shadow feel like something is being hidden. Do you think it points to that as well? Curator: It certainly contributes to that sense of obscured identity and possibly questions notions of value and access linked to this representation of America. The choice of using such material abundance, while depicting a kind of hollowness, offers a compelling tension. Editor: This has given me a lot to think about, especially regarding how artistic choices in materials and technique reflect and challenge societal norms. I never considered how deeply intertwined the act of painting itself could be with social commentary. Curator: Precisely! By examining the materiality and process, we can excavate deeper meanings embedded within the artwork.