Artists and culture

Dewey Crumpler: five decades on show in San Francisco

Dewey Crumpler's first major museum show in about two decades fills three San Francisco floors until 30 May 2027.

Dewey Crumpler, Breach, 2023, acrylic and metal leaf on canvas
Dewey Crumpler. Breach, 2023, acrylic and metal leaf on canvas. Courtesy of the artist and Jenkins Johnson Gallery New York and San Francisco. Image supplied via KQED. KQED, image from the cited coverage, used under fair dealing for reporting current events | Fair dealing, reporting current events | resized
Dates
30 September 2026 to 30 May 2027
Where
Museum of the African Diaspora, San Francisco

Why it matters

Visitors can see five decades of one artist's work in one place, from 1968 to last year. The museum is open Tuesday to Sunday, and Thursday runs late.

Why would a painter ask for his own museum show to wait? Dewey Crumpler wanted a book ready first, KQED reports. Curator Key Jo Lee had proposed that book several years earlier. The wait ended on 30 September 2026, when Dewey Crumpler: Sonic Lineages opened at the Museum of the African Diaspora in San Francisco.

Crumpler is 77. The show fills three floors. It spans five decades, from 1968 to last year. It is his first major solo museum show in about two decades. The critic adds that it is not a full retrospective.

The context

Crumpler taught Deborah Roberts, Rozeal and Kehinde Wiley at the San Francisco Art Institute. As a child in museums, he says, he did not see "any representations of me anywhere in that environment". His art teachers, he says, held that "creative genius only lived in one part of the world". His activism and his challenge to those teachers shaped his practice, the critic writes.

What is on the walls

The museum says the show joins paintings from several periods with new kinetic (moving) works. Shipping containers, hooded figures and voids return again and again. Green Bananas, from 2017, and Negropolitans, from 2020, are charcoal, graphite and mixed media on canvas.

Breach, from 2023, is part of the shipping container series. In its upper left corner it points to Turner's The Slave Ship, the critic says. The critic reads the painting as a refusal to treat past disasters as settled.

The void began with a photo of a metal slave collar. Lee calls the void "actually the portal to absolute autonomy". The hoodie series began when Crumpler saw his son's hoodie over a chair. Lee argues that the work exposes exploitation from the slave trade to today.

Our view

The museum says a painting should enter the world only when it has realized its full possibilities. We think that makes slow looking the right plan. Time becomes part of the material, the museum writes.

My plan to see three floors in one coffee break looks too hopeful.

The museum is open Tuesday to Sunday, and Thursday hours run from 12 pm to 8 pm. Entry is free on the second Saturday of each month, though the page lists no ticket price.

Would you visit?

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