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Perhaps too easy a statement that for Akunyili Crosby, like Kerry James Marshall, the patchwork assembling of visual cultures not necessarily the western canon and manifesting all the diaspora of it - Nigerian pop and pattern for AC; comics, movie posters, barbershops for KJM - feels less like the paintings trends of post-modern dicey-ness, less a Rosler war brought home than saturated by, felt lived in, warm. When the graphic face of a Nigerian minister comes roaring through collapsing space like a advert it seems less compositional than accurate to how time functions, we don't to keep attaching lead and weight to canvases to function for the weight of history.
see too: Kerry James Marshall at MOCA Los Angeles
by not necessarily being indebted to western canon
