In the marrow of American history, beneath the sepia-toned portraits of wranglers and pioneers, lies a gritty truth that Clarence James reveals through his
The truth is one that history tried to bury under sand and myth, but the spirit of the Black cowboy—like the crack of a whip against the wind—still echoes across the plains. It is this spirit, this electric thread between past and present, that James plucks and weaves into his new exhibition,is a reclamation, a wild-eyed reckoning that drags the Black cowboy out of the dusty margins of history and into the neon-lit, chaotic vortex of contemporary abstraction.
However, this narrow interpretation largely overlooks the contributions of African Americans, Mexicans, and Native Americans who played pivotal roles in shaping the Western frontier. Approximately one in four cowboys were Black, yet their stories were systematically erased from the popular narrative, replaced by a glorified vision of the white frontiersman.
Nat Love, African American cowboy who claimed to have won the name of Deadwood Dick in South Dakota, 1876, by virtue of his roping talent. Full length photo with lariat and saddle. From his privately published autobiography .Historically, the cowboy emerged after the Civil War, when former slaves and African Americans seeking freedom and opportunity headed west, taking on the hard, dangerous work of cattle driving.
This, in some ways, is beyond paint to canvas— and can be seen as a resurrection, a retelling, and a tangible truth. His signature style — wild, untamed, and alive — meets the unspoken truths of these overlooked figures.
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