For the 100th episode of the Art Angle, Artnet News’s Style Editor, Noor Brara had the pleasure of speaking with critically acclaimed author, professor, and social commentator Roxane Gay, whose writings on feminism, politics, intersectionality, and culture have made her one of the keenest and most important observers of our time. Gay is also an avid art collector and appreciator who, along with her wife Debbie Millman, has in the last few years years amassed an impressive personal collection and has been outspoken about the not-always-nice nature of the New York gallery scene. She discusses her forthcoming essay for Artnet News: a piece that explores, in great detail, a new painting by the Los Angeles-based figurative painter, Calida Rawles, which recently debuted as part of her new show at Lehmann Maupin gallery. 

In the last few years, Rawles has garnered significant attention for her sensitive, photorealistic depictions of Black women and girls swimming and floating in pools—images that seek to posit water as an allegorical space for healing while also touching on its traumatic historical significance to the Black American community, many of whose ancestors died in the Middle Passage and who, for a long time because of segregationist Jim Crow-era laws, were barred from entering and swimming in certain bodies of water. The artwork that Gay is writing about—entitled High Tide, Heavy Armor—was created earlier this year, and depicts a Black man who bears a strong resemblance to Kurt Reinhold, a man and friend of the artist’s who was shot for jaywalking in San Clemente this past February. In the painting, the figure is shown from above and positioned low on the canvas, his eyes downcast as a body of water full of movement and tumult surrounds him, consuming the rest of the canvas. According to Rawles, the water offers a kind of topographical mapping of the killings of Black Americans, outlining several states where the numbers were highest. It is a poignant and arresting image, encompassing Rawles’s thoughts and feelings about the last few years. And in many ways, it marks a departure from her previous work. Gay discusses Rawles’s piece and why she connected so viscerally to her work.