Field Notes: MOCA’s “Ordinary People: Photorealism and the Work of Art since 1968 “
Welcome to Field Notes, a NOMMO blog series that reviews exhibitions focused on Black history, art, and culture. Field notes record a researcher's observations and insights from their fieldwork. Our notes highlight recent African/Diasporic experiences in museums to promote accessibility for all.
MOCA’s latest exhibition, Ordinary People: Photorealism and the Work of Art since 1968, reexamines photorealism while centering powerful Black portraiture. Featuring artists like Kehinde Wiley, Amy Sherald, and Barkley Hendricks, the show highlights the presence and agency of Black figures in a movement often associated with technical precision over cultural critique.
Wiley’s regal compositions, Sherald’s muted yet emotionally rich tones, and Hendricks’ hyperreal depictions of everyday Black life challenge art historical conventions. These works are more than stunning representations—they are radical acts of visibility in a museum landscape that has historically omitted Black subjects.
Their photorealist techniques bring nuance to Black identity, asserting space and reshaping narratives around portraiture. Each brushstroke resists erasure, demanding recognition of Black life not as spectacle but as a vital and complex reality.
Beyond their technical mastery, these artists elevate everyday Black existence, turning familiar moments into commanding statements. Whether through Sherald’s contemplative figures or Hendricks’ casual yet arresting poses, their work reframes photorealism as an evolving language of representation, resistance, and reclamation.
Ordinary People challenges us to reconsider who is seen, how they are depicted, and why it matters. It is a necessary reminder that the everyday is political—and in the hands of these artists, it becomes unforgettable of the human experience.
