This feeds into an ongoing narrative and concern with black empowerment and enlightenment: for instance, the appearance in the film of the Rothko Chapel – founded in 1971 by art patrons John and Dominique de Menil – is significant because, as Solange explained in an interview with The New York Times, it was one of the first art spaces she had access to, somewhere she ‘would go and sit for hours’. Solange’s purposeful attention to atmospheric detail is paramount in conveying her fervent messages about black formation in spaces of significance. Geometric sets and synchronized choreography give the work a majestic quality. Courtesy: Apple MusicĪ pendulum oscillating between vision and reflection, this musical rodeo is set in an undefined future. Solange, When I Get Home, 2019, film still. The evocative 41-minute film – which is being screened internationally at art institutions including New York’s Brooklyn Museum and London’s Victoria & Albert Museum – also features contributions from artists including Rob Pruitt and Jacolby Satterwhite and attempts to repurpose the music video from promotional material into an artwork of museum quality. As the title suggests, the singer leads us back to her hometown of Houston and, while introducing us to the city’s cultural core, ultimately reconnects with herself. The redressing of Western culture, while concurrently embarking on a personal spiritual expedition, is the heart of Solange’s interdisciplinary film When I Get Home (2019), which takes its name from her latest album. ‘These are black-owned things’ Solange sings on ‘Almeda’ (2019), defiantly spinning a cowboy hat on her finger in the visuals for the song perhaps a symbolic ‘fuck you’ to the erasure of black cowboys from American history books.
Thousands of African-Americans, a large portion of whom were freed slaves, helped to settle the Old West.
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