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Los Angeles-based artist Silke Otto-Knapp has developed a painting
practice characterized by its rigorous process and attentiveness to
the medium's possibilities. Using layers of black watercolor
pigment, she builds up delicate surfaces, producing subtle
variations in density and a powerful sense of atmosphere.
Otto-Knapp's exhibition at the Renaissance Society, In the waiting
room, presented a new group of large-scale free-standing paintings
in that evokes a multidimensional stage set. Some depict
silhouetted bodies while others introduce scenic elements
reminiscent of painted backdrops. Offering a close look at the
exhibition, this volume includes an array of illustrations, a
conversation between curator Solveig Ovstebo and the artist, and
four newly commissioned essays by Carol Armstrong, Darby English,
Rachel Hann, and Catriona MacLeod, grounded in art history and
performance studies.
Art historian Darby English is celebrated for working against the
grain and plumbing gaps in historical narratives. In this book, he
explores the year 1971, when two exhibitions opened that brought
modernist painting and sculpture into the burning heart of black
cultural politics: Contemporary Black Artists in America, shown at
the Whitney Museum of American Art, and The DeLuxe Show, an
integrated abstract art exhibition presented in a renovated movie
theater in a Houston ghetto.1971 takes an insightful look at many
black artists' desire to gain freedom from overt racial
representation, as well as their and their advocates' efforts to
further that aim through public exhibitions. Amid calls to define a
"black aesthetic" or otherwise settle the race question, these
experiments with modernist art favored cultural interaction and
instability. Contemporary Black Artists in America highlighted
abstraction as a stance against normative approaches, while The
DeLuxe Show positioned abstraction in a center of urban blight. The
power and social importance of these experiments, English argues,
came partly from color's special status as a racial metaphor and
partly from investigations of color that were underway in formalist
American art and criticism. From Frank Bowling to Virginia
Jaramillo, Sam Gilliam to Peter Bradley, black modernists and their
supporters rose above the demand to represent or be represented,
compromising nothing in their appeals for racial reconciliation. At
a time when many debates about identity sought closure, these
exhibitions offered openings; when icons and slogans touted simple
solutions, they chose difficulty. But above all, as English
demonstrates in this provocative book, these exhibitions and
artists responded with optimism rather than cynicism to the
surrounding culture's preoccupation with color.
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Edward Hopper's New York (Hardcover)
Kim Conaty; Contributions by Kirsty Bell, Darby English, David Hartt, David M. Crane, …
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R1,607
R1,487
Discovery Miles 14 870
Save R120 (7%)
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Ships in 12 - 17 working days
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A revealing exploration of Edward Hopper's inspired relationship to
New York City through his paintings, drawings, prints, and
never-before-published archival materials This engaging book delves
into the iconic relationship between Edward Hopper (1882-1967) and
New York City. This comprehensive look at an essential aspect of
the revered American artist's life reveals how Hopper's experience
of New York's spaces, sensations, and architecture shaped his
vision and served as a backdrop for his distillations of the urban
experience. During sidewalk strolls and elevated train rides,
Hopper sketched the city's many windowed facades. Exterior views
gave way to interior lives, forging one of Hopper's defining
preoccupations: the convergence of public and private. These
permeable walls allowed Hopper to evoke the perplexing awareness of
being alone in a crowd that is synonymous with modern urban life.
Drawing on the vast resources of the Whitney Museum of American
Art, the largest repository of Hopper's work, and the recently
acquired gift of the Sanborn Hopper Archive, this book features
more than 300 illustrations and fresh insight from authoritative
and emerging scholars. Distributed for the Whitney Museum of
American Art Exhibition Schedule: Whitney Museum of American Art,
New York (October 19, 2022-March 5, 2023)
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Rachel Harrison Life Hack (Hardcover)
Elisabeth Sussman, David Joselit; Contributions by Johanna Burton, Darby English, Maggie Nelson, …
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R1,608
Discovery Miles 16 080
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Ships in 12 - 17 working days
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"The work of the sculptor Rachel Harrison is both the zeitgeist and
the least digestible in contemporary art. It may also be the most
important, owing to an originality that breaks a prevalent spell in
an art world of recycled genres, styles, and ideas."-Peter
Schjeldahl, The New Yorker In her sculptures, room-sized
installations, drawings, photographs, and artist's books, Rachel
Harrison (b. 1966) delves into themes of celebrity culture, pop
psychology, history, and politics. This publication, created in
close collaboration with the artist, explores twenty-five years of
her practice and is the first comprehensive monograph on Harrison
in nearly a decade. Its centerpiece is an in-depth plate section,
which doubles as a chronology of Harrison's major works, series,
and exhibitions. Objects are illustrated with multiple views and
details, and accompanied by short texts. This thorough approach
elucidates Harrison's complicated, eclectic oeuvre-in which she
integrates found materials with handmade sculptural elements,
upends traditions of museum display, and injects quotidian objects
with a sense of strangeness. Six accompanying essays cover
Harrison's earliest works to her most recent output. The book also
includes a handful of photo-collages that the artist created
specifically for this project. Published here for the first time,
these pieces superimpose found images with reproductions of
Harrison's own past work. Distributed for the Whitney Museum of
American Art Exhibition Schedule: Whitney Museum of American Art,
New York (October 25, 2019-January 12, 2020)
A passionate, rigorous, and persuasive look at the helpful
complexity of art during a time of profound cultural turmoil By
turns historical, critical, and personal, this book examines the
use of art-and love-as a resource amid the recent wave of shootings
by American police of innocent black women and men. Darby English
attends to a cluster of artworks created in or for our tumultuous
present that address themes of racial violence and representation
idiosyncratically, neither offering solutions nor accommodating
shallow narratives about difference. In Zoe Leonard's Tipping
Point, English sees an embodiment of love in the face of brutality;
in Kerry James Marshall's untitled 2015 portrait of a black male
police officer, a greatly fraught subject treated without apparent
judgment; in Pope.L's Skin Set Drawings, a life project undertaken
to challenge codified uses of difference, color, and language; and
in a replica of the Lorraine Motel-the site of Martin Luther King,
Jr.'s assassination in 1968-a monument to the unfinished business
of the integrated nonviolent movement for civil rights. For
English, the consideration of art is a paradigm of social life,
because art is something we must share. Powerful, challenging, and
timely, To Describe a Life is an invitation to rethink what life in
ongoing crisis is and can be-and, indeed, to discover how art can
help. Published in association with the Hutchins Center for African
& African American Research
Art History and Emergency assesses art history's role and
responsibilities in what has been described as the "humanities
crisis"-the perceived decline in the practical applications of the
humanities in modern times. This timely collection of critical
essays and creative pieces addresses several thought-provoking
questions on the subject. For instance, as this so-called crisis is
but the latest of many, what part has "crisis" played in the
humanities' history? How are artists, art historians, and
professionals in related disciplines responding to current
pressures to prove their worth? How does one defend the practical
value of knowing how to think deeply about objects and images
without losing the intellectual intensity that characterizes the
best work in the discipline? Does art history as we know it have a
future? Distributed for the Clark Art Institute
Going beyond the 'blackness' of black art to examine the
integrative and interdisciplinary practices of Kara Walker, Fred
Wilson, Isaac Julien, Glenn Ligon, and William Pope.L-five
contemporary black artists in whose work race plays anything but a
defining role. Work by black artists today is almost uniformly
understood in terms of its "blackness," with audiences often
expecting or requiring it to "represent" the race. In How to See a
Work of Art in Total Darkness, Darby English shows how severely
such expectations limit the scope of our knowledge about this work
and how different it looks when approached on its own terms.
Refusing to grant racial blackness-his metaphorical "total
darkness"-primacy over his subjects' other concerns and contexts,
he brings to light problems and possibilities that arise when
questions of artistic priority and freedom come into contact, or
even conflict, with those of cultural obligation. English examines
the integrative and interdisciplinary strategies of five
contemporary artists-Kara Walker, Fred Wilson, Isaac Julien, Glenn
Ligon, and William Pope.L-stressing the ways in which this work at
once reflects and alters our view of its informing context: the
advent of postmodernity in late twentieth-century American art and
culture. The necessity for "black art" comes both from antiblack
racism and resistances to it, from both segregation and efforts to
imagine an autonomous domain of black culture. Yet to judge by the
work of many contemporary practitioners, English writes, black art
is increasingly less able-and black artists less willing-to
maintain its standing as a realm apart. Through close examinations
of Walker's controversial silhouettes' insubordinate reply to
pictorial tradition, Wilson's and Julien's distinct approaches to
institutional critique, Ligon's text paintings' struggle with
modernisms, and Pope.L's vexing performance interventions, English
grounds his contention that to understand this work is to displace
race from its central location in our interpretation and to grant
right of way to the work's historical, cultural, and aesthetic
specificity.
Taking its title from Ralph Ellison's Invisible Man, exhibition
Black Is, Black Ain't (April 20 - June 8, 2008) explored a shift in
the rhetoric of race from an earlier emphasis on inclusion to a
present moment where racial identity is being simultaneously
rejected and retained. Curated by the Renaissance Society's
Associate Curator and Education Director Hamza Walker, the
exhibition brought together works by twenty-seven black and
non-black artists whose work collectively examines a moment where
the cultural production of so-called "blackness" is concurrent with
efforts to make race socially and politically irrelevant. The
publication features essays by Huey Copeland, Darby English, Greg
Foster-Rice, Amy M. Mooney, Kymberly N. Pinder, Krista Thompson,
Hamza Walker, and Kenneth Warrren.
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