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"An inspiring makeshift ingenuity....These mirror images with their
uncanny resemblances traverse space and time, spotlighting the
black lives that have been silenced by the canon of western art,
while also inviting us to interrogate the present." -Times (UK)
Since the beginning of the COVID-19 pandemic, Peter Brathwaite has
thoughtfully researched and reimagined more than one hundred
artworks featuring portraits of Black sitters-all posted to social
media with the caption "Rediscovering #blackportraiture through
#gettymuseumchallenge." Rediscovering Black Portraiture collects
more than fifty of Brathwaite's most intriguing re-creations.
Introduced by Brathwaite and framed by contributions from experts
in art history and visual culture, this fascinating book offers a
nuanced look at the complexities and challenges of building
identity within the African diaspora and how such forces have
informed Black portraits over time. Artworks featured include The
Adoration of the Magi by Georges Trubert, Portrait of an Unknown
Man by Jan Mostaert, Rice n Peas by Sonia Boyce, and many more.
This volume also invites readers behind the scenes, offering a
glimpse of the elegant artifice of Brathwaite's props, setup, and
process. An urgent and compelling exploration of embodiment,
representation, and agency, Rediscovering Black Portraiture serves
to remind us that Black subjects have been portrayed in art for
nearly a millennium and that their stories demand to be told.
'Free as they want to be': Artists Committed to Memory is the
companion publication to the FotoFocus biennial exhibition that is
scheduled for Fall 2022 and will run at the National Underground
Railroad Freedom Center until Spring 2023. This project considers
the historic and contemporary role that photography and film have
played in remembering legacies of slavery and its aftermath while
examining the social lives of Black Americans within various places
including the land, at home, in photographic albums, at historic
sites, and in public memory. This exhibition acknowledges artists'
constant involvement with efforts to explore the possibilities of
freedom and their relationship to it. Their quest to be 'as free as
they want to be' is envisioned in the subject matter they explore
as well as in their persistent drive to innovate aesthetic
practices in photographic media. The publication presents some 20
artists working in photography, video, silkscreen, projection, and
mixed media installation. Free as they want to be is inspired by
the words of James Baldwin and the timely theme of FotoFocus, World
Record, as well as events of late that have shaped the world as we
know it. The artists selected for this publication are on the
frontlines, creating, documenting, and writing. The works they have
conceived reflect defining moments in the struggle for racial
justice and equality. Free as they want to be presents an occasion
to reflect upon the past, to mark significant defining moments -
both triumphs and tragedies - that characterize a people and their
experiences in the present - and to propose future possibilities.
The artists offer images that advance a different sense of
empowerment. Their images thus play an integral part in casting
resilient narratives as they commemorate endurance, longevity, and
accomplishment. The timing of a publication like this could not be
more urgent given the human toll of the pandemic, widening economic
disparities, the threat of war, voting rights, global migration
crises, and quotidian violence. Proposed Artists: Terry Adkins;
Radcliffe Bailey; J.P. Ball Studio; Sadie Barnett; Dawoud Bey;
Sheila Pree Bright; Bisa Butler; Omar Victor Diop; Nona Faustine;
Adama Delphine Fawundu; Daesha Devon Harris; Isaac Julien; Cathy
Opie; Hank Willis Thomas; Lava Thomas; Carrie Mae Weems; Wendel
White; William Earle Williams; anonymous tintype photographer -
photo album
Published to accompany an exhibition at MK Gallery, this is the
first major survey of the work of contemporary British artist and
photographer Ingrid Pollard, nominated for the Turner Prize 2022.
This publication provides the first overview of works by British
artist and photographer Ingrid Pollard. Pollard is renowned for
using portrait and landscape photography to question our
relationship with the natural world and to interrogate social
constructs such as Britishness, race, sexuality and identity.
Working across a variety of techniques from photography,
printmaking, drawing and installation to artists' books, video and
audio, Pollard combines meticulous research and experimental
processes to make art that is at once deeply personal and socially
resonant. 'Ingrid Pollard's practice has long been focused on the
human body, astro-physics and geology, and in particular geology in
the formation of the stars and planets. The title of this
publication - Carbon Slowly Turning - invites us to reflect on
geological time in relation to human time. On the one hand, the
millennia in which carbon, rock and other natural materials are
made, and on the other, the brevity of human existence by
comparison and the affecting nature of geology on the human form. A
number of Pollard's works reflect on the cyclical nature of history
and human experience, where everything is subject to change,
sometimes over hundreds or thousands of years, at other times in
the blink of an eye.' - Gilane Tawadros, Curator, writer and CEO,
DACS 'Ingrid Pollard's work slows down our looking to create space
to consider alternative formations of history and landscape. Across
four decades she has re-scripted Britishness, looking back in order
that we might move forward differently. This is a profound and
timely exploration of this vital British artist.' - Maria Balshaw,
Director, Tate This book accompanies an exhibition at MK Gallery
and Turner Contemporary, curated by Gilane Tawadros, with the
artist, and supported by the Freelands Award 2020. Edited by Fay
Blanchard and Anthony Spira. Essays by Anna Arabindan-Kesson,
Cheryl Finley, Paul Gilroy, Mason Leaver-Yap and Gilane Tawadros.
A vivid and moving celebration of the ways that Black Americans
have shaped and been shaped by photography, from its inception to
the present day. A Picture Gallery of the Soul presents the work of
more than one hundred Black American artists whose practice
incorporates the photographic medium. Organized by the Katherine E.
Nash Gallery at the University of Minnesota, this group exhibition
samples a range of photographic expressions produced over three
centuries, from traditional photography to mixed media and
conceptual art. From the daguerreotypes made by Jules Lion in New
Orleans in 1840 to the Instagram post of the Baltimore Uprising
made by Devin Allen in 2015, photography has chronicled Black
American life, and Black Americans have defined the possibilities
of photography. Frederick Douglass recognized the quick, easy, and
inexpensive reproducibility of photography and developed a
theoretical framework for understanding its impact on public
discourse, which he delivered as a series of four lectures during
the Civil War. It has been widely acknowledged that Douglass, the
subject of 160 photographic portraits and the most photographed
American of the nineteenth century, anticipated that the history of
American photography and the history of Black American culture and
politics would be deeply intertwined. A Picture Gallery of the Soul
honors the diverse visions of Blackness made manifest through the
lens of photography. Published in association with the Katherine E.
Nash Gallery. Exhibition dates: Katherine E. Nash Gallery:
September 13-December 10, 2022.
How an eighteenth-century engraving of a slave ship became a
cultural icon of Black resistance, identity, and remembrance One of
the most iconic images of slavery is a schematic wood engraving
depicting the human cargo hold of a slave ship. First published by
British abolitionists in 1788, it exposed this widespread
commercial practice for what it really was-shocking, immoral,
barbaric, unimaginable. Printed as handbills and broadsides, the
image Cheryl Finley has termed the "slave ship icon" was easily
reproduced, and by the end of the eighteenth century it was
circulating by the tens of thousands around the Atlantic rim.
Committed to Memory provides the first in-depth look at how this
artifact of the fight against slavery became an enduring symbol of
Black resistance, identity, and remembrance. Finley traces how the
slave ship icon became a powerful tool in the hands of British and
American abolitionists, and how its radical potential was
rediscovered in the twentieth century by Black artists, activists,
writers, filmmakers, and curators. Finley offers provocative new
insights into the works of Amiri Baraka, Romare Bearden, Betye
Saar, and many others. She demonstrates how the icon was
transformed into poetry, literature, visual art, sculpture,
performance, and film-and became a medium through which diasporic
Africans have reasserted their common identity and memorialized
their ancestors. Beautifully illustrated, Committed to Memory
features works from around the world, taking readers from the
United States and England to West Africa and the Caribbean. It
shows how contemporary Black artists and their allies have used
this iconic eighteenth-century engraving to reflect on the trauma
of slavery and come to terms with its legacy.
A global history of self-taught artists advocating for a nuanced
understanding of modern and contemporary art often challenged by
the establishment When the art world has paid attention to makers
from outside the cultural establishment, including so-called
outsider and self-taught artists, it has generally been within
limiting categories. Yet these artists, including many women,
people with disabilities, and people of color, have had a
transformative effect on the history of modern art. Responding to
growing interest in these artists, this book offers a nuanced
history of their work and how it has been understood from the early
twentieth century to the present day. Nonconformers includes work
by Henry Darger, Hilma af Klint, and Bill Traylor alongside that of
many other artists who deserve widespread recognition. The book
reviews how self-taught artists influenced key movements of
twentieth-century art and highlights the voices of contemporary
practitioners, offering new interviews with William Scott, Mamadou
Cisse, and George Widener. An international group of contributors
addresses topics such as the development of the Black Folk Art
movement in America and l'Art Brut in France, the creative process
of self-taught artists working outside of traditional studios, and
the themes of figuration, landscape, and abstraction. Global in
scope and with chronological breadth, this alternative narrative is
an essential introduction to the genre long known as "Outsider
Art."
Whitfield Lovell: Passages accompanies a major traveling exhibition
of the artist s masterful conte crayon drawings, assemblages, and
multi-sensory installations that focus on aspects of Black history,
raising questions about identity, memory, and America s collective
heritage. Whiteld Lovell (b. 1959, Bronx), a 2007 MacArthur
Foundation fellowship recipient and conceptual artist, creates
exquisite drawings inspired by his own collection of vintage
photographs of unidentied African Americans taken between the
Emancipation Proclamation and the civil rights movement. He pairs
his meticulously rendered drawings done on paper or on salvaged
wooden boards with found objects, creating enigmatic assemblages
and stand-alone tableaux that are rich with symbolism and ambiguity
and evoking personal memories, ancestral connections, and the
collective American past. This richly illustrated volume features
essays by leading scholars that contextualize Lovell s work through
the exploration of compelling elements such as sound and card
playing, contemplating memory as method.
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