Upload
ashley-terry
View
219
Download
4
Tags:
Embed Size (px)
Citation preview
Nick Cave: Meet Me at the Center of the EarthMar 28–Jul 5, 2009
http://www.ybca.org/tickets/production/view.aspx?id=8191
African American, African
African Diaspora
Jacob Lawrence (US, 1917-2000) Migration of the Negro # 3 (left), #17 (right), #58 (below) 1941. Heritage of the Harlem Renaissance, 1920s & ‘30s
Romare Bearden (US, 1912 – 1988) in his New York library 1970s
Romare Bearden in his Long IslandCity studio c. 1980 with a photograph of his paternal great-grandparents.
(left) Harlem row houses 1943; (right) Romare Bearden, Black Manhattan, 1969, collage of paper and synthetic polymer paint on composition board, 25 x 21”
(right) Romare Bearden, Rocket to the Moon, 1971
Hannah Hoch, Dada Ernst, collage, 1920
George Grosz Gray Day, o/c,1921. Dada/ Neue Sachlichkeit
(left) Georges Braque, Still Life, Cubist collage (papier collé) and graphite, 1913(right) Picasso, Three Musicians, o/c, Synthetic Cubism, 1921
"The more I played around with visual notions as if I were improvising like a jazz musician, the more I realized what I wanted to do as a painter, and how I wanted to do it." Bearden
Three Folk Musicians, 1967
Jazz, 1974
"I think the artist has to be something like a whale, swimming with his mouth wide open, absorbing everything until he has what he really needs. When he finds that, he can start to make limitations. And then he really begins to grow.”
Romare Bearden
Paul Gauguin (French Post-Impressionist Painter, 1848-1903) Spirit of the Dead Watching, 1892 compared with Bearden, Patchwork Quilt, c. 1972
Primitivism or Identity?
Robert Colescott (b. Oakland, California, 1925) Demoiselles D’Alabama, 1985 compare with Picasso, Demoiselles D’Avignon, 1907
David Hammons, Higher Goals, 1986, basketball hoops, telephone poles and decorative detritus such as bottle caps, Cadman Plaza, Brooklyn, NY.
"Those who know, don't show" - David Hammons
Hammons, How Do Ya Like Me Now? With sledgehammers and flag, Washington DC, 1989; literalization of a stereotype
http://www.youtube.com/watch?v=5WaBJrAxxgo
Tyree Guyton (US b. 1955) Heidelberg Project, Detroit.
photo: August, 2007
Fred Wilson (US, 1954) 2003, artist ><curator
“I get everything that satisfies my soul from bringing together objects that are in the world, manipulating them, working with spatial arrangements, and having things presented in the way I want to see them.”
Fred Wilson
In the archive, Museum of World Culture in Sweden
Fred Wilson, Pangaea, 1999, Townsend Harris High School149th Street and Melbourne Avenue, Queens, (fence & gate)
Kara Walker (US b. 1969), No Mere Words can Adequately reflect the Remorse this Negress feels at having been Cast into such a lowly state by her former Masters and so it is with a Humble Heart that She Brings about Their Physical Ruin and Earthly Demise, 1999. Installation view at the California College of Arts and Crafts, Oakland, California. Cut paper and adhesive on painted wall, 10 x 65 feet. SFMoMA collection
Kara Walker, Darkytown Rebellion, 2001, Installation view at Brent Sikkema, New York, Projection, cut paper and adhesive on wall, 14 x 37 1/2 feet
“Kara Walker at the Met: After the Deluge” NYC Metropolitan MA installation, 2006. Artist as curator combined her own work with pieces of African American art from the museum’s collection.
Kerry James Marshall, Souvenir II, 1997, acrylic, paper, collage, and glitter on unstretched canvas, 108 x 120 inches
Kerry James Marshall, Souvenir IV, 1998, acrylic, collage, and glitter on unstretched canvas, 108 x 156 inches, Whitney Museum of American Art, New York.
Weems, Enactment of the Jefferson-Hemmings Affair, The Jefferson Suite, 1999 digitally printed photograph on muslin
Africa & African Diaspora
Composite photograph – Museum of the African Diaspora, San Francisco http://www.moadsf.org/ Original photo by Chester Higgins, interactive collage by Robert Silvers and Runaway Technology, 2005
Sonia Boyce, From Tarzan to Rambo: English Born `Native' Considers her Relationship to the Constructed/Self Image and her Roots in Reconstruction 1987, photograph and mixed media on paper. 1240 x 3590 mm (c. 4 X 12 ft)http://www.bbc.co.uk/radio4/womanshour/ram/2007_31_mon_02.ram
Yinka Shonibare (England, b. 1962 to Nigerian parents, raised in Lagos) Dressing Down, wax printed cotton textile, crinoline display stand, 1997 “Afro-Victorian” headless mannequins dressed in Dutch wax prints: hybrid colonial fabric.
Example of trans-textuality of contemporary global artists
Yinka Shonibare, Diary of a Victorian Gentleman, 14 Hours, photographic series, 1998(right) Poster in London Underground, 1998
Yinka Shonibare, Diary of a Victorian Gentleman, 21 Hours, photographic series, 1998compare (right) William Hogarth (English, 1697 - 1764) ) Marriage-A-La-Mode: The Toilette, 1735
Steve McQueen (England, b. 1969, lives in Amsterdam), 2 stills from video, Western Deep, 2002, Documenta 11. Taken in the deepest gold mine in the world, the Tautona mines near Johannesburg in South Africa.
El Anatsui (Ghana, b. 1944), Sasa, 2003, Aluminum (bottle caps and commercial metal detritus), copper wire, 640 x 840 cm
Africa ReMix exhibitionBeaubourg, Paris2005
Detail showing bottle caps etc.
Hover, 2002 Flag for a New World, 2004
Ghanaian Kente cloth – a source
http://africa.si.edu/exhibits/gawu/artworks.html
El Anatsui, Sasahttp://www.nytimes.com/indexes/2009/02/22/style/t/index.html#pagewanted=0&pageName=22nigeria&
Chris Ofili (UK, 1968) The Virgin Mary, paper collage, oil, glitter, polyester resin, elephant dung, on linen, 1999
Sensation show at the Brooklyn Museum of Art 1999-2000: controversy over exhibition of the Charles Saatchi collection of Young British Artists (YBAs). Museum complicity with private gallerist / collector and “sensational” artworks. NYC Mayor Giuliani: “[There is] nothing in the First Amendment that supports horrible and disgusting projects."