In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America. Her use of contour and silhouette accentuate emotion with rigor, she reduces the narrative to black and white as gruesome acts of sex and violence address trauma, fear and suffering through a majestic play of shadow and light.
Kara E. Walker is a monumental American artist whose work probes the tarnished history of race in America, as well as that of gender, and sexual identity. Walker works in sculpture, collage, mixed media, drawing, graphic imagery and moving image/animation. Her iconic cutout silhouettes sample fragments of folklore as well as recorded history, as she often shows stereotypical depictions of African Americans as portrayed in history books in shockingly graphic yet accurate situations. She elegantly presents a problematic past, seduced by the medium yet wrought by unsettled emotion.
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
Memorial for intersections #2 (2013) is a minimalist, black metallic structure that contains the brightly colored translucent circles, triangles, rectangles, and squares that originally were presented in Pica’s performance work A ? B ? C (2013)...
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
Video: Catherine Opie on photographing leading British artists | Blog | Royal Academy of Arts Catherine Opie in the RA Collection Gallery Video: Catherine Opie on photographing leading British artists Read more Become a Friend Video: Catherine Opie on photographing leading British artists Published 8 September 2023 Catherine Opie discusses her portraits of David Hockney, Anish Kapoor, Gillian Wearing, Isaac Julien and Lynette Yiadom-Boakye, featured in our free display in the Collection Gallery...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...
The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Though the title might suggest an Adonis, Jeffry Mitchell’s The Swimmer (2012) is a squat, jolly man with a protuberant belly...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...