Posts Tagged ‘representation’

Letter from the Executive Director: Living the Art World We Make

Christopher Paul Jordan and Jaleesa Trapp. Art Hack Seattle project, 2016; installation view, Velocity:V2. Courtesy of the Artists.

Since I took on the role of Executive Director of Daily Serving and Art Practical, working with an administrative staff of four fierce, intersectional, women-identified cultural producers, I have been asked to think and rethink what it means to work. Whom do we work for? What is our work, and most importantly, what world does it create? In the past month, I have witnessed the[…..]

Alina Szapocznikow: Human Landscape(s) at Galerie Loevenbruck

Alina Szapocznikow. Paysage humain (du cycle «Paysages humains») [Human Landscape] (from the
Cycle «Human Landscape»), 1971;
Felt-tip pen and watercolor on cardboard; 11 13/16 x 19 3/16 in. Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie
Loevenbruck, Paris.
© ADAGP, Paris. Photo: Fabrice Gousset.

Owing to the success of her figurative work as well as her 2012 retrospective at the Museum of Modern Art in New York, the Polish artist Alina Szapocznikow is widely recognized for her uncanny mixed-media sculptures that incorporate cast body parts with everyday objects. Often overlooked, however, are her drawings of abstracted figures—erotic, restless, and vulnerable—though they are a central part of her practice. Human Landscape(s)[…..]

Adam Pendleton: Becoming Imperceptible at Contemporary Arts Center New Orleans

Adam Pendleton. Installation Shot of System of Display, X (EXPRESS/Poro secret society mask, Mano, Liberia). 2016. Silkscreen ink on Plexiglas and mirror. Image courtesy of the artist and the Contemporary Art Center of New Orleans.

Curated by Dr. Andrea Andersson, Adam Pendleton: Becoming Imperceptible is the most extensive museum presentation of the artist’s work to date—a significant triumph for a cultural institution located in New Orleans, one of the most racially and politically fraught cities in the southern United States. While the exhibition’s rich display resonates with the variety of material and conceptual strategies at work in Pendleton’s oeuvre, it[…..]

Black Chronicles II at Spelman College Museum of Fine Art

Unidentified Sitter. Edinburgh, c. 1900. Photographer/Studio: Alex Ayton Junior. Carte-de-visite, 64 x 100 mm. Courtesy of Val Wilmer Collection.

Born on the Danish island colony of Saint Croix with two generations of slaves behind him, the champion heavyweight boxer Peter Jackson cuts a lean and noble figure in his 1889 photographic portrait, his top hat perched level upon his head, his elegant Victorian garments pressed, his stylish accoutrements placed as evidence of his social persona as a gentleman–dandy. The portrait was taken just a[…..]

Question Bridge: Black Males in America

Question Bridge: Black Males in America (Aperture/Campaign for Black Male Achievement, 2015)

Today we bring you an excerpt from Art Practical’s Printed Matters column. Roula Seikaly reviews Question Bridge: Black Males in America, the published companion to a project, platform, and installation that regards identity and representation. Seikaly notes, “Asking a question […] can be difficult; it can imply lack of knowledge and experience, rendering the asker vulnerable. No one wants to be caught out, least of all when the questions address identity, community, and most urgently,[…..]

Kehinde Wiley: A New Republic at Seattle Art Museum

Kehinde Wiley. Mrs. Waldorf Astor, 2012; oil on linen; 72 x 60 inches. © Kehinde Wiley.

A New Republic at Seattle Art Museum is Kehinde Wiley’s second solo exhibition organized by the Brooklyn Museum. In his brief fifteen-year career, Wiley has quickly become an established cultural trope. His works have adorned the set of Empire and served as icons of the FIFA World Cup. His portraits of Black men and women are at once celebrated as a vision of Black empowerment[…..]

MN Original: Greta McLain


Today from our friends at MN Original, we bring you an inspiring video on Greta McLain and her work with murals and communities. The artist says, “The mural is not making the change. The mural is making the connections and the relationships, and standing as a suggestion of where this neighborhood or community is going.” The video was originally published on February 14, 2014.