Works by Artist

Total Page:16

File Type:pdf, Size:1020Kb

Works by Artist Whitney Museum of American Art Works by Artist E.2019.1689 Archives Original artwork by T. Shiiki for Theme Black: Photographers Exhibition Exhibition , 1965 Sheet: 13 7/8 × 11in. (35.2 × 27.9 cm) Collection of Shawn Walker E.2019.1690 Archives Exhibition announcement for Perspective: An Exhibition of Photographs by the Kamoinge Workshop and Guests, Countee Cullen Library, New York, 1966 Sheet: 8 5/16 × 9 3/8in. (21.1 × 23.8 cm) Margaret R. and Robert M. Freeman Library, Archives, Louis H. Draper Archives (VA-04), Virginia Museum of Fine Arts, Richmond; acquired from the Louis H. Draper Preservation E.2019.1692 Archives Kamoinge Gallery Exhibition Announcement for The Negro Woman, 1965 Sheet: 8 1/2 × 11in. (21.6 × 27.9 cm) Virginia Museum of Fine Arts Archives E.2019.1698 Archives Exhibition announcement for The Kamoinge Workshop, The Studio Museum in Harlem, New York, 1972 Sheet: 14 1/2 × 8 1/8in. (36.8 × 20.6 cm) Margaret R. and Robert M. Freeman Library, Archives, Louis H. Draper Archives (VA-04), Virginia Museum of Fine Arts, Richmond; acquired from the Louis H. Draper Preservation E.2019.1699 Archives Exhibition announcement for Kamoinge: eleven black photographers “acting together,” International Center for Photography, New York, 1975 Sheet: 7 7/8 × 5 3/16in. (20 × 13.2 cm) Margaret R. and Robert M. Freeman Library, Archives, Louis H. Draper Archives (VA-04), Virginia Museum of Fine Arts, Richmond; acquired from the Louis H. Draper Preservation Page 1 of 34 Whitney Museum of American Art Works by Artist E.2019.1702a-b Archives Black Photographers Annual, Volume 1, 1973 Book: 10 1/4 × 8 3/4in. (26 × 22.2 cm) Margaret R. and Robert M. Freeman Library, Rare Books Collection, Virginia Museum of Fine Arts, Richmond; gift of Beuford Smith E.2019.1703 Archives Black Photographers Annual, Volume 2, 1974 Book: 10 1/4 × 8 3/4in. (26 × 22.2 cm) Margaret R. and Robert M. Freeman Library, Rare Books Collection, Virginia Museum of Fine Arts, Richmond; gift of Beuford Smith E.2019.1704 Archives Black Photographers Annual, Volume 3, 1976 Book: 10 1/4 × 8 3/4in. (26 × 22.2 cm) Margaret R. and Robert M. Freeman Library, Rare Books Collection, Virginia Museum of Fine Arts, Richmond; gift of Beuford Smith E.2019.1705 Archives Black Photographers Annual, Volume 4, 1980 Book: 10 1/4 × 8 3/4in. (26 × 22.2 cm) Margaret R. and Robert M. Freeman Library, Rare Books Collection, Virginia Museum of Fine Arts, Richmond E.2019.1708 Archives International Black Photographers Newsletter, 1981 Sheet: 11 × 8 1/2in. (27.9 × 21.6 cm) Margaret R. and Robert M. Freeman Library, Archives, Louis H. Draper Archives (VA-04), Virginia Museum of Fine Arts, Richmond; acquired from the Louis H. Draper Preservation Trust with the Arthur and Margaret Glasgow Endowment Fund Page 2 of 34 Whitney Museum of American Art Works by Artist 2020.52 Photographs Anthony Barboza Pensacola, Fla., 1966 Gelatin silver print Sheet: 4 1/4 × 6 3/16in. (10.8 × 15.7 cm) Purchase, with funds from Joanne Leonhardt Cassullo 2020.53 Photographs Anthony Barboza NYC, c. 1970s Gelatin silver print Sheet: 13 15/16 × 11in. (35.4 × 27.9 cm) Image: 6 7/8 × 4 11/16in. (17.5 × 11.9 cm) Purchase, with funds from the Photography Committee 2020.54 Photographs Anthony Barboza New Bedford, MA, c. 1970 Gelatin silver print Sheet: 13 15/16 × 10 7/8in. (35.4 × 27.6 cm) Image: 9 × 6 3/16in. (22.9 × 15.7 cm) Purchase, with funds from the Photography Committee E.2019.1521 Photographs Anthony Barboza Herb Robinson, 1972 Gelatin silver print Sheet: 10 3/8 × 7 15/16in. (26.4 × 20.2 cm) Image: 8 3/16 × 5 1/2in. (20.8 × 14 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1522 Photographs Anthony Barboza Al Fennar, 1972 Gelatin silver print Sheet: 8 1/2 × 6in. (21.6 × 15.2 cm) Image: 7 13/16 × 5 5/16in. (19.8 × 13.5 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for Page 3 of 34 Whitney Museum of American Art Works by Artist E.2019.1523 Photographs Anthony Barboza Dan Dawson, 1972 Gelatin silver print Sheet: 10 3/16 × 6 15/16in. (25.9 × 17.6 cm) Image: 8 7/16 × 5 11/16in. (21.4 × 14.4 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1524 Photographs Anthony Barboza Self Portrait (Anthony Barboza), 1972 Gelatin silver print Sheet: 10 1/8 × 7 1/8in. (25.7 × 18.1 cm) Image: 8 1/2 × 5 13/16in. (21.6 × 14.8 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1525 Photographs Anthony Barboza Ming Smith, 1972 Gelatin silver print Sheet: 10 3/16 × 6 5/16in. (25.9 × 16 cm) Image: 8 3/8 × 5 5/8in. (21.3 × 14.3 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1526 Photographs Anthony Barboza Herman Howard, 1972 Gelatin silver print Sheet: 10 1/8 × 7 1/16in. (25.7 × 17.9 cm) Image: 8 3/16 × 5 5/8in. (20.8 × 14.3 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1527 Photographs Anthony Barboza Adger Cowans, 1972 Gelatin silver print Sheet: 10 1/8 × 7in. (25.7 × 17.8 cm) Image: 8 1/16 × 5 1/2in. (20.5 × 14 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for Page 4 of 34 Whitney Museum of American Art Works by Artist E.2019.1528 Photographs Anthony Barboza Shawn Walker, 1972 Gelatin silver print Sheet: 10 1/8 × 6 15/16in. (25.7 × 17.6 cm) Image: 8 1/8 × 5 1/2in. (20.6 × 14 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1529 Photographs Anthony Barboza Ray Francis, 1972 Gelatin silver print Sheet: 8 5/16 × 6 15/16in. (21.1 × 17.6 cm) Image: 8 3/16 × 5 5/8in. (20.8 × 14.3 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1530 Photographs Anthony Barboza Herbie Randall, 1972 Gelatin silver print Sheet: 10 1/16 × 7in. (25.6 × 17.8 cm) Image: 8 13/16 × 5 5/16in. (22.4 × 13.5 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1531 Photographs Anthony Barboza Beuford Smith, 1972 Gelatin silver print Sheet: 10 1/16 × 7in. (25.6 × 17.8 cm) Image: 8 13/16 × 5 5/8in. (22.4 × 14.3 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1532 Photographs Anthony Barboza Jimmie Mannas, 1972 Gelatin silver print Sheet: 10 1/16 × 7 1/16in. (25.6 × 17.9 cm) Image: 8 5/16 × 5 5/8in. (21.1 × 14.3 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for Page 5 of 34 Whitney Museum of American Art Works by Artist E.2019.1533 Photographs Anthony Barboza Calvin Wilson, 1972 Gelatin silver print Sheet: 10 1/8 × 6 15/16in. (25.7 × 17.6 cm) Image: 8 3/16 × 5 5/8in. (20.8 × 14.3 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1534 Photographs Anthony Barboza Louis Draper, 1972 Gelatin silver print Sheet: 8 13/16 × 6 1/8in. (22.4 × 15.6 cm) Image: 8 1/16 × 5 5/8in. (20.5 × 14.3 cm) Mount: 13 × 7 1/4in. (33 × 18.4 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) E.2019.1535 Books Anthony Barboza Kamoinge Artists’ Book, 1972 Twenty-eight gelatin silver prints in accordion-fold album Overall: 7 1/8 × 153in. (18.1 × 388.6 cm) Virginia Museum of Fine Arts, Richmond; Arthur and Margaret Glasgow Endowment E.2019.1536 Photographs Anthony Barboza NYC, c. 1970 Gelatin silver print Sheet: 10 7/8 × 13 7/8in. (27.6 × 35.2 cm) Image: 8 11/16 × 12 7/8in. (22.1 × 32.7 cm) Frame: 16 × 20in. (40.6 × 50.8 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for E.2019.1537 Photographs Anthony Barboza Grace Jones, c. 1970 Gelatin silver print Sheet: 14 × 10 15/16in. (35.6 × 27.8 cm) Image: 13 5/8 × 10 5/8in. (34.6 × 27 cm) Frame: 20 × 16in. (50.8 × 40.6 cm) Virginia Museum of Fine Arts, Richmond; National Endowment for the Arts Fund for Page 6 of 34 Whitney Museum of American Art Works by Artist E.2019.1539 Photographs Anthony Barboza Pensacola, Florida, 1966 Sheet: 10 15/16 × 13 13/16in. (27.8 × 35.1 cm) Image: 8 7/8 × 13 3/8in.
Recommended publications
  • 1. Carbon Copy: 6/25 – 6/29 1973
    The online Adobe Acrobat version of this file does not show sample pages from Coleman’s primary publishing relationships. The complete print version of A. D. Coleman: A Bibliography of His Writings on Photography, Art, and Related Subjects from 1968 to 1995 can be ordered from: Marketing, Center for Creative Photography, The University of Arizona, Tucson, AZ 85721-0103, or phone 520-621-7968. Books presented in chronological order 1. Carbon Copy: 6/25 – 6/29 1973. New York: ADCO interviews” with those five notable figures, serves also as Enterprises, 1973. [Paperback: edition of 50, out of print, “a modest model of critical inquiry.”This booklet, printed unpaginated, 50 pages. 17 monochrome (brown). Coleman’s on the occasion of that opening lecture, was made available first artist’s book. A body-scan suite of Haloid Xerox self- by the PRC to the audiences for the subsequent lectures in portrait images, interspersed with journal/collage pages. the series.] Produced at Visual Studies Workshop Press under an 5. Light Readings: A Photography Critic’s Writings, artist’s residency/bookworks grant from the New York l968–1978. New York: Oxford University Press, 1979. State Council on the Arts.] [Hardback and paperback: Galaxy Books paperback, 2. Confirmation. Staten Island: ADCO Enterprises, 1975. 1982; second edition (Albuquerque: University of New [Paperback: first edition of 300, out of print; second edition Mexico Press, 1998); xviii + 284 pages; index. 34 b&w. of 1000, 1982; unpaginated, 48 pages. 12 b&w. Coleman’s The first book-length collection of Coleman’s essays, this second artist’s book.
    [Show full text]
  • BS, Howard University, Washington, DC Ming Smith Is Kn
    Ming Smith Born Detroit, MI Lives and works in New York City Education: B.S., Howard University, Washington, DC Ming Smith is known for her informal, in-action portraits of black cultural figures, from Alvin Ailey to Nina Simone and a wide range of jazz musicians. Ming’s career emerged formally with the publication of the Black Photographer’s Annual in 1973. She was an early member of the Kamoinge Workshop, an association of several generations of black photographers. Ming has traveled extensively, showing her viewers a cosmopolitan world filled with famous landmarks and extraordinary landscapes. People continue to be her most treasured subjects. This is most apparent in her series depicting African American life. Ming’s early style was to shoot fast and produce complicated and elaborate images in the developing and post-printing processes, so that many of her pictures carry double dates. She experimented with hand-tinting in “My Father’s Tears, San Miguel de Allende, Mexico” (1977/1979). Ming continues to expand the role of photography with her exploration of image and paint in the more recent, large-scale Transcendence series. Ming’s place in photography’s 175-year history was recognized by her inclusion in the Museum of Modern Art’s groundbreaking exhibition Pictures by Women: A History of Modern Photography in 2010. Ming Smith's photography is held in collections in the Museum of Modern Art, New York; the Schomburg Center for Research in Black Culture, New York; the Smithsonian Anacostia Museum & Center for African American History and Culture, Washington, DC and the AT&T Corporation.
    [Show full text]
  • How Carrie Mae Weems Rewrote the Rules of Image-Making
    T THE NEW YORK TIMES STYLE MAGAZINE How Carrie Mae Weems Rewrote the Rules of Image-Making Perhaps our best contemporary photographer, she creates work that insists on the worth of black women - both in art and in life. Carrie Mae Weems, photographed in New York City on Aug. 7, 2018. Photographby Mlckalena Thomas. Styled by Shlona Turin! By Megan O'Grady Oct. 15, 2018 ON CARRlE MAE WEEMS'S deck in Syracuse, N.Y.,locusts are buzzing about the space like doomsday portents, emerging from the ground after 17 years only to drown boozily in our cups of rose. It's a warm day in late June, and a summer languor - or maybe it's a news-cycle-induced torpor - is in the air, but Weems, perhapsme, our greatest living photographer, is juggling so many projects that when we were emailing to work out the interview logistics, she warned "We'll need all your skills on this." She is simultaneously working on a trio of shows: a retrospective at Boston College's McMullen Museum of Art this fall, an installation for Cornell University and a group show she's curating, "Darker Matter," whichwill include a new series of her own, at the Park Avenue Armory around 2020 - a follow-up to the creative think tank of artists, musicians and writers she organized at the venue last winter titled "The ShaP-eof Things_." But first, she wants to show me her peonies. A few weeks before we meet, she emailed me a JPEG of a flower in full bloom, a still-life hello.
    [Show full text]
  • The Year in Black Art 2018
    Culture Type: The Year in Black Art 2018 culturetype.com/2019/01/15/culture-type-the-year-in-black-art-2018/ Victoria L. Valentine IN MANY WAYS, 2018 was a watershed year for black artists. Overdue recognition of art by African American artists and black artists from throughout the world, continued to grow among collectors, curators, critics, scholars, and gallery owners. There were many indicators of the ever-expanding institutional and market interest. European attention on African American artists rose. In the United States, major museums dedicated prime gallery space to huge exhibitions. Retrospectives of Charles White (1918-1979), Adrian Piper, and Howardena Pindell traveled the country in 2018. Presenting stunning self portraits by South African photographer Zanele Muholi, “Somnyama Ngonyama, Hail the Dark Lioness” made its U.S. debut at the Spelman College Museum of Fine Art, where an earlier exhibition, “Deborah Roberts: The Evolution of Mimi,” raised the profile of Roberts, whose figurative collages explore race, beauty, girlhood, vulnerability and power. Mid-career, Roberts came into her own in 2018. As did Simone Leigh. Known for her ceramic works, Leigh won the Guggenheim’s $100,000 Hugo Boss Prize. She was the first black artist to do so. Hamilton, Canada-born Kapwani Kiwanga was also the first black artist to win the National Gallery of Canada’s Sobey Art Award, which includes 100,000 Canadian dollars. Then, Titus Kaphar is named a MacArthur “genius” fellow, an honor that includes a $625,000 grant. Several artists joined the rosters of so-called mega galleries in 2018, including Amy Sherald and Charles Gaines at Hauser & Wirth, Njideka Akunyili Crosby and the estate of Roy DeCarava at David Zwirner, and Theaster Gates at Gagosian.
    [Show full text]
  • The Self in Black and White Interfaces: Studies in Visual Culture Editors Mark J
    the self in black and white Interfaces: Studies in Visual Culture Editors Mark J. Williams and Adrian W. B. Randolph, Dartmouth College This series, sponsored by Dartmouth College Press, develops and promotes the study of visual culture from a variety of critical and methodological perspectives. Its impetus derives from the increasing importance of visual signs in everyday life, and from the rapid expansion of what are termed “new media.” The broad cultural and social dynamics attendant to these developments present new challenges and opportunities across and within the disciplines. These have resulted in a trans-disciplinary fascination with all things visual, from “high” to “low,” and from esoteric to popular. This series brings together approaches to visual cul- ture — broadly conceived — that assess these dynamics critically and that break new ground in understanding their effects and implications. For a complete list of books available in the series, visit www.upne.com Erina Duganne, The Self in Black and White: Race and Subjectivity in Postwar American Photography Eric Gordon, The Urban Spectator: American Concept Cities from Kodak to Google Barbara Larson and Fae Brauer, eds., The Art of Evolution: Darwin, Darwinisms, and Visual Culture Jeffrey Middents, Writing National Cinema: Film Journals and Film Culture in Peru Michael Golec, The Brillo Box Archive: Aesthetics, Design, and Art Rob Kroes, Photographic Memories: Private Pictures, Public Images, and American History Jonathan Beller, The Cinematic Mode of Production: Attention
    [Show full text]
  • Oral History Interview with Anthony Barboza, 2009 November 18-19
    Oral history interview with Anthony Barboza, 2009 November 18-19 Funding for this interview was provided by the Brown Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Anthony Barboza on 2009 Nov. 18-19. The interview took place at the Jolly Madison Towers hotel, in New York, N.Y., and was conducted by Ann Shumard for the for the Archives of American Art's Oral History Interviews of American Photographers Project. Anthony Barboza has reviewed the transcript and has made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview ANN SHUMARD: This is Ann Shumard interviewing Anthony Barboza at the Jolly Hotel Madison Towers in New York City on November 18, 2009, for the Archives of American Art. This is card number one. Tony, let's begin with the basics. ANTHONY BARBOZA: Okay. MS. SHUMARD: When and where were you born? MR. BARBOZA: I was born in New Bedford, Massachusetts, on May 10, 1944. My parents' names are Anthony and Lillian Barboza. MS. SHUMARD: All right. Were they natives of New Bedford, or had they come to that community from someplace else? MR. BARBOZA: My grandparents, all four of them, came from the Cape Verde islands off the coast of West Africa, off Senegal. But my parents were born in the States, and I'm the oldest of eight boys.
    [Show full text]
  • The Art of Carrie Mae Weems, 1978-1991 A
    UNIVERSITY OF CALIFORNIA Los Angeles By Any Means Necessary: The Art of Carrie Mae Weems, 1978-1991 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Elizabeth Holland Searcy 2018 © Copyright by Elizabeth Holland Searcy 2018 ABSTRACT OF THE DISSERTATION By Any Means Necessary: The Art of Carrie Mae Weems, 1978-1991 by Elizabeth Holland Searcy Doctor of Philosophy in Art History University of California, Los Angeles, 2018 Professor Steven D. Nelson, Chair This dissertation examines the photography of Carrie Mae Weems (born 1953) and her exploration issues of power within race, class, and gender. It focuses on the period of 1978-1991, from her first major series, Family Pictures and Stories (1978- 1984), to And 22 Million Very Tired and Very Angry People (1991). In these early years of her career, Weems explores junctures of identity while levying a critique of American culture and its structures of dominance and marginalization. In the wake of the Civil Rights Movement of the 1960s and Second Wave Feminism of the 1970s, scholars— particularly women of color—began looking seriously at the intersectional nature of identity and how it manifests in culture and lived experience. These issues are the central themes Weems’s career, and by looking at her early explorations this study provides critical context for her body of work. ii Chapter One examines Weems’s first major series, Family Pictures and Stories (1978-1984). In this work, Weems uses autobiography as ethnography along with American and photographic history to question the cultural invisibility of black people.
    [Show full text]
  • Louis Draper True Grace Louis Draper True Grace
    Louis Draper True Grace Louis Draper True Grace Bruce Silverstein is pleased to present Louis Draper, True Grace. This is the gallery’s first exhibition of the artist’s work since announcing exclusive representation. The show will include fifty gelatin silver prints spanning from the late 1950s through the 1990s. Louis Draper was born in Virginia in 1935 and moved to Harlem, New York in 1957 where he enrolled at the New York Institute of Photography, studying under W. Eugene Smith. He worked between Harlem and New Jersey, where Draper taught at Mercer County Community College from 1982 to the end of his life in 2002. The unifying concern of his practice was to portray his subjects with respect, and what Draper referred to as “true grace”. Coming of age in the South, and living in New York City during the Civil Rights movement greatly impacted not only Draper’s politics, but also the kind of images he created, and how they served as their own form of resistance. Draper was a young man during events such as the lynching of Emmett Till and saw how those powerful and purposeful images were absorbed by the world at large. Of his own photographs, Draper wrote: “I want to show the strength, the wisdom, the dignity of the Negro people ... I do not want a documentary or sociological statement, I want a creative expression, the kind of penetrating insight and understanding of Negros which I believe only a Negro photographer can interpret.” Such an undertaking required multiple perspectives and a strong, like-minded community.
    [Show full text]
  • MING SMITH Born in Detroit, Michigan Lives and Works in New York Education BS Howard University, Washington, DC Solo Exhibi
    MING SMITH Born in Detroit, Michigan Lives and works in New York Education BS Howard University, Washington, DC Solo ExhiBitions 2020 Painting with Light: The Photography of Ming Smith, Pippy Houldsworth Gallery, London 2017 Ming Smith, Steven Kasher Gallery, New York 2013 Ming Smith: Works from the Paul R. Jones Collection, The University of AlaBama, Tuscaloosa 2010 Ming: Photographs: 1977-2008, June Kelly Gallery, New York 2007 Celebration Life: Photography as Fine Art, Pounder-Kone Art Space, Atwater Village, California 2003 Ming Smith: Ming's Room, curated by DeBorah Willis, Rush Arts Gallery, New York Ming Smith: In the Spirit: Invisible Woman, African American Museum in Philadelphia 2002 In the Spirit of Jazz, Ming Smith: 30 Year Retrospective, Concourse Gallery, Ohio 2001 Ming Smith: In the Spirit of Jazz, TriBes Gallery, New York Ming's Room, Porter Troupe Gallery, San Diego, California 2000 Ming, Watt's Tower Art Center, Los Angeles, California 1993 Ming Smith: in a Minor Key, Crawford and Sloan Gallery, New York 1982 Ming Smith, Eric Turner Salon, New York Group ExhiBitions 2022 Just Above Midtown, The Museum of Modern Art, New York (upcoming) 2020 Working Together: The Photographers of the Kamoinge Workshop, Virginia Museum of Fine Arts; touring to The J. Paul Getty Museum, Los Angeles; The Whitney Museum of American Art, New York; Cincinnati Art Museum, Cincinnati 2019 Down Time: On the Art of Retreat, Smart Museum of Art, University of Chicago, Chicago Women’s Work: Art & Activism in the 21st Century, Pen + Brush, New York
    [Show full text]
  • Davenport, J. Appositional Black Aesthetics FINAL1
    Copyright Jessica Davenport 2019 ABSTRACT Appositional Black Aesthetics: Theorizing Black Religion in the Visual Art of Carrie Mae Weems] by Jessica Davenport Scholars of religion have long looked to forms of cultural production as source material from which to proffer claims concerning the nature and meaning of black religion. And yet, while robust attention has been given to mining literary and musical forms for religious significance, few scholars in the field of black religion have rigorously engaged visual and aesthetic methods and theories. This project contributes to efforts to fill this void by examining visual artist Carrie Mae Weems’s conceptual photography as a case study. In particular, I posit that Weems’s images are reflective of what I conceive as an appositional black aesthetic. Drawn from Fred Moten’s notion of appositionality, this aesthetic refers to art and images that depict black life with complexity and a type of multidimensional openness that extends beyond categorical frames of “positive” and “negative” images. This aesthetic is also an approach to analyzing images that emphasizes expansive explorations into the complicated nuances, creative improvisations and alternative social logics that attend black life. In identifying and delineating appositional black aesthetics in works from Weems’s oeuvre, I further contend that her images provide a visual rendering of what Anthony Pinn argues is at the core of black religion: a fundamental impulse or yearning for more life meaning that involves a push for expansive ways of being and fuller life options. But whereas Pinn frames the black religious endeavor as a “quest for complex subjectivity,” Weems’s renderings demonstrate ways of being and engaging with the world that exceed the fraught racialized classificatory paradigm of subjectivity.
    [Show full text]