Kerry James Marshall Born 1955 in Birmingham, Alabama
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Finding Aid to the Historymakers ® Video Oral History with Kerry James Marshall
Finding Aid to The HistoryMakers ® Video Oral History with Kerry James Marshall Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Marshall, Kerry James, 1955- Title: The HistoryMakers® Video Oral History Interview with Kerry James Marshall, Dates: January 4, 2001 Bulk Dates: 2001 Physical 8 Betacame SP videocasettes (3:41:42). Description: Abstract: Painter Kerry James Marshall (1955 - ) is best known for his stylized, large-scale paintings. His celebrated series, "The Garden Project", critiqued low-income housing projects whose names denoted an idyllic Eden-like world, camouflaging the poverty and violence within. Marshall was named the recipient of the prestigious MacArthur "Genius" grant and is currently an art professor at the University of Illinois, Chicago. Marshall was interviewed by The HistoryMakers® on January 4, 2001, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2001_046 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Born October 17, 1955, in Birmingham, Alabama, Kerry James Marshall realized that he wanted to be an artist at a very early age. Inspired by pictures in a book, Marshall decided he wanted to be a visual artist. Themes and ideas present in Marshall's work reflect the complex web of personal Themes and ideas present in Marshall's work reflect the complex web of personal and social issues that have been instrumental in molding his life. When Marshall was eight, his family moved to the Watts community in Los Angeles, California. As the epicenter of intense struggle for civil rights, including a riot in 1965 and a confrontation between city police officers and the Black Panthers, Watts and its imagery have dramatically influenced the form and content of Marshall's work. -
Kerry James Marshall Has Been Producing Large-Format Portrait Paintings of Mostly Black Subjects for Over Thirty Years
PORTRAIT 73 KERRY JAMES MARSHALL Kerry James Marshall has been producing large-format portrait paintings of mostly black subjects for over thirty years. Recently his work has found acclaim among collectors and institutions world- wide, finally getting the recognition it deserves. But is Marshall’s visibility a singular case, or has his success had 72 a larger impact on the history and current trajectory of art by black artists? And PAINTING what does his work tell us about the turbulent and violent 2010s? HISTORY By Arnold J. Kemp There is a permanent cultural anxiety in the art interiors, landscape, grand history painting, nude world. It is an anxiety about definitions: how does figure, and abstraction, often at scales that empha- art – its producers, consumers, and critics – define size his obsession with seeing black figures painted itself within and outside the bounds of identity by black artists on par with the grandeur found in categories? Layered into this anxiety are histories these Euro-American genres. of colonialism, white supremacy, and global capi- Marshall has been exceedingly successful at talism that have in related ways grouped individ- answering this charge. He has received solo exhi- uals into categories that fail to account for the bitions throughout Europe and North America, complexities of people in their historic moment. and his work was included in such prestigious Conversations defining black art, for instance, exhibitions as the Whitney Biennial, the Venice have morphed as discourses and practices have Biennale, two Documentas (1997 and 2007), as been altered, ever so slightly, to account for these well as the Carnegie International. -
The Guennol Lioness
New York | +1 212 606 7176 | Lauren Gioia | [email protected] | Midori Tanaka | [email protected] Sotheby’s to Offer PAST TIMES BY KERRY JAMES MARSHALL — Estimate $8/12 Million — A Major Highlight of His Mid-Career Survey ‘Mastry’, Exhibited in Chicago, New York & Los Angeles — The Culmination of His Celebrated Garden Project Paintings — Property from the Metropolitan Pier and Exposition Authority Kerry James Marshall Past Times Acrylic and collage on unstretched canvas 108 by 157 inches Contemporary Art Evening Auction | 16 May 2018 New York Exhibition | 4-16 May 2018 NEW YORK, 25 April 2018 – Sotheby’s is honored to announce Kerry James Marshall’s Past Times as a highlight of our auction of Contemporary Art this May. The most significant work by the renowned artist to ever come to market, the painting is a tour de force that captures Marshall’s extraordinary vision and technical command while serving as a harbinger of his impact on the arc of art history. A centerpiece of the highly acclaimed 2016/7 mid-career survey ‘Kerry James Marshall: Mastry’ at the Museum of Contemporary Art, Chicago, The Metropolitan Museum of Art, New York and the Museum of Contemporary Art, Los Angeles, as well as a highlight of the 1997 Whitney Biennial where it first debuted, this spectacular painting will be a cornerstone of our Contemporary Art Evening Auction on 16 May. Past Times carries a pre-sale estimate of $8/12 million and is poised to set a new world auction record for the artist. Past Times is being offered for sale by the Metropolitan Pier and Exposition Authority in Chicago, Illinois – a municipal corporation created by the Illinois General Assembly, and owner of McCormick Place, the largest convention center in North America. -
Kerry James Marshall (American, B
Kerry James Marshall (American, b. 1955) – Artist Resources BOMB Magazine interviews Marshall in 1998 about his mentor Charles White, art history, and ambition. “It takes half a lifetime, really, to develop to a point where you can start to speak effectively with whatever the tools are you’re trying to master….[until you have] sufficiently mastered the forms and the materials of art-making, and the ideas that govern it, to be able to say something with it that was worthwhile.” Art21 followed Marshall through the galleries of the Art Institute in Chicago, his studio, and at home with his family in 2001. “The principles that govern the way visual representation works are still the same principles that governed the way it worked 500 years ago…2000 years ago. Makes perfect sense to me to go back to the origins of these things and pick up from there. To take up the challenge, really. To think of another way to make these things seem fresh.” Listen to Marshall’s 2012 lecture at the National Gallery of Art on “The Importance of Being Figurative.” “You’re not just making artworks for yourself,” Marshall told Art21 in a 2014 interview about history, racial segregation, politics, and being a black artist in an historically white system. “You’re making artworks because they fit into a narrative structure that purports to define what kinds of things have value.” Marshall speaks at the University of Chicago in 2016 after being awarded with the Marhsall, 2017 Jessie L. Rosenberger Medal. Photograph: Annette Hornischer In 2016, Marshall was honored with Kerry James Marshall: Mastry, a mid-career touring retrospective bringing together 80 works and spanning 35 years. -
The Next Documenta Shouldn't Be in Kassel
I. Some Reflections on the Last Documenta If all goes well, the thirteenth edition of documenta will take place from June 9, 2012, to September 16, 2012.1 Carolyn Christov- Bakargiev, the newly appointed artistic director of documenta 13, might consider reading Oliver Marchart’s latest book, which deals extensively 01/07 with the last three editions of documenta: Hegemonie im Kunstfeld. Die documenta- Ausstellungen dX, D11, d12 und die Politik der Biennalisierung.2 Marchart’s book can be read as a largely convincing critique of documenta 12 (2007), which was directed by the German art critic Roger M. Buergel and co-curated by his wife, the German art historian Ruth Noack. Dieter Lesage ÊÊÊÊÊÊÊÊÊÊIn his book Marchart describes museums, biennials, and other large-scale art exhibitions such as the documenta as hegemony machines, The Next functioning not unlike the World’s Fairs that have contributed significantly to the project of nation- Documenta building since the mid-nineteenth century. Following the reflections of Antonio Gramsci in Shouldn’t Be in Quaderni del carcere, Marchart defines hegemony as a precarious balance between dominant and subaltern forces that, through the Kassel networks of society’s institutions (museums, biennials, and large-scale exhibitions), establishes a momentary primacy of certain forces. These forces can always be overturned, depending on shifts in an ongoing “war of position.” The concept of hegemony can be explained as the way in which consensus is produced as a primordial means of securing the dominance of certain forces. Every institution, which may at some moment seem to consolidate dominant bourgeois culture, may at another e g point be useful for a counter-hegemonic project a s e – one that could eventually establish another L l r e hegemony. -
Agnes Martin Selected Bibliography Books
AGNES MARTIN SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2019 Hannelore B. and Rudolph R. Schulhof Collection (exhibition catalogue). Text by Gražina Subelytė. Venice, Italy: Peggy Guggenheim Collection, 2019. 2018 Agnes Martin / Navajo Blankets (exhibition catalogue). Interview with Ann Lane Hedlund and Nancy Princenthal. New York: Pace Gallery, 2018. American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 162–163, illustrated. An Eccentric View (exhibition catalogue). New York: Mignoni Gallery, 2018: illustrated. “Agnes Martin: Aus ihren Aufzeichnungen über Kunst.” In Küstlerinnen schreiben: Ausgewählte Beiträge zur Kunsttheorie aus drei Jahrhunderten. Edited by Renate Kroll and Susanne Gramatzki. Berlin: Dietrich Reimer Verlag GmbH, 2018: 183–187, illustrated. Ashton, Dore. “Dore Ashton on Agnes Martin.” In Fifty Years of Great Art Writing. London: Hayward Gallery Publishing, 2018: 53–61, illustrated. Agnes Martin: Selected Bibliography-Books and Exhibition Catalogs 2 Fritsch, Lena. “’Wenn ich an Kunst denke, denke ich an Schönheit’ – Agnes Martins Schriften.” In Küstlerinnen schreiben: Ausgewählte Beiträge zur Kunsttheorie aus drei Jahrhunderten. Edited by Renate Kroll and Susanne Gramatzki. Berlin: Dietrich Reimer Verlag GmbH, 2018: 188–197. Guerin, Frances. The Truth is Always Grey: A History of Modernist Painting. Minneapolis and London: University of Minnesota Press, 2018: plate 8, 9, illustrated. Intimate Infinite: Imagine a Journey (exhibition catalogue). New York: Lévy Gorvy, 2018: 100–101, illustrated. Martin, Henry. Agnes Martin: Pioneer, Painter, Icon. Tucson, Arizona: Schaffner Press, 2018. Martin, Agnes. “Agnes Martin: Old School.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico Books·Prestel, 2018: 44–45, illustrated. -
The South Side & Beyond
THE INDEPENDENT VOICE OF THE VISUAL ARTS Chicago, Detroit, Los Angeles, New York Volume 32 No. 6 July/August 2018 Established 1973 The South Side & Beyond: A Chicago Art Legacy INSIDE Patric McCoy, Pioneering South Side Art Collector Seven Reviews Cover Shows of African-American Artists Cleveland Prepares to Host International Art Triennial $8 U.S. Bulletin of the Atomic Scientists-Sponsored Show Features Martyl and (art)n SUBSCRIPTIONS NEW ART EXAMINER IS AVAILABLE FROM THE FOLLOWING CHICAGO OUTLETS: The New Art Examiner has a long history of pro- ducing quality and independent art criticism. 57th Street Books Subscription rates include six issues, print and digi- 1301 E 57th St, Chicago, IL 60637 tal version sent by email. (773) 684-1300 USA/Canada $55 postage incl. ARC Gallery Rest of World $80 postage incl. 2156 N Damen Ave, Chicago, IL 60647 (773) 252-2232 Please send checks, along with your name and Corbett vs Dempsey Gallery address, made payable to: 1120 N Ashland Ave, Chicago, IL 60622 New Art Examiner (773) 278-1664 5542 N. Paulina St. Chicago, IL 60640. USA. Fahlstrtom’s Fresh Fish Market 1258 W Belmont Ave, Chicago, IL 60657 (773) 281-6000 ADVERTISING RATES 2018 Firecat Projects 2124 N Damen Ave, Chicago, IL 60647 FULL PAGE Inside front cover $500 (773) 342-5381 Inside back cover $400 Hilton | Asmus Contemporary FULL PAGE $300 716 N Wells St, Chicago, IL 60654 HALF PAGE – portrait/landscape $200 (312) 475-1788 QUARTER PAGE – (editorial page) $125 Jackson and Junge Gallery (add $25 for inclusion on web site) 1339 N. -
George Condo's
A New Show That Puts George Condo Next to Picasso By: Hilary Moss November 18, 2016 From left: George Condo’s “Telepoche Cut-Out,” 1989; Henri Matisse’s “Vegetable Elements,” 1947. When Udo Kittelmann, the director of Berlin’s Nationalgalerie, initially floated the idea of an exhibition that would position George Condo’s work against pieces from Museum Berggruen’s 20th-century art collection, the American painter had some doubts. “Udo said, ‘You make so many modernist references,’ but I didn’t want to have a George Condo at random sitting next to a Picasso or a Matisse,” Condo remembers. “You’d see the absolute differences, as much as it appears to be referential.” Kittelmann spent two full days rummaging through the artist’s New York storage space, finally landing on a nontraditional approach, and convinced Condo to go along with it: The curator cleared out the museum’s 28 rooms, installed his pick of 118 Condo paintings, drawings, collages and sculptures — most never shown before — and then reinstalled parts of the Berggruen’s collection accordingly. The resulting show, called “Confrontation,” opens tomorrow in Berlin and places, for instance, Paul Klee tableaus marked by the expressionist’s swooping signature near a mid- ’80s, semi-surrealist Condo painting of his last name. Blue- and rose-period Picassos are complemented by similarly hued Condos; Georges Braque’s Cubist compositions echo a more recent oil painting of a man’s head split by a meat cleaver; and Matisse’s cutouts stand next to a few of Condo’s late-’80s and early-’90s collages. -
Documenta.Pdf
Documenta Breastfeeding: Science and Society Working Group 11-13 May 1994 Documenta 28 Summary Report, pp. 35 Chemical hazards in developing countries Working Group, 21-23 October 1993 Documenta 27 Final Remarks, pp. 44 Man and his environment. Tropical forests and the conservation of species Study Week, 14-18 May 1990 Documenta 26 Conclusions, pp. 43 Science for development in a solidarity framework Study Week, 23-27 October 1989 Documenta 25 Conclusions, pp. 77 Agriculture and the quality of life. New global trends Study Week, 17-24 October 1988 Documenta 24 Conclusions, pp. 33 A modern approach to the protection of the environment Study Week, 2-7 November 1987 Documenta 23 pp. 24 Aspetti artistici della Casina Pio IV sede della Pontificia Accademia delle Scienze 28 Ottobre 1986 Carlo Pietrangeli Documenta 22 pp. 16 Historical aspects of the Pontifical Academy of Sciences 28 October 1986 G.B. Marini-Bettòlo Documenta 21 pp. 16 Allocution de Sa Sainteté Jean Paul II et discours de Carlos Chagas Président de l’Académie Audience Pontificale, 28 Octobre 1986 Documenta 20 (Texte français, anglais, italien), pp. 74 - 1 - Celebration of the fiftieth anniversary of the restoration of the Academy (1936-1986) Inaugural address of President Carlos Chagas, 27 October 1986 Documenta 19 (English, French and Italian text), pp. 49 Molecular mechanisms of carcinogenic and antitumor activity Working group, 21-25 October 1986 Documenta 18 Conclusions, pp. 27 Persistent meteo-oceanographic anomalies and teleconnections Study Week, 23-27 September 1986 Documenta 17 Conclusions, pp. 21 Remote sensing and its impact on developing countries Study Week, 16-21 June 1986 Documenta 16 Conclusions, pp. -
African American Art Since 1950: Perspectives from the David C
African American Art Since 1950: Perspectives from the David C. Driskell Center Resource made possible through our partnerships with: Welcome to the Figge Art Museum’s Teacher Resource Guide These cards describe selected works from the exhibition. Use them to engage with the artwork, find facts about the artists, and facilitate learning. Resources are provided on each card for additional research. About the Exhibition In 1976, David C. Driskell curated the groundbreaking exhibition, Two Centuries of Black American Art: 1750-1950. The exhibition explored the depth and breadth of African American art, often marginalized by historical texts. It had massive influence on both the artists and the general public. The David C. Driskell Center has organized the exhibition, African American Art Since 1950, Perspectives from the David C. Driskell Center, as a response to Two Centuries. The exhibition explores the rising prominence and the complexity of African American art from the last 60 years. Many leading African American artists are featured in this exhibition including: Romare Bearden, Faith Ringgold, Jacob Lawrence, Betye Saar, Radcliffe Bailey, Kara Walker and Carrie Mae Weems. This exhibition gives a picture of the diversity of recent African American art, with its many approaches and media represented. The works explore various themes including: political activism, race, stereotypes, cultural and social identity, music, abstraction, among others. Featured Artists Radcliffe Bailey Romare Bearden Sheila Pree Bright Kevin Cole David C. Driskell Vanessa German Robin Holder Margo Humphrey Jacob Lawrence Kerry James Marshall Faith Ringgold Lorna Simpson Hank Willis Thomas Carrie Mae Weems Radcliffe Bailey Until I Die/Georgia Trees and the Upper Room, 1997 Color aquatint with photogravure and chin collé © 2011 Radcliffe Bailey Gift from the Jean and Robert E. -
Kerry James Marshall B
FLOOR 3 GRIEF AND GRIEVANCE Floor 3 Jean-Michel Basquiat b. 1960, Brooklyn, NY; d. 1988, New York, NY Procession, 1986 Acrylic on wood Private Collection Jean-Michel Basquiat was a self-taught artist who rose to rapid fame in the 1970s and ’80s. Known both for his graffiti work (signed as his alter ego, SAMO) as well as his immersion in hip-hop and new wave music scenes, Basquiat created vivid line drawings and paintings incorporating words, numbers, diagrams, logos, and accidental marks. In Basquiat’s work, both abstraction and figuration function as overt and coded social commentary, making use of bold formal gestures to address concepts of colonialism, class struggle, state authority, and police violence. Basquiat created several works reliant on the invocation of the grief caused by the historically disproportionate use of police force against Black communities, including the painting Untitled (1983), also widely known as The Death of Michael Stewart or Defacement. Stewart, a young Black artist, was attacked and murdered by police that year for allegedly tagging a wall of a downtown New York subway station. Distraught over Stewart’s death, Basquiat reflected: “It could have been me. It could have been me.” Basquiat’s reflection on mourning also extends to histories of the Black Atlantic. Procession (1986) depicts four Black silhouetted figures facing a figure painted in red, white, and blue and carrying a skull—a symbol repeated in many of his other works. Part of a body of work relating to the American South and the artist’s Haitian-Puerto Rican heritage, Procession calls to mind both the deep psychological pain of slavery in the region and the spiritual terrain of traditional jazz funerals, during which processions of mourners follow the remains of the deceased. -
Is Documenta a Decolonising Force?
Journal of Historical Archaeology & Anthropological Sciences Review Article Open Access Is documenta a decolonising force? Abstract Volume 3 Issue 3 - 2018 As one of the most important contemporary art mega-projects in the world, the Erzsébet Tatai Documenta of Kassel is particularly suitable for examining the changes that have Art historian, Senior Research Fellow, Hungarian Academy of taken place in art and in the way it is presented in the artistic field. Back in 1955, Sciences, Hungary political motivations played a part in the Documenta’s founding, but it was only in 1992, during its ninth edition edition, that Jan Hoet first criticised the hegemony of Correspondence: Erzsébet Tatai, Art historian, Senior European and North American art (at the time, only 7% of the featured artists were Research Fellow, Hungarian Academy of Sciences, Hungary, from Africa, Asia and Oceania). And it was not until 1997 that, under the artistic Email [email protected] directorship of Catherine David, this criticism were treated theoretically in the form of lectures. The first Documenta that can be regarded as postcolonial was held in 2002, Received: February 26, 2018 | Published: May 16, 2018 with Enwezor taking charge as artistic director. In my paper, I will examine the shifts that have occurred in the way global art is represented in Kassel from Documenta 11, when the postcolonial discourse finally came to the fore, until the present day (Documenta 14). The questions I touch upon are whether there has been a strengthening of postcolonial representation; whether there is evidence of cultural decolonisation as cultural colonisation is dismantled that is, as postcolonial theories are put into practice; whether or not a decolonisation of art has taken place during the Documenta exhibitions; and whether there has been a change in the postcolonialist content of art.