Kerry James Marshall Born 1955 in Birmingham, Alabama
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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. -
Experience the Flemish Masters Programme 2018 - 2020
EXPERIENCE THE FLEMISH MASTERS PROGRAMME 2018 - 2020 1 The contents of this brochure may be subject to change. For up-to-date information: check www.visitflanders.com/flemishmasters. 2 THE FLEMISH MASTERS 2018-2020 AT THE PINNACLE OF ARTISTIC INVENTION FROM THE MIDDLE AGES ONWARDS, FLANDERS WAS THE INSPIRATION BEHIND THE FAMOUS ART MOVEMENTS OF THE TIME: PRIMITIVE, RENAISSANCE AND BAROQUE. FOR A PERIOD OF SOME 250 YEARS, IT WAS THE PLACE TO MEET AND EXPERIENCE SOME OF THE MOST ADMIRED ARTISTS IN WESTERN EUROPE. THREE PRACTITIONERS IN PARTICULAR, VAN EYCK, BRUEGEL AND RUBENS ROSE TO PROMINENCE DURING THIS TIME AND CEMENTED THEIR PLACE IN THE PANTHEON OF ALL-TIME GREATEST MASTERS. 3 FLANDERS WAS THEN A MELTING POT OF ART AND CREATIVITY, SCIENCE AND INVENTION, AND STILL TODAY IS A REGION THAT BUSTLES WITH VITALITY AND INNOVATION. The “Flemish Masters” project has THE FLEMISH MASTERS been established for the inquisitive PROJECT 2018-2020 traveller who enjoys learning about others as much as about him or The Flemish Masters project focuses Significant infrastructure herself. It is intended for those on the life and legacies of van Eyck, investments in tourism and culture who, like the Flemish Masters in Bruegel and Rubens active during are being made throughout their time, are looking to immerse th th th the 15 , 16 and 17 centuries, as well Flanders in order to deliver an themselves in new cultures and new as many other notable artists of the optimal visitor experience. In insights. time. addition, a programme of high- quality events and exhibitions From 2018 through to 2020, Many of the works by these original with international appeal will be VISITFLANDERS is hosting an Flemish Masters can be admired all organised throughout 2018, 2019 abundance of activities and events over the world but there is no doubt and 2020. -
Aca Galleriesest. 1932
EST. 1932 ACA GALLERIES Faith Ringgold Courtesy of ACA Galleries Faith Ringgold, American People Series #19: U.S. Postage Stamp Commemorating the Advent of Black Power, 1967 th ACA GALLERIES 529 West 20 Street New York, NY 10011 | t: 212-206-8080 | e: [email protected] | acagalleries.com EST. 1932 ACA GALLERIES The Enduring Power of Faith Ringgold’s Art By Artsy Editors Aug 4, 2016 4:57 pm Portrait of Faith Ringgold. Photo by Grace Matthews. In 1967, a year of widespread race riots in America, Faith Ringgold painted a 12-foot-long canvas called American People Series #20: Die. The work shows a tumult of figures, both black and white, wielding weapons and spattered with blood. It was a watershed year for Ringgold, who, after struggling for a decade against the marginalization she faced as a black female artist, unveiled the monumental piece in her first solo exhibition at New York’s Spectrum Gallery. Earlier this year, several months after Ringgold turned 85, the painting was purchased by the Museum of Modern Art, cementing her legacy as a pioneering artist and activist whose work remains searingly relevant. Where did she come from? Ringgold was born in Harlem in 1930. Her family included educators and creatives, and she grew up surrounded by the Harlem Renaissance. The street where she was raised was also home to influential activists, writers, and artists of the era—Thurgood Marshall, W.E.B. Dubois, and Aaron Douglas, to name a few. “It’s nice th ACA GALLERIES 529 West 20 Street New York, NY 10011 | t: 212-206-8080 | e: [email protected] | acagalleries.com EST. -
Llyn Foulkes Between a Rock and a Hard Place
LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M. -
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. -
Public Charter Schools in the District of Columbia
S. HRG. 108–774 PUBLIC CHARTER SCHOOLS IN THE DISTRICT OF COLUMBIA HEARING BEFORE A SUBCOMMITTEE OF THE COMMITTEE ON APPROPRIATIONS UNITED STATES SENATE ONE HUNDRED EIGHTH CONGRESS SECOND SESSION SPECIAL HEARING MAY 4, 2004—WASHINGTON, DC Printed for the use of the Committee on Appropriations ( Available via the World Wide Web: http://www.access.gpo.gov/congress/senate U.S. GOVERNMENT PRINTING OFFICE 97–827 PDF WASHINGTON : 2005 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2250 Mail: Stop SSOP, Washington, DC 20402–0001 COMMITTEE ON APPROPRIATIONS TED STEVENS, Alaska, Chairman THAD COCHRAN, Mississippi ROBERT C. BYRD, West Virginia ARLEN SPECTER, Pennsylvania DANIEL K. INOUYE, Hawaii PETE V. DOMENICI, New Mexico ERNEST F. HOLLINGS, South Carolina CHRISTOPHER S. BOND, Missouri PATRICK J. LEAHY, Vermont MITCH MCCONNELL, Kentucky TOM HARKIN, Iowa CONRAD BURNS, Montana BARBARA A. MIKULSKI, Maryland RICHARD C. SHELBY, Alabama HARRY REID, Nevada JUDD GREGG, New Hampshire HERB KOHL, Wisconsin ROBERT F. BENNETT, Utah PATTY MURRAY, Washington BEN NIGHTHORSE CAMPBELL, Colorado BYRON L. DORGAN, North Dakota LARRY CRAIG, Idaho DIANNE FEINSTEIN, California KAY BAILEY HUTCHISON, Texas RICHARD J. DURBIN, Illinois MIKE DEWINE, Ohio TIM JOHNSON, South Dakota SAM BROWNBACK, Kansas MARY L. LANDRIEU, Louisiana JAMES W. MORHARD, Staff Director LISA SUTHERLAND, Deputy Staff Director TERENCE E. SAUVAIN, Minority Staff Director SUBCOMMITTEE ON THE DISTRICT OF COLUMBIA MIKE DEWINE, Ohio, Chairman SAM BROWNBACK, Kansas MARY L. LANDRIEU, Louisiana KAY BAILEY HUTCHISON, Texas RICHARD J. DURBIN, Illinois TED STEVENS, Alaska (ex officio) ROBERT C. -
Gagosian Gallery
Artforum January, 2000 GAGOSIAN 1999 Carnegie International Carnegie Museum of Art Katy Siegel When you walk into the lobby of the Carnegie Museum, the program of this year’s International announces itself in microcosm. There in front of you is atmospheric video projection (Diana Thater), a deadpan disquisition on the nature of representation (Gregor Schneider’s replication of his home), a labor-intensive, intricate installation (Suchan Kinoshita), a bluntly phenomenological sculpture (Olafur Eliasson), and flat, icy painting (Alex Katz). Undoubtedly the best part of the show, the lobby is also an archi-tectural site of hesitation, a threshold. Here the installation encapsulates the exhi-bition’s sense of historical suspen-sion, another kind of hesitation. Ours is a time not of endings but of pause. My favorite work, viewed through the museum’s huge glass wall, was the Eliasson, a fountain of steam wafting vertically from an expanse of water on a platform through which trees also rise up. It’s a heart-throbbing romantic landscape. Romantic, but not naive: The work plays on the tradition of the courtyard fountain, and the steam is piped from the museum’s heating system. Combining the natural and the industrial in a way peculiarly appro-priate to Pittsburgh on a quiet Sunday morning in early autumn, it echoed two billows of steam (or, more queasily, smoke?) off in the distance. When blunt physical fact achieves this kind of lyricism, it is something to see. Upstairs in the galleries, Ernesto Neto’s Nude Plasmic, 1999, relies as well on the phenomenology of simple form, but the Brazilian artist avoids Eliasson’s picturesque imagery. -
Luc Tuymans in the Dark Regions of The
Luc Tuymans In the Dark Regions of the My project is an effort to avert the critical gaze from the racial object to the racial World subject; from the described and the imagined to the describers and imaginers; from the serving to the served. - Toni Morrison" "Mwana Kitoko, The beautiful White Man." Thus did the people of the In Tuymans' oeuvre, a painting often acquires additional layers of Congo address their sovereign, Baudouin, king of the Belgians. Luc meaning through the precisely devised context of its first exhibition, Tuymans painted him descending the narrow stairs of his airplane in the frequently involving spaces that require a certain number and mid-fifties, wearing an immaculate white Navy uniform, looking just a combination of works. Even while painting, Tuymans often has a little too stiff for the elegance of his slim figure, one hand firmly precise notion of how the picture is to operate alone, together with grasping his sword, his eyes hidden behind sunglasses to protect them others, and in the room where it is first to be presented. In his most from the sun and the intrusive gaze of others. The painting of Baudouin, recent cycle for the David Zwirner Gallery in New York, the full- MWANA KITOKO (2000), shows a grand entrance in bright light that length portrait of the monarch is placed— among others—opposite a oscillates between the dazzling effect of a media event and the light of slightly smaller three-quarter portrait of a black man titled STATUE the tropics. The dark lens gives the figure an insect-like appearance. -
Ÿþm Icrosoft W
iT HE SPIRIT iT HE SPIRIT a iya DEF 4 A BLACK EN r LiF Sol iDING IN AMERICA F | Randall Robinson A PLUME BOOK PLUME Published by the Penguin Group Penguin Putnam Inc., 375 Hudson Street, New York, New York 10014, U.S.A. Penguin Books Ltd, 27 Wrights Lane, London W8 5TZ, England Penguin Books Australia Ltd, Ringwood, Victoria, Australia Penguin Books Canada Ltd, 10 Alcorn Avenue, Toronto, Ontario, Canada M4V 3B2 Penguin Books (N.Z.) Ltd, 182-190 Wairau Road, Auckland 10, New Zealand Penguin Books Ltd, Registered Offices: Harmondsworth, Middlesex, England Published by Plume, a member of Penguin Putnam Inc. Previously published in a Dutton edition. First Plume Printing, February, 1999 10 9 8 7 6 5 4 3 Copyright © Randall Robinson, 1998 All rights reserved f REGISTERED TRADEMARK-MARCA REGISTRADA The Library of Congress has catalogued the Dutton edition as follows: Robinson, Randall. Defending the spirit: a Black life in America / Randall Robinson. p. cm. Includes bibliographical references (p. ) and index. ISBN 0-525-94402-8 (hc) ISBN 0-452-27968-2 (pbk) 1. Robinson, Randall. 2. Afro-Americans-Biography. 3. Afro-American political activists-Bography. 4. Political activists-United States- Biography. 5. TransAfrica Forum (Organization). 6. United States-Foreign relations-Africa. 7. Africa-Foreign relations-United States. 8. United StatesForeign relations- Caribbean Area. 9. Caribbean Area-Foreign relations-United States. 10. United States-Race relations. I. Title. E185.97.R665A3 1998 973'.0496073'0092-dc21 [B] 97-34052 CIP Printed In the United States of America Set in Cheltenham Book Original hardcover design by Leonard Telesca Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. -
Feminist Artists' Book Projects of the 1980-90S
1 Bookworks as Networks: Feminist Artists’ Book Projects of the 1980-90s Caroline Fazzini Recent trends in contemporary exhibition, academic, and artistic practices in the U.S. illuminate a persistent concentration of efforts to present more complete versions of the past, specifically regarding issues of diversity and representation. Some museums and art historians have responded to the call for inclusivity by supporting exhibitions that focus on artists who have been marginalized. We Wanted a Revolution: Black Radical Women, 1965-1985, and Radical Women: Latin American Art, 1960-1985, which opened in 2017 at the Brooklyn Museum and the Hammer Museum, respectively, exemplify this corresponding surge of interest within the art and academic worlds of the Americas regarding women artists, and particularly women artists of color. My studies of these exhibitions, as well as my interest in artists’ books, led me to identify two collaborative artists’ book projects that emerged in the late 1980s, in the immediate aftermath of the time periods addressed in both We Wanted a Revolution and Radical Women. I aim to contribute to revisionist scholarly efforts by examining these two projects: Coast to Coast: A Women of Color National Artists’ Book Project (1987-1990) and Connections project/Conexus (1986-1989). Both were first and foremost, meant to initiate dialogues and relationships between women across borders through the making of art and artists’ books. While neither project has received scholarly attention to date, they are important examples of feminist collaborations between women artists. The projects, Connections project/Conexus (1986-1989), organized by Josely Carvalho and Sabra Moore, and Coast to Coast: A Women of Color National Artists’ Book Project (1987- 90), organized by Faith Ringgold and Clarissa Sligh, both took advantage of the accessibility of 2 artists’ books in an effort to include and encourage the participation of women artists. -
Luc Tuymans Good Luck
Luc Tuymans Good Luck October 27 – December 19, 2020 5–6/F, H Queen’s, 80 Queen’s Road Central Hong Kong Luc Tuymans, Still, 2019 © Luc Tuymans Courtesy the artist and David Zwirner David Zwirner is pleased to present an exhibition of new work by the renowned Belgian artist Luc Tuymans (b. 1958) at the gallery’s Hong Kong location—his first solo presentation in Greater China. On view will be a selection of recent paintings and a new single-channel animated video that are drawn from a range of historical and contemporary images. Together the works share an undercurrent, as suggested by the exhibition’s title, of paradox and uncertainty. Tuymans has become known for a distinctive style of painting that demonstrates the power of images to simultaneously communicate and withhold. Emerging in the 1980s, Tuymans pioneered a decidedly non-narrative approach to figurative painting, instead exploring how information can be layered and embedded within certain scenes and signifiers. Based on preexisting imagery culled from a variety of sources, his works are rendered in a muted palette that is suggestive of a blurry recollection or a fading memory. Their quiet and restrained appearance, however, belies an underlying moral complexity, and they engage equally with questions of history and its representation as they do with quotidian subject matter. Tuymans’s canvases both undermine and reinvent traditional notions of monumentality through their insistence on the ambiguity of meaning. The present exhibition brings together a wide range of global, historical, and contemporary references that reflect ongoing themes of interest for the artist.