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Art in America the EPIC BANAL
Art in America THE EPIC BANAL BY: Amy Sherald, Tyler Mitchell May 7, 2021 10:08am Tyler Mitchell: Untitled (Blue Laundry Line), 2019. Amy Sherald (https://www.artnews.com/t/amy-sherald/): A Midsummer Afternoon Dream, 2020, oil on canvas, 106 by 101 inches. Tyler Mitchell and Amy Sherald—two Atlanta-born, New York–based artists—both capture everyday joy in their images of Black Americans. Recurring motifs in Mitchell’s photographs, installations, and videos include outdoor space and fashionable friends. Sherald, a painter, shares similar motifs: her colorful paintings with pastel palettes show Black people enjoying American moments, their skin painted in grayscale, the backgrounds and outfits flat. Both are best known for high-profile portrait commissions: in 2018 Mitchell became the first Black photographer to have a work grace the cover of Vogue. That shot of Beyoncé was followed, more recently, by a portrait of Kamala Harris for the same publication. Michelle Obama commissioned Amy Sherald to paint her portrait, and last year Vanity Fair asked Sherald to paint Breonna Taylor for a cover too. Below, the artists discuss the influence of the South on their work, and how they navigate art versus commercial projects. —Eds. Amy Sherald: Precious jewels by the sea, 2019, oil on canvas, 120 by 108 inches. TYLER MITCHELL: Amy, we spoke before about finding freedom and making your own moments of joy. I think of Precious jewels by the sea [2019]—your painting of two couples at the beach, showing the men standing with the women on their shoulders—as a moment that you constructed. -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
The Obama Portraits, in Art History and Beyond Richard J
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. contents Foreword Kim Sajet vi Unveiling the Unconventional: Kehinde Wiley’s Portrait of Barack Obama Taína Caragol 1 “Radical Empathy”: Amy Sherald’s Portrait of Michelle Obama Dorothy Moss 25 The Obama Portraits, in Art History and Beyond Richard J. Powell 51 The Obama Portraits and the National Portrait Gallery as a Site of Secular Pilgrimage Kim Sajet 83 The Presentation of the Obama Portraits: A Transcript of the Unveiling Ceremony 98 Notes 129 Selected Bibliography 137 Credits 139 For general queries, contact [email protected] © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Taína Caragol Unveiling the Unconventional Kehinde Wiley’s Portrait of Barack Obama On February 12, 2018, the Smithsonian’s National Portrait Gallery unveiled the portraits of President Barack Obama and First Lady Michelle Obama. The White House and the museum had worked together to commission the paintings, and, in many ways, the lead- up to the ceremony had followed tradition. But this time something was different. The atmosphere was infused with the coolness of the there- present Obamas, and the event, which was made memorable with speeches from the sitters, the artists, and Smithsonian officials, erupted with applause at the first glimpse of these two highly unconventional portraits. Kehinde Wiley’s portrait of the president portrays a man of extraordinary presence, sitting on an ornate chair in the midst of a lush botanical setting (p. -
Boston Review Book : Syria Dilemma
THe syria dilemma the syria dilemma edited by Nader Hashemi and Danny Postel A Boston Review Book the mit press Cambridge, Mass. London, England Copyright © 2013 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. mit Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] or write to Special Sales Department, The mit Press, 55 Hayward Street, Cambridge, ma 02142. This book was set in Adobe Garamond by Boston Review and was printed on recycled paper and bound in the United States of America. Library of Congress Cataloging-in-Publication Data The Syria dilemma / edited by Nader Hashemi and Danny Postel. pages cm.—(Boston review books) Includes bibliographical references and index. ISBN 978-0-262-02683-3 (hardcover : alk. paper) 1. Syria—History—Protests, 2011–2. Peace-building— International cooperation. I. Hashemi, Nader, 1966– II. Postel, Danny. DS98.6.S94 2013 956.9104’2—dc23 2013024506 10 9 8 7 6 5 4 3 2 1 To the Syrian people Contents Introduction Why Syria Matters 1 Nader Hashemi and Danny Postel Syria Is Not Iraq: Why the Legacy of the Iraq War Keeps Us from Doing the Right Thing in Syria 19 Shadi Hamid Why There Is No Military Solution to the Syrian Conflict 29 Aslı Bâli and Aziz Rana Bosnia and Syria: Intervention -
Valeska Soares B
National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work. -
Amy Sherald-Inspired Portraits
Amy Sherald-Inspired Portraits Grade: 3rd Medium: Watercolor, colored pencil & pen Learning Objective: Students will: • Observe the art of Amy Sherald. • create a portrait in her style. • Use art vocabulary. • Use good craftsmanship. Author: Juliette Ripley-Dunkelberger Elements of Art Color: the visible range of reflected light. HUE: its name; VALUE: its tints/shades; INTENSITY: its brightness/dullness. Principles of Design Emphasis (focal point): the part of an artwork that is emphasized in some way and attracts the eye and attention of the viewer; also called the center of interest. Additional Vocabulary Craftsmanship: A way of working that includes following directions, demonstrates neatness and the proper use of tools. Monochrome: having or appearing to have only one color, which may include variations on the value of that color. Portrait: works of art that record the likenesses of humans or animals. Tint: a value created by adding white to a color Wash: a painting technique that leaves a semi-transparent layer of color. A wash of diluted ink or watercolor paint applied in combination with drawing (on dry painting) is called pen and wash, wash drawing, or ink and wash. Materials & Supplies • 9”x12” watercolor paper • Salt • Large Watercolor brushes • Water cups • Cardstock – print body worksheet • Erasers • Pencils • Body templates • Drawing pens • Masking tape • 3 Skin color sets of colored pencils • Colored pencils • Pattern sheet • Paper towels • Ruler Context (History and/or Artists) Amy Sherald, (American b. Columbus, GA 1973) received degrees in painting from 2 different colleges. She was an International Artist-in-Residence in Panama. Sherald was the first woman to win the Outwin Boochever Portrait Competition grand prize. -
Amy Sherald the Great American Fact
Press Release Amy Sherald The Great American Fact 20 March – 6 June 2021 Hauser & Wirth Los Angeles South Gallery Los Angeles… On 20 March, Amy Sherald, one of America’s defining contemporary portraitists, will unveil new paintings in her first West Coast solo exhibition. On view at Hauser & Wirth’s Downtown Arts District complex in Los Angeles, ‘The Great American Fact’ presents five works produced in 2020 that extend the artist’s technical innovations and distinctive visual language. Sherald is acclaimed for paintings of Black Americans at leisure that achieve the authority of landmarks in the grand tradition of social portraiture – a tradition that for too long excluded the Black men, women, and families whose lives have been inextricable from the narrative of the American experience. Subverting the genre of portraiture and challenging accepted notions of American identity, Sherald attempts to restore a broader, fuller picture of humanity. She positions her subjects as ‘symbolic tools that shift perceptions of who we are as Americans, while transforming the walls of museum galleries and the canon of art history – American art history, to be more specific.’ Sherald routinely draws upon literary references in her exhibition and the titles for her paintings. With ‘The Great American Fact’ she is referencing the 1892 book by educator Anna Julia Cooper, who wrote that Black people are ‘‘the great American fact’; the one objective reality on which scholars sharpened their wits, and at which orators and statesmen fired their eloquence.’ Sherald here employs Cooper’s statement as a framework for considering ‘public Blackness’ – the way Black American identity is shaped in the public realm. -
Best of 2018
Best of 2018: Our Top 20 Exhibitions Across the United States Art visualizing identity and community took center stage in our top 20 exhibitions across the United States for 2018. Of 72 by Ebony Patterson (detail view) (image by Sarah Rose Sharp) In 2018, artists and curators across the United States have been crafting brilliant exhibitions across the US, exploring themes of identity and community in innovative ways. Ebony G. Patterson made a maximalist tribute to victims of violence in her home country of Jamaica, while Joel Otterson crafted work recalling his parents’ professions as a seamstress and plumber. Indigenous artists took the stage at the Anchorage Museum’s Unsettled and Jeffrey Gibson’s This is the Day at the Wellin Museum. The enthralling official Obama portraits, painted by Kehinde Wiley and Amy Sherald, were revealed at the National Gallery in DC, putting Black fine artists into the national consciousness. This list is an insight into the tastes of our US writers and the shows that moved them. 1. Gordon Parks: The New Tide, Early Work 1940– 1950 at the National Gallery of Art Gordon Parks, Washington, D.C. Government chairwoman, July 1942. Gelatin silver print mounted to board with typewritten caption sheet (image courtesy Prints & Photographs Division, Library of Congress, Washington, D.C.) November 4, 2018–February 18, 2019 Gordon Parks taught millions of white Americans how to see Black people anew. Although he was as comfortable shooting fashion and celebrities as he was photographing the Black Panthers, his claim to greatness as a photographer rests on the Life magazine photo-essays that made him one of the mid-20th century’s foremost interpreters of African American culture and society. -
The Portrayal of the Historical Muslim Female on Screen
THE PORTRAYAL OF THE HISTORICAL MUSLIM FEMALE ON SCREEN A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2017 SABINA SHAH SCHOOL OF ARTS, LANGUAGES AND CULTURES LIST OF CONTENTS List of Photographs................................................................................................................ 5 List of Diagrams...................................................................................................................... 7 List of Abbreviations.............................................................................................................. 8 Glossary................................................................................................................................... 9 Abstract.................................................................................................................................... 12 Declaration.............................................................................................................................. 13 Copyright Statement.............................................................................................................. 14 Acknowledgements................................................................................................................ 15 Dedication............................................................................................................................... 16 1. INTRODUCTION........................................................................................................ -
Assad, Syria's
Why Syria Matters The Moral Imperative of bringing down the house of Al-Assad By Nader Hashemi n March 15, 2011, the Arab Spring came to Syria. Like the other Arab revolts, it occurred spontaneously and proceeded nonviolently. The core political Ogrievances and aspirations were the same as elsewhere: karama (dignity), hurriya (freedom) and adala ijtima’iyya (social justice). The House of Al-Assad, in power forty-one years at the time and arguably the most repressive regime in the Arab world, faced a legitimacy crisis of unprecedented scale and proportion. What is interesting about this particular revolt is that at the time many experts predicted that the Arab Spring would stop at Syria’s borders. Ammar Abdulhamid, a Syrian dissident and former fellow at the Foundation for the Defense of Democracies, argued that “Syria is not ready for an uprising” because the preparatory organizing at the grassroots that led to the uprisings in Tunisia and Egypt was absent in the Syrian case.1 Similarly, Joshua Landis of the University of Oklahoma suggested an “important factor is that [Al-Assad] is popular among young people.” He explained: “I’m always astounded how the average guy in the street, the taxi driver, the person you talk to in a restaurant or wherever, they don’t talk about democracy. They com- plain about corruption, they want justice and equality, but they’ll look at elections in Lebanon and laugh, saying, ‘who needs that kind of democracy?’”2 Unsurprisingly, Bashar Al-Assad, Syria’s president since 2000, held the same view. As the Arab Spring unfolded, he gave an interview to the Wall Street Jour- nal in which he rejected the idea that Syria was ripe for revolution. -
High Museum of Art Names Amy Sherald 2018 Recipient of David C
FOR IMMEDIATE RELEASE HIGH MUSEUM OF ART NAMES AMY SHERALD 2018 RECIPIENT OF DAVID C. DRISKELL PRIZE Sherald to be honored at 14th annual Driskell Prize Dinner on April 27 ATLANTA, Feb. 8, 2018 – The High Museum of Art today announces artist Amy Sherald as the 2018 recipient of the David C. Driskell Prize in recognition of her contributions to the field of African-American art. A Georgia native now based in Baltimore, Sherald is acclaimed for her profoundly creative and distinctive portraits of African-American subjects. In 2017, she received the commission to paint former first lady Michelle Obama’s official portrait for the Smithsonian National Portrait Gallery, which will be unveiled on Feb. 12, 2018. Accompanied by a $25,000 cash award, the Driskell Prize, named for the renowned African-American artist and art scholar, was founded by the High in 2005 as the first national award to celebrate an early- or mid-career scholar or artist whose work makes an original and important contribution to the field of African-American art or art history. Sherald will be honored at the 14th annual Driskell Prize Dinner at the High on Friday, April 27, at 7 p.m. Proceeds from the High’s Driskell Prize Dinner support the David C. Driskell African American Art Acquisition Funds. Since their inception, the funds have supported the acquisition of 48 works by African-American artists for the High’s “A clear unspoken granted collection. magic,” 2017, oil on canvas. “Sherald is a remarkable talent who in recent years has gained the recognition she so thoroughly deserves as a unique force in contemporary art,” said Rand Suffolk, Nancy and Holcombe T. -
Arabic Poetry: Trajectories of Modernity and Tradition
ARABIC POETRY Since the late 1940s, Arabic poetry has spoken for an Arab conscience, as much as it has debated positions and ideologies, nationally and worldwide. This book tackles issues of modernity and tradition in Arabic poetry as manifested in poetic texts and criticism by poets as participants in transformation and change. Arabic Poetry studies the poetic in its complexity as pertaining to issues of: ● Selfhood ● Individuality ● Community ● Religion ● Ideology ● Nation ● Class and ● Gender This book also studies in context, issues that have been cursorily noticed or neglected, like Shi’i poetics, Sufism, women’s poetry, and expressions of exilic consciousness. It employs current literary theory and provides comprehensive coverage of modern and postmodern poetry from the 1950s onwards. Arabic Poetry is essential reading for those with interests in Arabic culture and literature and Middle East studies. Muhsin J. al-Musawi is Professor of Middle East and Asian Studies at Columbia University and University Professor at the American University of Sharjah. He has published 24 books in English and Arabic, including Scheherazade in England and The Postcolonial Arabic Novel. He is the editor of Journal of Arabic Literature. In 2002 he received the Owais Award in literary criticism, the most prestigious nongovernmental award in the Arab world. ROUTLEDGE STUDIES IN MIDDLE EASTERN LITERATURE Editors James E. Montgomery University of Cambridge Roger Allen University of Pennsylvania Philip F. Kennedy New York University Routledge Studies in Arabic and Middle Eastern Literature is a monograph series devoted to aspects of the literatures of the Near and Middle East and North Africa, both modern and pre-modern.