SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE

Yinka Shonibare, MBE — the MBE stands for Most Excellent Order of the British Empire —is a British-Nigerian artist living in London. His work explores cultural identity, colonialism and post-colonialism within the contemporary context of globalization. Shonibare, is best known for his whimsical life-sized mannequins dressed in vivid Dutch-wax (African prints and patterns) fabrics.  The costumes are usually Victorian, the Victorian era being the period of British history when Africa was colonized.  The Dutch-wax period costumes are really an Indonesian-designed fabric called, batik that has become popularly assimilated into West African culture. As his work continues to take on the authenticity of historical moments, the fabrics that were originally to be used to connote African identity, not really being originally from Africa are a constant ironic coincidence – working to his advantage as a conceptual artist.

The sculptures add a lightness to addressing weighty themes including race, enlightenment, capitalism, authenticity and least of all identity.  You’ll notice that the mannequins are headless, it’s so the figures aren’t racially identifiable. The fiberglass bodies are mixed race, “kind of coffee colored,” Mr. Shonibare said that he conceived of the headlessness as a joke related to the revenge killings of aristocrats in the French Revolution. “The idea of bringing back the guillotine was very funny to me,” he said.*

Throughout the past decade, Shonibare has shown his distinctive pieces extensively from the United States to Hong Kong, with notable exhibitions including mid-career retrospective at the Smithsonian’s National Museum of African Art.

–>Take a look below at some of the pieces from Shonibare, MBE’s exhibitions as we offer quotes from the artist himself about his inspiration:

 

SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE Sculpture, Cakeman II

Called Cake Man (II), it features a lifesize mannequin dressed in African print, with a huge pile of cakes balanced precariously on his back. “It’s my tribute to bankers,” said Shonibare. “There’s been a lot of talk about bonuses to bankers and the top 1% literally taking all the cake. So this piece, I guess, is about greed. It has more cakes than anyone could ever eat or manage.”

 

Yinka Shonibare MBE, The Swing (After Fragonard), 2001 (Tate, London) © Yinka Shonibare. The Swing (After Fragonard) is a three-dimensional recreation of the Rococo painting after which it was titled, which itself offers testimony to the opulence and frivolity of pre-Revolutionary France. Painted in 1767, Jean-Honoré Fragonard’s The Swing depicts a coquettish young girl swinging in a lush and fertile forest and, of course, playfully kicking up her shoe. “Living in England, with my colonial relationship to this country, one cannot escape all these Victorian things, because they are everywhere: in architecture, culture, attitude…” – Yinka Shonibare

 

“Gallantry and Criminal Conversation (Parasol),” 2002 Two life-size fiberglass mannequins, two metal and wood cases, Dutch wax printed cotton, leather, wood, and steel, 64 1/5 x 44 1/10 x 75 4/5 inches Collection of Beth Rudin DeWoody, New York Photo by Werner Maschmann © Yinka Shonibare MBE

 
“Being able to indulge in your fantasies really belongs to the privileged and the wealthy. I was fascinated with the fashion that comes with that luxury and excess, and I wanted to produce a piece that would be slightly surreal and also a bit of satire as well—poking fun at the whole thing, but also loving it at the same time. It’s not sexually explicit. Really it’s about people having a sense of humor.” -Yinka Shonibare MBE

SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE

“How to Blow Up Two Heads at Once (Ladies),” a 2006 work by Yinka Shonibare with mannequins, guns, Dutch wax-printed cotton textile, shoes, boots and plinth. Credit Steve White/Museum Purchase, Wellesley College Friends of Art

SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE

SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE

“He reminds us that every action has ramifications. A girl sprouting butterfly wings, and a male figure outfitted in a spacesuit with his worldly possessions strapped to his back. They are poised for takeoff to  escape the mess we have made on Earth and begin anew elsewhere—hopefully having learned from history, so as not to repeat our mistakes.” – —Karen Kedmey via Artsy Editoral, “Yinka Shonibare’s Haunting New Sculptures and Installations Present a Link Between Climate Change and Our Dark History”

Yinka Shonibare MBE’s The Last Supper Exploded is based on a sculpture of the same name first on view at the artist’s solo show Pop! at Stephen Friedman Gallery, London, 2013. The exhibition’s main themes explored corruption, excess and debauchery in contemporary society, with particular reference to the most recent on-going economic crisis. In The Last Supper Exploded, Shonibare investigates the worship of luxury goods and the reckless behaviour of in particular the financial industry by paying art historical homage to one of humanity’s best known artworks: Leonardo da Vinci’s The Last Supper.

 

Yinka Shonibare [Website] [Twitter]

*quote taken from, Headless Bodies From a Bottomless Imagination – The New York Times

 

SEE IT NOW:

  • Until June 2017 a commission by artist Yinka Shonibare, produced by Up Projects for the Royal Opera House. Titled ‘Globe Head Ballerina’, on display on the exterior of the building overlooking Russell Street.  The work is inspired by a famous photograph of ballerina Margot Fonteyn. Shonibare’s sculpture depicts a life-size ballerina, modelled on Melissa Hamilton, a soloist with the Royal Ballet. Encased in a giant ‘snow globe’, the figure, whose head is a replica Victorian globe, rotates slowly.

    Spotlight: Yinka Shonibare MBE

    photo:Sim Canetty-Clarke, courtesy UP Projects ROH
    ‘Globe Head Ballerina’ by Yinka Shonibare

The More You Know:

Spotlight: Whitfield Lovell


Whitfield Lovell is a contemporary artist known primarily for his drawings and masterful installations based on vintage photographs of unidentified African Americans from the first half of the 20th century (usually between the Emancipation Proclamation and the Civil Rights Movement). 

Lovell creates these drawings in pencil, oil stick, or charcoal on paper, wood, or directly on walls. In his most recent work, these drawings are paired with found objects that Lovell collects at flea markets and antique shops –  with these found objects he evokes personal memories, ancestral connections, and the collective American past.

Lovell’s work illuminates the humanity and richness of anonymous people, engraining their legacies in our cultural memory.*
“The importance of home, family, ancestry feeds my work entirely,” Lovell has said. “African Americans generally were not aware of who their ancestors were, since slaves were sold from plantation to plantation and families were split up.”

The More You Know:

Lovell’s major installations include: Visitation: The Richmond Project, which traveled to the University of Wyoming in Laramie, the Columbus Museum in Georgia, and the Museum of Contemporary Art in Sydney, Australia; SANCTUARY: The Great Dismal Swamp at the Contemporary Art Center of Virginia in Virginia Beach, VA; and Grace: A Project by Whitfield Lovell at the Bronx Museum of the Arts in New York City.

Works by Whitfield Lovell are featured in major museum collections including The Whitney Museum of American Art, NY; The Metropolitan Museum of Art, NY: The Corcoran Gallery, Washington, DC; The Smithsonian American Art Museum, DC; The Smithsonian National Museum of African American History and Culture, DC; Pennsylvania Academy of the Fine Arts, PA; The Yale University Art Gallery; The Hunter Museum of American Art, Chattanooga, TN; The Brooklyn Museum, NY; The Studio Museum in Harlem, NY; Seattle Art Museum, WA, and many others.

*information culled from Whitfield Lovell’s bio.

 

SPOTLIGHT: CONCEPTUAL ARTIST GLENN LIGON

 

Glenn Ligon is an American conceptual artist whose work explores race, language, and identity by engaging the subjects within wordplay. Sourcing literary gems from influential writers including, Zora Neal Hurston, Gertrude Stein, and James Baldwin, he uses language and textual experiments with legibility and eligibility to speak on challenging subject matters. His medium of choice—oil crayon used with letter stencils—transforms the texts he quotes, making them abstract, difficult to read, and layered in meaning, much like the subject matter that he appropriates.  For the viewer, the words slowly dissipate into powerful messages as the text begins to blur and morph into a larger meaning.

His later work with text-based neon signs crossed that bridge – finding a connection between the illuminated signs  and his text heavy paintings that move his message on our collective experiences forward.  Repetition is often a highlight in his work self expression;  to promote a  progression of clarity in his thoughts and meditations.

Ligon’s paintings and sculptures continue to examine cultural and social identity through found sources—literature, Afrocentric coloring books, photographs—to reveal the ways in which the history of slavery, the civil rights movement, and sexual politics inform our understanding of American society.

 

 

Glenn Ligon_ Untitled

Glenn Ligon – Untitled (I’m Turning Into a Specter before Your Very Eyes and I’m Going to Haunt You)

Stand there long enough to realize that you are re-reading a single phrase; Ligon’s repetition of this phrase begins to dissipate into a powerful message as the words begin to blur and disappears into a bigger meaning.

 

 

The More You Know:

  • VIDEO – Watch Glenn Ligon as he explains some of his more widely-known pieces.
  • VIDEO – Watch Curator Thelma Golden and Glenn Ligon in Conversation.
  • The Whitney Museum holds the largest collection of Ligon’s work.  Visit their website for a listen & learn of influential pieces in their collection.

Spotlight: Photographer Carrie Mae Weems

Carrie Mae Weems, 2013 MacArthur Fellow_ Credit: John D. & Catherine T. MacArthur Foundation.

American photographer and video artist, Carrie Mae Weems works with text, fabric, audio, digital images, and installation video but is best known for her work in the field of photography. Weems’s gift for storytelling enables her to investigate the intricacies of family relationships and gender roles, as well as the histories of racism, sexism, class and political systems.

In her Kitchen Table Series, she staged these snips of everyday domesticity and stretched them into long unspooling questions about our identity within relationships. Within every stunning black & white image of a sparse kitchen, Weems fills up the space with astute introspection into connected themes and human experiences.

“The camera gave me an incredible freedom. It gave me the ability to parade through the world and look at people and things very, very closely,” Weems reveals. This ability to embody the spirit of her stories makes her work transcendent, moving across time and place as only the soul can.

Carrie Mae Weem The Kitchen Table Series Carrie Mae Weem The Kitchen Table Series Carrie Mae Weem The Kitchen Table Series

“The Kitchen Table Series is not simply a voice for African-American women, but would be a voice for more generally all women… these ideas about the spaces of domesticity has historically belonged to women. It is sort of the site of the battle around the family, the battle around monogamy, the battle around polygamy, the battle between the sexes – it’s going to be played out in that space.  It begs the question, ‘how do we begin to alter the domestic space’?  How does the social contract get changed?

In helping us seek a shared connection with traditional narratives, –this relationship between power and aesthetics magnifies Weems own truths; her spirit captured there in the lens.

Carrie Mae Weem The Kitchen Table Series

Carrie Mae Weems [official website] [Facebook]

The More You Know:

  • Carrie Mae Weem’s, The Kitchen Table Series.
  • Guggenheim Museum’s website hosts videos featuring live performances, an all-star cast joined Carrie Mae Weems to celebrate the spirit and ideas found within Weems’s photography and video works.

SPOTLIGHT: Norman Rockwell and Ruby Bridges

Norman Rockwell and Ruby Bridges

In 1963, Norman Rockwell confronted the issue of prejudice head-on with one of his most powerful paintings, The Problem We All Live With.  At the time editorial policies governed the placement of minorities in his illustrations (restricting them to service industry positions only). The painting was a clear indicator that Rockwell was supporting equality and tolerance.

I’ve heard it said that Norman Rockwell was safe because he strayed away from depicting any direct social commentary in his work — his painting of a six-year-old Ruby Bridges being escorted to school amidst the chaos of protestors that didn’t agree with the United States Supreme Court Brown v. Board of Education says otherwise. That unpopular ruling that declared the state laws establishing separate public schools for black and white students were unconstitutional, that could not be more frankly expressed than in this emotional tribute to courage.

*“The Problem We All Live With,” Norman Rockwell, 1963 Oil on canvas, 36” x 58” Illustration for “Look,” January 14, 1964 Licensed by Norman Rockwell Licensing, Niles, IL. From the permanent collection of Norman Rockwell Museum*

Learn More:

Learn more about that landmark United States Supreme Court case at PBS/The Supreme Court — Expanding Civil Rights.

Spotlight: Nick Cave

Artist Nick Cave

World-renowned artist, Nick Cave once danced with the Alvin Ailey American Dance Theatre before pursuing visual art studies. Now as a notable educator, and artist he continues to expand his repertoire of monikers: performance artist, sculptor, dancer, fiber artist, fabric sculptor….

His work melds art, fashion and dance together in otherworldly, dreamlike sculptures – most recognizably, his ritualistic costumes called “Soundsuits”: bright wearable embellished fabric sculptures that make sounds when worn. These sculpted, textured full body soundsuits layered in colorful metal, plastic, fabric, hair, and other objects designed to rattle and resonate with the movement of the wearer, usually Cave himself.

The soundsuits hide gender, race and class, forcing you to observe without judgment. They are sometimes sedentary, standing quiet as a more traditional piece of sculpture set in place within an institution or displayed at an art fair. However, sometimes they are in movement – alive in motion, engaging you in a joined narrative. The combined elements of sound, performance, color, and costume create a layered complexity – visceral moments entwined with a performance built on impulse, provoking a bond with the unfamiliar.

Artist Nick Cave soundsuit trio

 

 

Artist Nick Cave in sound suit Artist Nick Cave Artist Nick Cave soundsuits

A few years ago, we were fortunate enough to catch Cave’s performance HEARD. He bought his mesmerizing soundsuits to Grand Central as part of their 100th year celebration. The performance piece featured thirty of his colorful horse suit creations wandering and dancing in the train station at set times.

Nick Cave [Website]

The More You Know:

  • Check out Nick Cave’s current exhibition (his largest to-date), expounding beyond the soundsuits, an exploration of thoughts on race and identity.  Until is now running at Mass Moca
  • Teaching with Nick Cave’s Until, Until Conversations Emerge, Art21 | “Nick Cave’s most recent installation, Until, is an immersive and subtle confrontation…asking viewers to pay attention to the point at which they become participants in discussions about violence and race in America—right there in the gallery space itself.”
  • Visit the SoundsuitShop, which was created to share the art of Nick Cave with a wider audience.
  • VIDEO: Art21 exclusive, Thick Skin gives some insight into the impetus behind the Soundsuits.

 

SPOTLIGHT: Kehinde Wiley

 

American Artist_Kehinde Wiley

 

American Artist, Kehinde Wiley‘s work is a colorful blend of traditional and contemporary roots seen in his trademark over sized portraits where young men and women of color, posed in their street clothes are fixed into grandiose backgrounds that suit them as if they were royalty. Initially his portraits were based on the photographs of young men in Harlem, now he has firmly situated himself as the painter known to travel to urban places in Israel, Africa, Brazil and India to find his next subject.

These portrayals inspire people to throw out phrases like ‘crossing boundaries’, and ‘breaking down barriers’ when they refer to his art. In the last six years or so, Wiley has become a highly sought after painter – with a style I like to refer to as ‘art house rebel rousing’.  At the forefront of this modern takeover is his artistic desire to make art that continues to carry on a discourse for people of color, “I think it’s important for African-American kids to see pictures of people who look like them on museum walls”, says Kehinde.

 

spotlight-kehinde-wiley

“I think one of the things that must happen in the work is for it to become class-conscious. You’ll never be able to exist within this marketplace without recognizing that paintings are perhaps the most expensive objects in the art world. It’s not going to change anyone’s life. But what it does function as is a catalyst for a different way of thinking. The very act of walking into the Los Angeles County Museum and seeing Kerry James Marshall as a kid gave me a sense of, Damn, maybe I can do this. And, so, symbols matter. One of my interests is in having the work in as many public collections as possible. When I go to the Brooklyn Museum or the Metropolitan Museum and see my stuff, I’m aware that there are other young kids who don’t have access to anything like it.”

—quote pulled from Meghan O’Rourke’s interview with Kehinde Wiley in WSJ

Enjoy these great links to more information on Wiley:

  • Kehinde Wiley: A New Republic at The Toledo Museum of Art (On view Feb. 10-May 14, 2017) offers an overview of the artist’s prolific 14-year career. His signature portraits of everyday men and women riff on paintings by Old Masters, replacing European aristocrats in those paintings with contemporary black subjects and drawing attention to the absence of African-Americans from historical and cultural narratives
  • Not convinced that you need to see the exhibit?  Wow yourself with the necessity to see Kehinde Wiley’s work in person with this intimate portrait of Kehinde Wiley: An Economy of Grace, now on demand at PBS Art.
  • There are several great art books that verse you in all things Wiley, but the book simply titled, Kehinde Wiley is by far my favorite.  The book gets bonus points for having curator, Thelma Golden onboard as one its contributors.
  • For a closer look at Kehinde Wiley works now in circulation and editorial imprints, try Artsy’s resource.

 

kehinde wiley

Spotlight: Multimedia Artist, Rashaad Newsome

spotlight-rashaad-newsome

Transfixed is how I’d describe the first time I experienced Rashaad Newsome’s work. In a white booth at The Armory Show, his video performance Shade Compositions SFMOMA looped on a flat screen. With Newsome as the maestro, this sea of performers dressed in sass, accentuated lips, flexing with scattered matching handbags started a chorus of what Newsome calls “ghetto gestures” – snapping heads back and forth, sucking teeth while saying things like “what” and “excuse-me” over and over till it built itself into a neighborhood crescendo of ‘what happens/what you hear on your block’.

I dare you to watch the video below and not understand a fraction of the fierceness.

Once I pulled myself out of the video performance, I realized the collage artwork hanging in the booth was also by Newsome. Pieces that clearly emulated a vocabulary lived through and taught. His style is a seamless swaggering blend of urban culture and fine art – a mix of collage, video, and performance. His art is propped up on color, framed off with blingy status symbols – chrome hub caps and heavy gold rope chain punctuate collage images that low-ride through the traditional art world culture like it owes him money.

Multimedia Artist, Rashaad Newsome Multimedia Artist, Rashaad Newsome

Some of my favorite works have been his recent art performances that focus on transforming what you think defines the popular dance form known as voguing.  In the performances, dancers perform effortlessly for the camera, showing off the skill and beauty involved with this cultured narrative.

Over the years, I’ve enjoyed watching Rashaad navigate through the art world on his own terms, weighing in on more than visual terms. It allows you to realize that there is a place in the contemporary art world for an artist to give a true representation of the world they came from and the one they’ve grown into to. Inhabiting that space is the unfiltered version of creative freedom – exactly what Newsome continues to creates for the subjects he’s often inspired by.

 

Rashaad Newsome | Website | Instagram

Rashaad Newsome – Born 1979, in New Orleans, Louisiana. Lives and works in New York.

The More You Know:

  • Rashaad Newsome, Blending Hip-Hop and Heraldry | New York Times
  • Want more of Newsome’s Videos on his Vimeo
  • Rashaad Explores The History of Hip-Hop Gestures | Huffington Post
  • At NOMA (New Orleans Museum of Art): A look back at the first solo exhibition in Louisiana by renowned video, performance, and collage artist Rashaad Newsome (born 1979), Rashaad Newsome: King of Arms explores the artist’s interest in ornament, systems of heraldry, and Baroque grandeur.

Spotlight: Meet Photographer Ayana V. Jackson

Meet Photographer Ayana V. Jackson

 

Ayana V. Jackson is an US American photographer, filmmaker, and contemporary artist based between Johannesburg, New York and Paris.

Jackson restages colonial-era photographs in a series of digitally-collaged images in which she photographs herself moving through past and future themes, invoking social identity narratives. The captivating sepia tinted moments are told through period costume, demonstrative body language and her knowledge of historical lore.

Assuming the place of the original sitters helps Jackson to critique the historical significance of African-Americans in the history of photography, during the rise of European colonialism.  As well, as to identify the significant themes in the continuing struggle to interrogate their structures.

In this contemporary realm of art, Jackson digs deep into African-American and African diaspora experiences, giving new life to older narrations by performing stories see wants to see, and in turn granting the viewer a new way to reconstruct the fabric of expression.

 

‘To Kill or Allow to Live’ eyes closed, looking inward toward the Black Lives Matter movement (hands up), and expressing Blind Justice and Dodging Justice.

 

Grow on:

 

Ayana V. Jackson | Medium: Photography | Website | Facebook | Ayana V. Jackson is represented by Gallery MoMo & Mariane Ibrahim Gallery

Meet Photographer Ayana V. Jackson

Meet Photographer Ayana V. Jackson

 

 

 

 

Spotlight: Kerry James Marshall

Spotlight: Kerry James Marshall black history month

Spotlight: Kerry James Marshall black history month

Kerry James Marshall, was born in Birmingham, AL in 1955. Needless to say he was born into a world of murder, turmoil, and sadness for African-Americans everywhere. He has said in the past that it was impossible for his art not to have been influenced by his birthplace.

One of Mr. Marshall’s core beliefs is that “we all stand on the shoulders of giants.” Some of his greatest influences have been classic pieces of art, their structure and their subject matter. He developed this idea in his work and has applied many of these influences to creating his own Black masterpieces.

As Mr. Marshall would walk the hall of various museums, he noticed a striking difference between the busts of African heroes and the ones of Greco-Roman heroes. There was animation, aggressiveness, and heroism in those busts, while the African pieces were static, inert, and passive. Why couldn’t Black people be depicted as the Greco-Romans were?

From that idea came modeling his subjects as superheroes. Superheroes have been mostly White through the ages, and it was one of his ways of taking back power in Black imagery. The positive associations and feeling that superheroes engender were exactly what Mr. Marshall was seeking. Power, positivity, and heroism, long absent in representation.

For this idea, he hearkened back to his childhood and his love of superhero comic books. The irony that in this case, he stood on his own “shoulders” this time is very powerful, and he resurrected a long-dormant idea. There was power in blackness that had long been hidden, and questioned by the White world. He furthered this idea by depicting his figures as the blackest of black. This beautiful color was often highlighted by his colorful backgrounds. It was a lovely sight.

The other thing that struck this reporter about his art were his depictions of houses, all closed up from the outside, but inside, animated and warm. What went on behind the closed doors of Black folks? The maids, field hands, servants, slaves? What were their secret dreams and desires? To the rest of Caucasian America this was certainly a mystery. Exposing the secret yearnings and often sad and powerful world behind these doors is another goal of Mr. Marshall’s art. The overarching idea is that there is power and heroism in Blackness, and we need to spread the word.

“I am trying to establish a phenomenal presence that is unequivocally black and beautiful. It is my conviction that the most instrumental, insurgent painting for this moment must be of figures, and those figures must be black, unapologetically so.” — Kerry James Marshall

Spotlight: Kerry James Marshall black history month

Kerry James Marshall (American, born Birmingham, Alabama 1955)
Untitled (Studio), 2014
Acrylic on PVC panels; 83 5/16 × 119 1/4 in . (211.6 × 302.9 cm)
The Metropolitan Museum of Art, New York, Purchase, The Jacques and Natasha Gelman Foundation Gift, Acquisitions Fund and The Metropolitan Museum of Art Multicultural Audience Development Initiative Gift, 2015

 

Spotlight: Kerry James Marshall black history month

KERRY JAMES MARSHALL, “School of Beauty, School of Culture,” 2012 (acrylic on canvas). | Collection of the Birmingham Museum of Art; Museum purchase with funds provided by Elizabeth (Bibby) Smith, the Collectors Circle for Contemporary Art, Jane Comer, the Sankofa Society, and general acquisition funds. Photo courtesy MCA Chicago

 

Learn More:

  • If you missed his latest exhibition ‘Mastery’ at The Met, not to worry.  The audio guide for the exhibit is still up on the museum’s website.  You’ll find out more about his inspirations from Renaissance masterpieces to comic books—the discussion is led by a Met curator and the artist himself as they explore details and share the remarkable stories behind select works in the exhibition.

SPOTLIGHT: MIXED MEDIA ARTIST – LAKWENA MACIVER

lakwena maciver black history month

Lakwena Maciver is a London-based mixed media artist who uses a kaleidoscopic colors to make her mark.   She’s part of the new generation of female British artists on the art scene – collaborating with institutions like Tate Modern, Wynwood Walls and Clinique.  Her work been has exhibited everywhere from street installations to galleries. Informed by decoration both aesthetically and conceptually, she explores the messages that decoration is used to communicate, its traditional use in worship and myth-making and how this translates into contemporary popular culture.

“Concerned with the significance of how and who we decorate, and what this reflects about our values and beliefs, Lakwena positions kaleidoscopic colours, bold pattern and adornment as powerful signifiers to redefine and reassign value and glory. Using words as both images and as anchors of meaning, she borrows from the techniques and conventions of traditional sign-writing and contemporary graphic design.”

Check her out: Website | Tumblr | Instagram

Spotlight: Titus Kaphar

titus kaphar headshot

Titus Kaphar. (©Titus Kaphar. Courtesy of the artist and Jack Shainman Gallery, New York)

 

Titus Kaphar tops my list of ‘Artists to Watch’, though it seems that most of the art world had their eyes trained on him already. When it come to iconography in art, Kaphar seems to be screaming the loudest.  His series of solo shows, project and installations continue to bend and shape conversation on race, hidden histories, and our justice system – or lack thereof.

“My work is an introduction to my vocabulary,” Kaphar says. “It looks at the way I deal with history and my different modes of intervention.”

Indeed it does. Kaphar works with conceptual goals; he reimagines historical events looking for his truth.

You stand before his paintings –  these contextual Classic and Renaissance painting styles and just as your brain begins to dive into that natural art recall, a reprogramming starts.  You notice the intentional cuts, bends, and sculpts in the canvas’, reconstructing and manipulating the way people of color are seen in this version of art history. Kaphar confronts you with the possibilities of exploring new narratives – there is no onrushing of guilt or innocence an appropriating that doesn’t feel de humanizing but that challenges the originality of story that once took precedence on the canvas, until Kaphar reshaped that narrative.

 

“A painting may inspire, but it’s people who make change.”

Spotlight: Titus Kaphar, Stripes, (2014).

Titus Kaphar, Stripes, (2015) at Jack Shainman Gallery, NY

Spotlight Titus Kaphar, to be titled, (2014)

Titus Kaphar, to be titled, (2014) at Jack Shainman Gallery, New York

Spotlight Titus Kaphar, to be titled, (2014).

Titus Kaphar, to be titled, (2014) at Jack Shainman Gallery, New York

Spotlight Titus Kaphar

Drawing the Blinds (2014) at Jack Shainman Gallery, New York

 

Enjoy exploring these great links to more information on Kaphar:

  • Titus Kaphar website.
  • In this Time video, watch Kaphar in the process of making his oil painting, “Yet Another Fight for Remembrance” for Time Magazine’s cover of the Ferguson protests.
  • Titus Kaphar: History in the Making – a short video on his 2009 Seattle Art Museum Show
  • Dismantling History: An Interview with Titus Kaphar | Art21
  • See what engages him by taking on some books from Kaphar’s ‘Recommend Reading’.

    Feature photo of Titus Kaphar with Gift of Shrouded Descent, 2014, Oil and mixed media on canvas by Kubiat Nnamdie.

    Photos by HAHA Magazine