Résumé : En 2019, l'annuelle Hyundai Commission a été réalisée par l'artiste américaine Kara Walker, dont le travail est internatio- nalement connu depuis les années 1990 pour ses explorations franches des questions raciales et de genre, de la sexualité et de la violence qu’elle analyse à travers une multitude de médiums : dessins, estampes, peintures murales, marion- nettes d'ombre et projections, mais aussi installations sculpturales à grande échelle. Documentant la conception et la création de cette dernière commande, cette publication comprend des images intrigantes d'œuvres en cours dans l'ate- lier de l'artiste ainsi que des photographies saisissantes de l'installation finale. Dans un texte éloquent, Walker présente également une sélection personnelle d'images d'archives et d'œuvres d'art qui l'ont influencée au cours de la genèse de cette œuvre. Avec des essais de la commissaire du projet, Clara Kim, et des nouveaux écrits de Zadie Smith, ce catalogue offre un nouvel aperçu de la vie et de la carrière de Walker menant à cette dernière installation étonnante.

Résumé : B. Chase-Riboud rencontre A. Giacometti à Paris dans les années 1960. Partageant avec le sculpteur une vision humaniste caractérisée par la dimension symbolique et mémorielle de leurs oeuvres, elle développe des sculptures monumentales, mises en parallèle avec celles de l'artiste suisse dans l'exposition qui leur est consacrée. ©Electre 2021

Résumé : Ce livre retrace le parcours de Kara Walker (née en 1969), l'artiste afro-américaine la plus internationalement reconnue depuis Jean-Michel Basquiat, et revient sur l'histoire de la réception d'une œuvre qui affronte les limites de la représentation, en posant la question de la figuration du corps noir.Puisant à la fois dans une méthode d'analyse formaliste et dans l'histoire politique de l'histoire de l'art, ce livre regarde les plus grandes œuvres de la plasticienne comme les plus confidentielles. Il revient sur l'histoire de la réception de l'œuvre de Kara Walker aux États-Unis, notamment en éclairant les controverses qui ont marqué ses grandes expositions depuis les années 1990. De ses incontournables silhouettes découpées dans du papier noir montrant des visions ricanantes et horrifiques d'un Vieux Sud esclavagiste, dont le kitsch emprunte à l'étourdissant imaginaire raciste au fondement de toute la culture visuelle américaine, jusqu'à sa géante éphémère en sucre dans un Williamsburg gentrifié (2014), Kara Walker affronte dans son travail les limites de la représentation. Comment intégrer la conscience de l'impossibilité de représenter les traumas collectifs dans le dispositif artistique, dans un contexte social et politique pollué par le racisme ? Comment figurer les corps noirs : c'est la question que nous pose Kara Walker et que ce livre tente d'explorer.

Résumé : In 1996 Adrian Piper wrote, “It seemed that the more clearly and abstractly I learned to think, the more clearly I was able to hear my gut telling me what I needed to do, and the more pressing it became to do it.” Since the 1960s, this uncompromising artist and philosopher has explored the potential of Conceptual art—work in which the concepts behind the art takes precedence over the physical object—to challenge our assumptions about the social structures that shape the world around us. Often drawing from her personal and professional experiences, Piper’s influential work has directly addressed gender, race, xenophobia, and, more recently, social engagement and self-transcendence. Bringing together over 290 works, including drawings, paintings, photographs, multimedia installations, videos, and performances, the exhibition offers a rare opportunity to experience her provocative and wide-ranging artwork. Occupying the Museum’s entire sixth floor and the Marron Atrium, Adrian Piper: A Synthesis of Intuitions 1965–2016 charts the artist’s five-decade career, including early paintings inspired by the use of LSD; key projects such as Mythic Being (1973), in which Piper has merged her male alter ego with entries from her teenage journals; My Calling (Card) #1 and My Calling (Card) #2 (1986), business card–sized, text-based works that confront the reader’s own racist or sexist tendencies; and What It’s Like, What It Is #3 (1991), a large-scale mixed-media installation addressing racist stereotypes, which will be shown in the Marron Atrium.

Résumé : Une exposition consacrée à l'histoire de la lutte des artistes africains-américains pour l'obtention de droits civiques aux Etats-Unis entre 1865 et 1964, à travers une grande variété de formes d'expression : peinture, sculpture, photographie, littérature, film, musique, etc. ©Electre 2016

Résumé : La 4e de couv. indique : "The first comparative history of African American and Black British artists, artworks, and art movements, Stick to the Skin traces the lives and works of over fifty painters, photographers, sculptors, and mixed-media, assemblage, installation, video, and performance artists working in the United States and Britain from 1965 to 2015. The artists featured in this book cut to the heart of hidden histories, untold narratives, and missing memories to tell stories that "stick to the skin" and arrive at a new "Black lexicon of liberation." Informed by extensive research and invaluable oral testimonies, Celeste-Marie Bernier’s remarkable text forcibly asserts the originality and importance of Black artists’ work and emphasizes the need to understand Black art as a distinctive category of cultural production. She launches an important intervention into European histories of modern and contemporary art and visual culture as well as into debates within African American studies, African diasporic studies, and Black British studies." Among the artists included are Benny Andrews, Bessie Harvey, Lubaina Himid, Claudette Johnson, Noah Purifoy, Faith Ringgold, Betye Saar, Joyce J. Scott, Maud Sulter, and Barbara Walker....

Résumé : The African diaspora – a direct result of the transatlantic slave trade and Western colonialism – has generated a wide array of artistic achievements, from blues and reggae, to the paintings of the pioneering African American artist Henry Ossawa Tanner and video creations of contemporary hip-hop artists. This book concentrates on how these works, often created during times of major social upheaval and transformation, use black culture both as a subject and as context. From musings on “the souls of black folk” in late nineteenth-century art, to questions of racial and cultural identities in performance, media, and computer-assisted arts in the twenty-first century, this book examines the philosophical and social forces that have shaped a black presence in modern and contemporary visual culture. Now updated, this new edition helps us understand better how the first two decades of the twenty-first century have been a transformative moment in which previous assumptions about race, difference, and identity have been irrevocably altered, with art providing a useful lens through which to think about these compelling issues.

Résumé : The exhibition celebrates the 100th anniversary of the Harlem Renaissance, a period of cultural blossoming that occurred in the New York City neighborhood of Harlem in the 1920-50s. Curated by Columbus native and highly acclaimed writer Wil Haygood, the exhibition includes work by Jacob Lawrence, Romare Bearden, Aaron Douglas, Augusta Savage, and others who interpreted the lives of African Americans during this time. In addition, the exhibition includes unprinted photographs by James Van Der Zee obtained through the artist’s estate and a private collection of vernacular photographs of African American life.A selection of books, sheet music, and print ephemera from this period further showcases the innovative and expansive cultural output produced in Harlem during this unforgettable epoch of American history. The exhibition explores the religious, political, and cultural activism of the period, everyday life, and the extraordinary individuals such as poet Langston Hughes and philosopher Alain Locke whose words and scholarship contributed to the development of this period so rich in art, music, and literature. "'I Too Sing America' celebrates the visual art and material culture of the Harlem Renaissance, illuminating the lives of its people, the art, the literature, the music, and the social history through paintings, prints, photography, sculpture, and contemporary documents and ephemera. Included are works by cherished artists such as James Van Der Zee, William Henry Johnson, Aaron Douglas, Jacob Lawrence, Archibald Motley, Palmer Hayden, Elizabeth Catlett, and Romare Bearden. The project is the culmination of decades of reflection, research, and scholarship by Wil Haygood, acclaimed biographer and preeminent scholar on Harlem and its cultural history. In thematic chapters, the author captures the range and breadth of the Harlem Renaissance, a sweeping creative movement that saw an astonishing array of black writers, artists, and musicians gather over a period of a few intense years, expanding far beyond its roots in Harlem to unleash a myriad of talents on the nation." --publisher's description, dust jacket.

Résumé : "This book originates from a major group exhibition curated by Glenn LIgon, one of the most influential American artists of his generation. It features forty-five artists who he refers to in his art and in his writings, or who have been of significance to him more generally, including willem de Kooning, andy Warhol, Adrian Piper, David Hammons, Felix Gonzalez-Torres, Lorna Simpson, Steve McQueen and Zoe Leonard. Literature is a frequent stimulus for Ligon's art, and this publication also features an anthology of fifteen literary and critical texts he has selected, by, for example, Marcel Proust, Adrienne Kennedy, James Baldwin, Audre Lorde, HIlto Als and Fred Moten. There are also new writings by Ligon himself, Gregg Bordowitz, Alex Farquharson and Francesco Manacorda. A personal art history of sorts, sets in a wider cultural and historical context, this project offers a wealth of new insights in to the background that informs Ligon's practice."--Page [4] of cover

Résumé : Ces huit articles explorent l'expérience de la sensibilité telle qu'elle est représentée dans l'art afro-américain. Elle révèle la situation sociale des Noirs aux Etats-Unis au XXe siècle. Les auteurs mettent en relation l'expression dans les domaines musical, littéraire ou cinématographique et l'engagement politique en faveur de l'émancipation et de l'égalité. ©Electre 2015

Résumé : Featuring works by more than 30 artists and writings by leading scholars and art historians, this book — and its accompanying exhibition, both conceived by the late, legendary curator Okwui Enwezor — gives voice to artists addressing concepts of mourning, commemoration, and loss and considers their engagement with the social movements, from Civil Rights to Black Lives Matter, that black grief has galvanized.

Résumé : This publication sets the precedent for the next generation of Lawrence scholars and studies in modern and contemporary discourse. The American Struggle explores Jacob Lawrence's radical way of transforming history into art by looking at his thirty panel series of paintings, Struggle . . . from the History of the American People (1954-56). Essays by Steven Locke, Elizabeth Hutton Turner, Austen Barron Bailly, and Lydia Gordon mark the historic reunion of this series--seen together in this exhibition for the first time since 1958. In entries on the panels, a multitude of voices responds to the episodes representing struggle from American history that Lawrence chose to activate in his series. The American Struggle reexamines Lawrence's lost narrative and its power for twenty-first century audiences by including contemporary art and artists. Derrick Adams, Bethany Collins, and Hank Willis Thomas invite us to reconsider history through themes of struggle in ways that resonate with Lawrence's artistic invention. Statements by these artists amplify how they and Lawrence view history not as distant period of the past but as an active imaginative space that is continuously questioned in the present tense and for future audiences.