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"Friendship, loss and the everyday populate Packer's canvases, full of disquieting detail." -Adrian Searle, The Guardian Through a uniquely textural style of oil painting that evokes the fluidity of watercolors, Jennifer Packer recasts classical genres in a fresh political and contemporary light while keeping them rooted in a deeply personal context. Combining observation, improvisation and memory, Packer's intimate portraits of friends and family members and flower paintings insist on the particularity of the Black lives she depicts. The title of this volume refers to an ecclesiastical description of the insatiable human quest for divine knowledge; with this in mind, Packer's work urges viewers to understand and appreciate the unique dimensions of Black lives beyond just the physical. Richly illustrated, this volume includes texts by fellow painters Dona Nelson and Lynette Yiadom-Boakye, professors Rizvana Bradley and Christina Sharpe, and an interview between the artist and Serpentine Artistic Director Hans Ulrich Obrist. American painter Jennifer Packer(born 1984) grew up in Philadelphia and received her MFA from Yale University in 2012. She was formerly the Artist-in-Residence at the Studio Museum in Harlem (2012-13) and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA (2014-16). She currently works as an assistant professor of painting at the Rhode Island School of Design. Packer is represented by Sikkema Jenkins & Co in New York City, where the artist lives.
An ambitious and revelatory investigation of the black female figure in modern art, tracing the legacy of Manet through to contemporary art This revelatory study investigates how changing modes of representing the black female figure were foundational to the development of modern art. Posing Modernity examines the legacy of Édouard Manet's Olympia (1863), arguing that this radical painting marked a fitfully evolving shift toward modernist portrayals of the black figure as an active participant in everyday life rather than as an exotic "other." Denise Murrell explores the little-known interfaces between the avant-gardists of nineteenth-century Paris and the post-abolition community of free black Parisians. She traces the impact of Manet's reconsideration of the black model into the twentieth century and across the Atlantic, where Henri Matisse visited Harlem jazz clubs and later produced transformative portraits of black dancers as icons of modern beauty. These and other works by the artist are set in dialogue with the urbane "New Negro" portraiture style with which Harlem Renaissance artists including Charles Alston and Laura Wheeler Waring defied racial stereotypes. The book concludes with a look at how Manet's and Matisse's depictions influenced Romare Bearden and continue to reverberate in the work of such global contemporary artists as Faith Ringgold, Aimé Mpane, Maud Sulter, and Mickalene Thomas, who draw on art history to explore its multiple voices. Featuring over 175 illustrations and profiles of several models, Posing Modernity illuminates long-obscured figures and proposes that a history of modernism cannot be complete until it examines the vital role of the black female muse within it. Published in association with the Miriam and Ira D. Wallach Art Gallery, Columbia University in the City of New York Exhibition Schedule: Miriam and Ira D. Wallach Art Gallery, Columbia University, New York (10/24/18-02/10/19) Musée d'Orsay (03/25/19-07/14/19)
This volume, the catalog of the fiftieth-anniversary exhibition at the Whitney, charts the main currents of twentieth-century American figurative art. More than 200 illustration, 32 in color, are included.
This timely publication, accompanying a brand new survey exhibition at Whitechapel Gallery, presents key works by some of the most exciting practitioners in current figurative painting.0After a long period dominated by abstraction and conceptual approaches, painting saw a revival of figuration in the 1990s by artists whose work updated portraiture and history painting but remained rooted in the conventions of realism. However a new generation, coming to prominence in the new millennium, are distinguished by a radically different approach to the figure, in which bodies are fragmented, morphed, merged and remade but never completely cohesive.0'Radical Figures' highlights the renewed interest in radical modes of figuration during the past two decades, and considers the vast range of imagery, subjects and stories that have informed this transition: from the re-evaluation of early pioneers such as James Ensor and Max Beckman, and postwar painters such as Maria Lassnig and Philip Guston; to raunchy comics; to the ubiquity of photography on social media.0Fully illustrated in colour, this innovative appraisal will explore the breadth and range of painterly techniques used, such as loose gestural brushwork suggesting polymorphous forms and gender fluid bodies, and thick impasto evoking flesh, matter and objecthood. Including newly commissioned texts on and by each artist, this sumptuous catalogue will showcase the best in figurative painting today.00Exhibition: Whitechapel Gallery, London, UK (06.02.-10.05.2020).
A groundbreaking study of visionary artist Hilma af Klint. When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than a thousand paintings and works on paper that she kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice - one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Accompanying the first major survey exhibition of the artist's work in the United States, Hilma af Klint represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of the artist's life and work. Essays explore the social, intellectual, and artistic milieu of af Klint's 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars, and curators considers af Klint's sources and relevance to art in the 21st century. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art - a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the forthcoming exhibition.
This exhibition catalog examines the figurative aspects of New York School painting at the height of abstract expressionism. It represents 13 artists who countered the prevailing abstract mode in favor of the figure. The volume also includes four informative essays that elucidate the illustrations, and provides a list of exhibits for each artist from 1950 to 1965. ISBN 0-8478-0942-0: $37.50 (For use only in the library).
Catalog of an exhibition held at the Whitney Museum of American Art, New York, Oct. 30, 2015-Mar. 7, 2016; Modern Art Museum of Fort Worth, Apr. 17-Sept. 4, 2016; and the de Young, San Francisco, Nov. 5, 2016-Feb. 26, 2017.