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The penultimate installment in Skira's five-volume Barkley Hendricks survey reveals the artist's little-known work in photography Barkley L. Hendricks (1945-2017) revolutionized postmodern Black portraiture. This volume, the fourth in a five-part series dedicated to Hendricks' career, focuses on the artist's photographic oeuvre. Hendricks credited photography as a key facet of his practice, both as a tool for documenting his own work and as a source of inspiration for his paintings. Influenced by his experiences under Walker Evans' tutelage at Yale, Hendricks frequently took to the streets to capture the world as he saw it, with his subjects in their element as they lingered in front of stores or performed in jazz clubs. As in his paintings, Hendricks' attention to graphic composition and ability to capture his subjects' dynamism are stunning. For the first time, Hendricks' considerable body of photographic work is collected in a single volume, revealing an essential though underdiscussed dimension of his art.
"Published in conjunction with the [traveling] exhibition, Barkley L. Hendricks: birth of the cool, Nasher Museum of Art at Duke University, February 7, 2008-July 13, 2008 ..."--Title page verso.
The court, the ball and the hoop: Barkley Hendricks paints basketball The third installment in Skira and Jack Shainman Gallery's five-volume overview of American artist Barkley L. Hendricks (1945-2017) explores the artist's relationship to basketball, which provided a significant source of artistic inspiration throughout his life. In his Basketballseries, Hendricks applied his keen compositional sense and stylish use of color to depictions of the sport's essential elements: hoops, nets, backboards and, of course, basketballs themselves. In one painting, the image of a basketball about to make its way into a hoop is repeated twice on a round canvas; on another circular canvas, the iconic black ribs of a basketball are rendered in a bold orange to create a minimalistic yet instantly recognizable pattern. A study in movement and geometry, Hendricks' paintings offer a uniquely compelling perspective on the sport as an artistic pursuit. This book's focus on this aspect of Hendricks' work allows for a detail-oriented study of the artist's techniques as a painter.
Published on the occasion of an exhibition of the same name held at Tate Modern, London, July 12-October 22, 2017; Crystal Bridges Museum of American Art, Bentonville, Arkansas, February 3-April 23, 2018; and Brooklyn Museum, New York, September 7, 2018-February 3, 2019.
Examining portraits of black people over the past two centuries, Cutting a Figure argues that these images should be viewed as a distinct category of portraiture that differs significantly from depictions of people with other racial and ethnic backgrounds. The difference, Richard Powell contends, lies in the social capital that stems directly from the black subject’s power to subvert dominant racist representations by evincing such traits as self-composure, self-adornment, and self-imagining. Powell forcefully supports this argument with evidence drawn from a survey of nineteenth-century portraits, in-depth case studies of the postwar fashion model Donyale Luna and the contemporary portraitist Barkley L. Hendricks, and insightful analyses of images created since the late 1970s. Along the way, he discusses major artists—such as Frédéric Bazille, John Singer Sargent, James Van Der Zee, and David Hammons—alongside such overlooked producers of black visual culture as the Tonka and Nike corporations. Combining previously unpublished images with scrupulous archival research, Cutting a Figure illuminates the ideological nature of the genre and the centrality of race and cultural identity in understanding modern and contemporary portraiture.
An authoritative guide to one of the world's most important collections of African-American art, with works by artists from Romare Bearden to Kehinde Wiley. The artists featured in Black Refractions, including Kerry James Marshall, Faith Ringgold, Nari Ward, Norman Lewis, Wangechi Mutu, and Lorna Simpson, are drawn from the renowned collection of the Studio Museum in Harlem. Through exhibitions, public programs, artist residencies, and bold acquisitions, this pioneering institution has served as a nexus for artists of African descent locally, nationally, and internationally since its founding in 1968. Rather than aim to construct a single history of "black art," Black Refractions emphasizes a plurality of narratives and approaches, traced through 125 works in all media from the 1930s to the present. An essay by Connie Choi and entries by Eliza A. Butler, Akili Tommasino, Taylor Aldridge, Larry Ossei Mensah, Daniela Fifi , and other luminaries contextualize the works and provide detailed commentary. A dialogue between Thelma Golden, Connie Choi, and Kellie Jones draws out themes and challenges in collecting and exhibiting modern and contemporary art by artists of African descent. More than a document of a particular institution's trailblazing path, or catalytic role in the development of American appreciation for art of the African diaspora, this volume is a compendium of a vital art tradition.
Examines the vast array of art produced by African Americans in response to the continuing impact of anti-Black violence and how it is used to protest, process, mourn and memorialize those events.
“Rolf shows that raising the minimum wage to $15 is both just and necessary, lest the American dream of middle class prosperity turn into a nightmare” (David Cay Johnston, Pulitzer Prize–winning journalist). Combining history, economics, and commonsense political wisdom, The Fight for $15 makes a deeply informed case for a national fifteen-dollars-an-hour minimum wage as the only practical solution to reversing America’s decades-long slide toward becoming a low-wage nation. Drawing both on new scholarship and on his extensive practical experiences organizing workers and grappling with inequality across the United States, David Rolf, president of SEIU 775—which waged the successful Seattle campaign for a fifteen dollar minimum wage—offers an accessible explanation of “middle out” economics, an emerging popular economic theory that suggests that the origins of prosperity in capitalist economies lie with workers and consumers, not investors and employers. A blueprint for a different and hopeful American future, The Fight for $15 offers concrete tools, ideas, and inspiration for anyone interested in real change in our lifetimes. “The author’s plainspoken approach and stellar scholarship illuminate in-depth discussions about the deliberate policy decisions that began to decimate the middle class at the start of the 1980s as well as the insidious new ways in which big business continues to attack American workers today via stagnant wages, rampant subcontracting, unpredictable scheduling, and other detrimental practices associated with the so-called ‘share economy.’” —Kirkus Reviews “David Rolf has become the most successful advocate for raising wages in the twenty-first century.” —Andy Stern, senior fellow at Columbia University’s Richard Paul Richman Center for Business, Law, and Public Policy
"Now in its fourth iteration, Prospect New Orleans draws its inspiration from the city itself, a place of graceful beauty that thrives in adverse conditions. By positioning itself in the city of New Orleans, the Prospect triennial aims to echo the city's history of cross-cultural fertilization. From Creole culture to jazz, in waves of migration and colonization, and as the American South's largest port, New Orleans is truly a cultural and historic nexus. 'Prospect.4' plumbs New Orleans's richly hybrid character to offer a diverse and exhilarating panoply of new and exciting art. Exhibition: New Orleans (various venues), United States (11.11.2017-25.02.2018)"--
Text by Franklin Sirmans, Glenn Ligon, Robert Hobbs, Michele Wallace.