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Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.
Illustrated by over 50 of Edward Hopper's most powerful evocations of New York, Avis Berman's essay explores how Hopper and his work illuminate each other by analyzing what his New York is - and is not. Ever the contrarian, he offers an alternative to what other American artists seized on - the new, the gigantic, the technologically exciting. Hopper stayed away from tourist attractions or landmarks of the city's glamorous skyline. His preference for nondescript vernacular buildings is emblematic of the larger Hopper paradox: he makes emptiness full, silence articulate, banality intense, plainness mysterious, and tawdriness noble.
Timeless Painting presents the work of 17 contemporary painters whose works reflect a singular approach that is peculiarly of our time: they are a-temporal, a term coined by William Gibson and Bruce Sterling, the originators of the cyberpunk aesthetic. A-temporality or timelessness manifests itself in painting as an ahistoric free-for-all, where contemporaneity as an indicator of new form is nowhere to be found, and all eras co-exist. Published to accompany an exhibition at The Museum of Modern Art that explores the impact of this cultural condition on contemporary painting, this publication features work by an international roster of artists including Joe Bradley, Kerstin Brätsch, Matt Connors, Nicole Eisenman, Mark Grotjahn, Charline von Heyl, , Julie Mehretu, Oscar Murillo, Laura Owens and Josh Smith, among others. An overview essay by curator Laura Hoptman is divided into thematic chapters that explore topics such as re-animation and reenactment, recontextualization, 'Zombie' painting, and the concomitant 'Frankenstein approach', which describes a process of stitching together pieces of the history of painting to create a work of art that would be dead but for its juxtaposed parts, all working in association with one another to propel the work into life.
Catalog of an exhibition held at the Museum of Modern Art, New York, Sept. 15, 2010-May 2, 2011.
This comprehensive, lavishly illustrated catalogue offers an in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works.
"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.
A look at the history of the idea of the objective journalist and how this very ideal can often be used to undercut itself. In The View from Somewhere, Lewis Raven Wallace dives deep into the history of “objectivity” in journalism and how its been used to gatekeep and silence marginalized writers as far back as Ida B. Wells. At its core, this is a book about fierce journalists who have pursued truth and transparency and sometimes been punished for it—not just by tyrannical governments but by journalistic institutions themselves. He highlights the stories of journalists who question “objectivity” with sensitivity and passion: Desmond Cole of the Toronto Star; New York Times reporter Linda Greenhouse; Pulitzer Prize-winner Rachel Kaadzi Ghansah; Peabody-winning podcaster John Biewen; Guardian correspondent Gary Younge; former Buzzfeed reporter Meredith Talusan; and many others. Wallace also shares his own experiences as a midwestern transgender journalist and activist who was fired from his job as a national reporter for public radio for speaking out against “objectivity” in coverage of Trump and white supremacy. With insightful steps through history, Wallace stresses that journalists have never been mere passive observers. Using historical and contemporary examples—from lynching in the nineteenth century to transgender issues in the twenty-first—Wallace offers a definitive critique of “objectivity” as a catchall for accurate journalism. He calls for the dismissal of this damaging mythology in order to confront the realities of institutional power, racism, and other forms of oppression and exploitation in the news industry. The View from Somewhere is a compelling rallying cry against journalist neutrality and for the validity of news told from distinctly subjective voices.
"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.
Presents delicious and easy to prepare recipes and dishes from the northern region of Mexico.