Cave: http://www.ybca.org/tickets/production/view.aspx?id=8191
Nick Meet Me at the Center of the Earth Mar 28Jul 5, 2009
African American, African African Diaspora
Jacob Lawrence (US, 19172000) Migration of the Negro # 3 (left), #17 (right), #58 (below) 1941. Heritage of the Harlem Renaissance, 1920s & `30s
Romare Bearden in his Long Island City studio c. 1980 with a photograph of his paternal great-grandparents.
Romare Bearden (US, 1912 1988) in his New York library 1970s
Bearden (second from right in hat) in Paris, 1950
Duke Ellington, 1943
(left) Harlem row houses 1943; (right) Romare Bearden, Black Manhattan, 1969, collage of paper and synthetic polymer paint on composition board, 25 x 21"
(right) Romare Bearden, Rocket to the Moon, 1971
George Grosz Gray Day, o/c, 1921. Dada/ Neue Sachlichkeit
Hannah Hoch, Dada Ernst, collage, 1920
Stuart Davis, Swing Landscape, 1938, oil on canvas, 86 3/4 x 172 7/8 in.
(left) Georges Braque, Still Life, Cubist collage (papier coll) and graphite, 1913 (right) Picasso, Three Musicians, o/c, Synthetic Cubism, 1921
"The more I played around with visual notions as if I were improvising like a jazz musician, the more I realized what I wanted to do as a painter, and how I wanted to do it." Bearden
Three Folk Musicians, 1967 Jazz, 1974
"I think the artist has to be something like a whale, swimming with his mouth wide open, absorbing everything until he has what he really needs. When he finds that, he can start to make limitations. And then he really begins to grow."
Romare Bearden
Paul Gauguin (French Post-Impressionist Painter, 1848-1903) Spirit of the Dead Watching, 1892 compared with Bearden, Patchwork Quilt, c. 1972 Primitivism or Identity?
Robert Colescott (b. Oakland, California, 1925) Demoiselles D'Alabama, 1985 compare with Picasso, Demoiselles D'Avignon, 1907
Betye Saar (US, b. 1926), The Liberation of Aunt Jemima, 1972
Faith Ringgold (US, b.1930), Aunt Bessie and Aunt Edith, fiber, 1974
Faith Ringgold, Whose Bad? 1988 (left) AfricanAmerican story quilt, c. 1860
David Hammons (US, b. 1943) photo of artist in Zurich, 2002
"Those who know, don't show"
- David Hammons
David Hammons, Higher Goals, 1986, basketball hoops, telephone poles and decorative detritus such as bottle caps, Cadman Plaza, Brooklyn, NY.
David Hammons, Champ, 1989, rubber (inner tube) and mixed media
Hammons, How Do Ya Like Me Now? Washington DC, 1989
Hammons, How Do Ya Like Me Now? With sledgehammers and flag, Washington DC, 1989; literalization of a stereotype
http://www.youtube.com/watch?v=5WaBJrAxxgo Tyree Guyton (US b. 1955) Heidelberg Project, Detroit. photo: August, 2007
"I get everything that satisfies my soul from bringing together objects that are in the world, manipulating them, working with spatial arrangements, and having things presented in the way I want to see them." Fred Wilson
In the archive, Museum of World Culture in Sweden
Fred Wilson (US, 1954) 2003, artist ><curator
Fred Wilson, Mining the Museum, 1992
Fred Wilson, Atlas, 1995
Fred Wilson, Museum Guards, 1997
Fred Wilson, Road to Victory, online project for MoMA NYC, 1999
Fred Wilson, Me and It, video installation, 1995
Fred Wilson, Pangaea, 1999, Townsend Harris High School 149th Street and Melbourne Avenue, Queens, (fence & gate)
Fred Wilson, American Pavilion, Venice Biennale, 2003, black glass chandelier
Fred Wilson, from Speak of Me as I Am, Venice Biennale 2003 installation
Fred Wilson, Aftermath, 2003, installation for Berkeley Art Museum
Kara Walker (US b. 1969), No Mere Words can Adequately reflect the Remorse this Negress feels at having been Cast into such a lowly state by her former Masters and so it is with a Humble Heart that She Brings about Their Physical Ruin and Earthly Demise, 1999. Installation view at the California of College Arts and Crafts, Oakland, California. Cut paper and adhesive on painted wall, 10 x 65 feet. SFMoMA collection
Kara Walker, Darkytown Rebellion, 2001, Installation view at Brent Sikkema, New York, Projection, cut paper and adhesive on wall, 14 x 37 1/2 feet
"Kara Walker at the Met: After the Deluge" NYC Metropolitan MA installation, 2006. Artist as curator combined her own work with pieces of African American art from the museum's collection.
Kerry James Marshall, Souvenir II, 1997, acrylic, paper, collage, and glitter on unstretched canvas, 108 x 120 inches
Kerry James Marshall, Souvenir IV, 1998, acrylic, collage, and glitter on unstretched canvas, 108 x 156 inches, Whitney Museum of American Art, New York.
Carrie Mae Weems (US b. 1953) publicity photo for film, Conjure Women (available in CSUS library)
Weems, Untitled from Kitchen Table Series, 1990, edition of 5
Weems, Untitled, from The Kitchen Table Series, 1990
Weems, Untitled, from Kitchen Table Series, 1990
Weems, Ritual and Revolution, digital photographs on fabric, installation, Berlin, 1999
Weems, Ritual and Revolution, Berlin, 1999
Weems, Ritual and Revolution, 1999
Weems, The Capitol Building, from The Jefferson Suite, 1999
Weems, Enactment of the Jefferson-Hemmings Affair, The Jefferson Suite, 1999 digitally printed photograph on muslin
Weems, Gibbon and Child at Play, The Jefferson Suite, 1999
Africa & African Diaspora
Composite photograph Museum of the African Diaspora, San Francisco http://www.moadsf.org/ Original photo by Chester Higgins, interactive collage by Robert Silvers and Runaway Technology, 2005
Marlene Dumas, Couples 1994, oil on canvas, 39 x 118"
Dumas, The Witness, 2002
Jane Alexander (South Africa, b. 1959) The African Adventure, 2002
details
Sonia Boyce, From Tarzan to Rambo: English Born `Native' Considers her Relationship to the Constructed/Self Image and her Roots in Reconstruction 1987, photograph and mixed media on paper. 1240 x 3590 mm (c. 4 X 12 ft) http://www.bbc.co.uk/radio4/womanshour/ram/2007_31_mon_02.ram
Yinka Shonibare (England, b. 1962 to Nigerian parents, raised in Lagos) Dressing Down, wax printed cotton textile, crinoline display stand, 1997 "Afro-Victorian" headless mannequins dressed in Dutch wax prints: hybrid colon...