While Robert Rauschenberg's mixed media Combines initially drew attention, it was his juxtaposed combinations of popular
American cultural images that inked the artist into art history as a leader of the Pop Art movement.
Not exact matches
He places rap squarely at the center of a hip - hop culture that reinforces patterns of ignorance and misogyny, and links it to larger
cultural forces that debase the popular
images of African -
American men.
It's that slipperiness of creation and that psychosis that finds us repeating ourselves by repeating
images of ourselves (Multiplicity is a trickier flick than given credit for) which informs a trio of new science - fiction films reaching North
American movie screens simultaneously (though only one is
American in origin)-- we are the world's new
cultural / emotional wasteland and the films of our new millennium reflect that status.
Consider, for example, starting a unit by showing students an
image of two people or groups of people whose differences and known disagreements are likely to trigger historical or
cultural assumptions (such as Native
Americans and early Great Plains settlers, British and German soldiers from World War I, or police officers near a picket line of striking workers).
These categories give the show some structural support, and help one navigate a sea of
images, each of which offers a compelling glimpse into
American cultural history.
1996 Beyond Print: Masterworks from the Ken Tyler Collection, Dr. Earl Lu Gallery, LASALLE - SIA College of the Arts, Singapore (October 24 — December 21) Abstract Expressionism in the United States (Pintura estadounidense expresionismo abstracto), Centro
Cultural Arte Contemporaneo, Mexico City (October 11, 1996 — January 12, 1997) Parallels, Galerie Lelong, New York (opened September 12) Women's Work, Greene Naftali, Inc., New York (September 6 — October 13) Summer show, Robert Miller Gallery, New York, (July 1 — August 30) Group show, Lennon, Weinberg, Inc., New York (June 11 — August 1) Forces of the Fifties: Selections from the Albright - Knox Art Gallery, Wexner Center for the Arts, The Ohio State University, Columbus (May 4 — August 4) Changing group exhibition, Robert Miller Gallery, New York (March 5 — April 6)
American Art Today:
Images from Abroad, Florida International University, Miami (February 23 March 30) Group Exhibition, Manny Silverman Gallery, Los Angeles (January 13 — March 2) Art in Embassies Program, U.S. Ambassador's Residence, Bulgaria
by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an
American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds
American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a
Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick
image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An
American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an
American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the
American Side Show by Laura C. Mallonee Republican
American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!
One can see this in two bodies of work:
cultural representation is the primary issue in The African
American Flag Project, where «African
American» flags were the subject of the paintings; and the Made in USA series of paintings touch on the politics of consumption through self - referential text and
image.
Her wide - ranging interests in
American art and visual culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and
Cultural Democracy in
American Communities (1995), Elvis Culture: Fans, Faith, and
Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century
American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and
American Art of the 20th - 21st Centuries (2017).
Selected by the Los Angeles artist Sam Durant, whose work often deals with political and
cultural subjects in
American history, the exhibition includes more than 155 posters, newspapers, and prints dating from 1966 to 1977, as well as a small - scale mural that reprises one of Douglas's vintage
images.
Whereas the then - fashionable neo-Expressionists combined
images pastiched from eclectic
cultural sources with a loose painterly style, Jensen renewed the symbolist impulse that fueled the work of late
American Romantics and early
American Modernists such as Albert Pinkham Ryder and Marsden Hartley without resorting to parody or kitsch.
1994 The Art of Betye Saar and John Otterbridge, 22nd Biennial of Sao Paulo, Museum of Modern Art, Sao Paulo, Brazil Urban Paradise: Gardens in the City, Paine Webber Art Gallery, New York, NY The Sacred and the Profane, Jan Baum Gallery, Los Angeles, CA The US Delegation Fifth Biennial of Havana, Wilfredo Lam Center, Havana, Cuba Generation of Mentors, National Museum for Women in the Arts, Washington, DC 25 Years of African -
American Art, The Studio Museum in Harlem, New York, NY; The Wood Street Galleries, Pittsburgh, PA; The Art Museum, Rhode Island School of Design, Providence, RI; The Scottsdale Art Center, Scottsdale, AZ; Munson - Williams - Proctor Institute, Utica, NY; Modern Art Museum of Fort Worth, Fort Worth, TX; The New York State Museum, Albany, NY; The Mexican Museum, San Francisco, CA; Tufts University Art Gallery, Medford, MA; Heckscher Museum, Huntington Long Island, NY; The Lowe Art Gallery, University of Miami, Miami, FL Passionate Visions of the
American South: Self - Taught Artists from 1940 — the Present, University Art Museum & Pacific Film Archive, Berkeley, CA; New Orleans Museum of Art, New Orleans, LA; San Diego Museum of Art, San Diego, CA; Corcoran Gallery of Art, Washington, DC; North Carolina Museum of Art, Raleigh, NC Relatively Speaking: Mother and Daughters in Art, Sweet Briar College Art Gallery, Sweet Briar, VA; Rahr West Museum, Manitowock, WI; Snug Harbor
Cultural Center, Staten Island, NY; Rockford Museum of Art, Rockford, IL, Hofstra University Museum, Hempstead, NY African
American Women Prints, Brandywine Workshop's Printed
Image Gallery, Philadelphia, PA
Since 1990 Sol» Sax has produced objects,
images, and performances that fuse African -
American cultural heritages like Hip - Hop, House, Reggae, Soul, Jazz, Blues, and spirituals with traditional African religions like Yoruba, Congo, Mende, Akan, and Fon.
Charlottenborg, too, invites visitors to witness a rewriting of art history with Kerry James Marshall's paintings, which address questions of
cultural representation from an African -
American perspective and seek to mitigate «the lack in the
image bank», to use the artist's own turn of phrase.
Accompanying the
images, essays by curators and critics explore
American underground cinema, street photography, the distinct countercultures of New York and Los Angeles, and the spectacle of everyday living in a time of political and
cultural turmoil.
The correspondence between apparently formally similar works, remembered from one place to another, underscored the radical difference and
cultural specificity of respective practices, for example the disorienting slippage between
image and sound of Bruce Nauman's Lip Sync (1969), in relation to the sucking, swallowing, silencing and disgorging of mouths in Anna Maria Maiolino's Super-8 film In - Out (Anthropophagy)(1973), a critique of
American cultural imperialism.
Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art,
Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor
Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of
American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.
[106] The success of Rockwell's depictions was due to his use of long - standing
American cultural values about unity and respect of certain institutions while using symbols that enabled a broad audience to identify with his
images.
Prince went on to appropriate and re-present
images from advertising that captured the
American cultural zeitgeist: the Marlboro Cowboy, Cadillacs, soft porn, motorcycle gangs.
Neshat, whose work critiques the
cultural construction of difference, fully turns her attention to
American culture for the first time in this show and depicts the ambiguity of feeling for an outsider through enigmatic
images, haunting encounters and mystified points of view in her film and photography.
The
American west in particular contains narratives of prosperity, disappointment, destruction, with attendant racism, classism, and sexism that persist in our national and
cultural identity as a whole — from Western films and Warner Bros. cartoons to the global
image of the romanticized
American cowboy in panoramic vistas, to the lawns we keep on our property.
Taken together, the reproduction of
images in these works becomes a complex allegory for the reproduction of the
cultural status quo — in particular the perpetuation of racial, class, and gender hierarchies in
American culture.
Barbara Kruger, (born January 26, 1945, Newark, New Jersey, U.S.),
American artist who challenged
cultural assumptions by manipulating
images and text in her photographic compositions.
Traveled to Museu d'Art Contemporani, Barcelona; Kunstmuseum Bonn, Germany; and Castello di Rivoli Museo d'Arte Contemporanea, Turin (catalogue) Innovation:
American Art of Today from the Misumi Art Collection, Kawamura Memorial Museum of Art, Chiba, Japan (catalogue) The Changing
Image, Claudia Gian Ferrari Arte Contemporanea, Milan (catalogue) Vehicle, Paolo Baldacci Gallery, New York 1995 Whitney Biennial, Whitney Museum of
American Art, New York (catalogue) Richard Artschwager, Peter Cain, Vija Celmins, Chuck Close, Joseph Cornell, Robert Gober, George Stoll, Steve Wolf, Daniel Weinberg Gallery, San Francisco Summer Group Exhibition: Richmond Burton, Peter Cain, John Chamberlain, Andreas Gursky, Roni Horn, Gary Hume, Andy Warhol, Matthew Marks Gallery, New York 25
Americans: Painting in the 90s, Milwaukee Art Museum (catalogue) 1994 Desire (Visionaire / DIFFA Benefit Exhibition), Charles Cowles Gallery, New York The Institute of
Cultural Anxiety, Works from the Collection, Institute of Contemporary Arts, London (catalogue) 1993 Pittsburgh Collects, Carnegie Museum of Art, Pittsburgh Whitney Biennial, Whitney Museum of
American Art, New York (catalogue) Drawing the Line Against AIDS, Peggy Guggenheim Collection, Venice (under the aegis of the Venice Biennale)(catalogue) 1993 Biennial Exhibition, National Museum of Contemporary Art, Seoul A Series of Anniversary Exhibitions: Part III, Daniel Weinberg Gallery, Santa Monica, CA Art, Money & Myth, Palm Beach Community College Museum of Art, Lake Worth, FL Everyday Life, Kim Light Gallery, Los Angeles Slittamenti, Venice Biennale The Return of the Cadavre Exquis, The Drawing Center, New York.
Comprising approximately 60 prints from the MoMA collection that were included in the 1938 book or exhibition, the installation maintains the bipartite organization of the originals: the first section portrays
American society through
images of its individuals and social contexts, while the second consists of photographs of
American cultural artifacts — the architecture of Main streets, factory towns, rural churches, and wooden houses.
Exploiting the creative potential of free association and past experience, he created deeply personal, often autobiographical,
images by drawing liberally from such disparate fields as urban street culture, music, poetry, Christian iconography, African -
American and Aztec
cultural histories and a broad range of art historical sources.
Professional Achievements 2013 Artist Residency, Werkraum Wartek pp, Basel 2011 Artist Residency, LandART, Basel 2010 Artist Residency, Tschäpperli, Basel 2010 Artist Residency, A.R.N., Grignan 2010 Artist Grantee, Artist Fiscal Sponsorship Program, Fractured Atlas, New York City 2009 Artist Residency, La Mairie de Paris, Paris 2009 Artist Grantee, Artist Fiscal Sponsorship Program, Fractured Atlas, New York City 2008 Artist Residency, «Paroles», La Mairie de Paris, Paris 2007 Artist Residency, Grignan 2006 Artist Residency, Margrit Gass Art Projects, Bettona 2005 Artist Residency, Grignan 2004 Artist Residency, Ex Collegio Jesuitas, Artes et Culturales Morelia 2004 Artist Grantee, Creative Curriculum, Lower Manhattan
Cultural Council, New York 2003 Artist Grantee, Creative Curriculum, Lower Manhattan
Cultural Council, New York 2003 Fellowship Nomination Rockefeller Foundation, Next Generation Leadership Fellows 2002 Nomination for the Rockefeller Foundation, Next Generation Leadership Fellows 2001 Lower Manhattan
Cultural Council 2000 Artist in Residence, Lower Manhattan
Cultural Council Artist in Residence, New York Foundation for the Arts 1999 New
American Painting Artist in Residence, The Center for Continuing Education 1998 Artist in Residence, New York Foundation for the Arts 1997 Artist in Residence, New York Foundation for the Arts Co-curator: «The Collaboration», ABC Gallery, New York 1996 Artist / Educator, Children's Workshop School, New York Artist in Residence Grant, New York Foundation for the Arts 1995 Artist / Educator, P.S. 124 «Studio in a School», New York Co-curator: «
Image and Text», Duggal, NY 1993 Selection for Editions Cillart, Paris, in conjunction with Imprimerie Yann Samson, Colombes