During a residency at the Studio Museum in Harlem in the early s, Wiley found inspiration in the assertive and self-empowered young men of the neighborhood.
Kehinde Wiley, Philip the Fair,portrays an anonymous black man in a Houston Astros jersey set against a French Provincial design. The connection with Philip the Fair derives from a medieval stained-glass work featuring the treacherous king. Al Gore took shape as a big, vertical block with a stuccolike dappled pink, green, and red surface with a dial thermometer stuck on one side.
The Gore depicted here is not the politician, but rather the Oscar-winning director, celebrity author, and evangelist for saving the planet. Harrison is one of many contemporary artists making portraits that are often not even recognizable as such. Many artists now use portraits to comment on larger issues, such as individual identity, social inequities, politics, celebrity obsession—and the genre of portraiture itself.
Edmier invited Fawcett, who also makes art, to collaborate with him; each made a sculpture of the other as a nude. Fawcett, who had no prior knowledge of Edmier, cast him as a standing figure in bronze as she saw him, but she idealized his features.
Together the sculptures, shown at Friedrich Petzel Gallery in New York, expose how fantasy and reality mix in our perceptions. In none of these does the subject actually appear.
Douglas Gordon and Philippe Parreno represented by Gagosian and Friedrich Petzel, respectively took a more direct approach in their film Zidane: We see him spitting, frowning, placing his hand on his hip, and occasionally springing into action. The sound track shifts from fans to commentators to silence.
The real dramatic moment occurs when Zidane cracks an uncharacteristic smile. It creates a psychological portrait.
In his documentary film the return of the realwhich was short-listed for the Turner Prize, British artist Phil Collins invited former guests on talk and makeover shows who felt their lives had been ruined by the appearances to tell their stories at a press conference he set up in Turkey.
He hired a Turkish reality-show director to interview each participant. Collins, who shows at Tanya Bonakdar Gallery in New York, also creates video portraits in which politics, youth, and pop culture intersect.
For each work, he sets up a task: These young people from regions defined by political strife behave like teens anywhere. They examine its effects on how they see themselves and how they are perceived.
The effect is akin to seeing someone who has had too much cosmetic surgery—the parts are all in place, but something is not quite right. Both artists consider how people measure themselves against these standards. German-born Conceptual artist Oliver Herring also makes composites, but to different ends.
His recent show at Max Protetch in New York featured three-dimensional sculptures, which he made by collaging photograph fragments of individual people. The almost cubistic representations reveal different information from various angles.
Herring also lets people portray themselves you are what you do through tasks and games that they perform. For example, he has them spit food dye onto their bodies and clothes as if they were canvases. They do so for hours, until they are exhausted, and then Herring documents those moments.
For Blond, a piece he first made in Tilburg, the Netherlands, inhe opened a hair salon for one month and invited people to get a bleach job free of charge. Sundaram shows digitally manipulated photos of her as a child, a teenager, and a young woman in Paris. Sundaram creates a world where past and present coexist.
He examines how his family history is interwoven with that of modern India, and how even his own decision to become an artist was entwined with his heritage. New Yorker Brian Alfred seeks to convey his own identity in terms of people he chooses to associate with.
Since he has been working on head-shot paintings of people he admires—from his wife and friends to musicians, artists, and people he has never met—often modeled on images gleaned from the Internet.
He plans to exhibit of them together, formulating a different kind of genealogy.
The mood is in the shoe. Political and social critiques play a large role in portraiture, especially in China in recent years.Where once there were only white kings and their queens, Kehinde Wiley inserts the "brown faces" long absent from Western art. Rappers, athletes, kids off the street.
Kehinde Wiley shows the artist’s progression as he began to work in various mediums and deepened his explorations of race, gender, sexual innuendo, and the politics of representation. Kehinde Wiley (born is a New York-based portrait painter, who is known for his highly naturalistic paintings of contemporary urban African, African-American, Afro-Brazilian, Indian and Ethiopian-Jewish men in heroic poses.
Note: You might want to start at the Barack Obama Index Page, especially if you arrived here by using a search engine. During the seemingly endless 'transition" period between election day and Obama's inauguration, I composed another page called, What can we expect from the Obama administration?
This page, on the other hand, is for commentary about the Obama presidency . From Virginia Museum of Contemporary Art, Kehinde Wiley, Philip the Fair (), Oil and enamel on canvas, × 86 in.
Kehinde Wiley shows the artist’s progression as he began to work in various mediums and deepened his explorations of race, gender, sexual innuendo, and the politics of representation. Kehinde Wiley, Philip the Fair, , portrays an anonymous black man in a Houston Astros jersey set against a French Provincial caninariojana.com connection with Philip the Fair derives from a medieval. Akron Art Museum • Karl and Bertl Arnstein Galleries Through May 7, Turn the Page: The First Ten Years of Hi-Fructose showcases the work of 51 remarkable contemporary artists whose work has been featured in the pages of Hi-Fructose magazine.
Kehinde Wiley, Portrait of Andries Stilte II (Columbus), Collection of the Columbus Museum of Art.