Apr 152022
 

Lynette Yiadom-Boakye’s 2018 painting, The Ever Exacting, from her 2019 exhibition, In Lieu of a Louder Love at Jack Shainman Gallery in NYC.

This poem, written by the artist, was included with the press release for the show-

In Lieu Of A Louder Love

In the Shade of Hooded Cove,

In Debt to the Dead Oak.

In Range of a Twelve Gauge,

On Embers over Smoke.

At Pains to Hold the Wanton,

At Home to all who Knock.

At Prayer on Prickly Hearth Rug,

An Eye upon the Clock.

In the Parlance of the Pilgrim,

In Hallelujah Coat and Tie.

In Soul so Black Beguiling,

That the Ravens do Carp and Cry.

In Memory of A Cipher,

At Peace beside resting Dove.

In Light of Care and Kindness,

In Lieu of A Louder Love.

The information below is from the gallery’s artist biography, and gives some added insight on her paintings.

Lynette Yiadom-Boakye’s oil paintings focus on fictional figures that exist outside of specific times and places. In an interview with Nadine Rubin Nathan in the New York Times Magazine, Yiadom-Boakye described her compositions as “suggestions of people…They don’t share our concerns or anxieties. They are somewhere else altogether.” This lack of a fixed narrative leaves her work open to the projected imagination of the viewer.

Her paintings are rooted in traditional formal considerations such as line, color, and scale, and can be self-reflexive about the medium itself, but the subjects and the way in which the paint is handled is decidedly contemporary. Her predominantly black cast of characters often attracts attention. In an interview with Hans Ulrich Obrist in Kaleidoscope, she explained “People are tempted to politicize the fact that I paint black figures, and the complexity of this is an essential part of the work. But my starting point is always the language of painting itself and how that relates to the subject matter.”

The New Yorker published a wonderful portrait of Yiadom-Boakye by Zadie Smith in 2017, that is well worth a read as well.

Feb 172022
 

A Surreal Presence for Every Possible State, 2018 by Kenturah Davis from her 2019 exhibition, Blur in the Interest of Precision at Matthew Brown Los Angeles. The four panel work was created using oil paint applied with rubber stamp letters and graphite grid on embossed Mohachi paper.

From the press release-

Blur in the Interest of Precision is a search for parallel conditions between the poetics of our visual experience and the strangeness of our relationship to language. We often use language to carve out distinctions between one thing and another. Davis’ objective—to complicate ideas about meaning, representation and perception—have found refuge in blur and doubling. The new drawings are rendered with arrangements of text, but the words are virtually illegible. Many of the portraits pursue ideas the artist is working through via the writings of Fred Moten and Toni Morrison’s essay, Sites of Memory.

Davis’ work oscillates between various facets of portraiture and design. Using text as a point of departure, the artist explores the fundamental role that language has in shaping how we understand ourselves and the world around us. This manifests in a variety of forms including drawings, photographs and performances.

Recently Davis was commissioned by LA Metro to create work for the future Inglewood Station, slated to open in November of 2022. The work, Sonder, depicts community members photographed at gatherings at the artist’s Inglewood art studio and made into large porcelain enamel steel panels.

From Metro’s site

The photographs were hand painted with stamps incorporating letters that form the words defining the term “sonder.”

Davis was drawn to the term which alludes to the realization that every person has a unique and significant story. She hopes that the portraits inspire connections between strangers, even if only for a passing moment while waiting for the train.

(images below via LA Metro’s site)

For more images, information about the station, and a video of the artist discussing the work, check out Metro’s website.

 

Feb 162022
 

This work is by Augusta artist Leonard “Porkchop”  Zimmerman.

Zimmerman is the subject of the 2016 documentary Happy: A Small Film With a Big Smile, by filmmaker Michael McKinley. The film was inspired by the artist’s 2014 TED Talk.

Oct 052021
 

Kim Anderson, “Alone Together”, 2021

Stereoscope for viewing the above painting

Skyway 20/21: A Contemporary Collaboration, is the second iteration of a joint exhibition across four institutions that highlights contemporary art created in the Central Florida region. Artists selected by a jury are from five counties- Hillsborough, Pinellas, Pasco, Manatee, and Sarasota. The exhibitions are an excellent sampling of the work being made in the Tampa Bay area.

The works shown in this post are from the exhibition at the Tampa Museum of Art. The museum has a video playlist on YouTube that includes all of the artists in the exhibition discussing their work. The links below are to the artists’ websites or those videos.

Selina Román “XS” 2019

For Selina Román’s XS series, she created abstract self portraits that examine standards of beauty in relation to expectations of weight and body. The title XS references an extra small size and alludes to the word excess.

This exhibition closes 10/10/21.

 

Sep 202021
 

Jake Troyli, “Shhh…this is the best part!”, 2018

Jake Troyli, “Shhh…this is the best part!”, 2018 (detail)

Jake Troyli, “Shhh…this is the best part!”, 2018 (detail)

Jake Troyli, “Shhh…this is the best part!”, 2018 (detail)

Skyway 20/21: A Contemporary Collaboration, is the second iteration of a joint exhibition across four institutions that highlights contemporary art created in the Central Florida region. Artists selected by a jury are from five counties- Hillsborough, Pinellas, Pasco, Manatee, and Sarasota. The exhibitions are an excellent sampling of the work being made in the Tampa Bay area.

The works shown in this post are from the exhibition at the The Ringling in Sarasota. I’ve included links for these artists as well as those not pictured.

Heather Rosenbach, “American Dream Byproduct”, 2018

Heather Rosenbach, “Class Warfare Shooting Star”, 2019

Eric Ondina, “Miss 911”, 2018

Eric Ondina, “Miss 911”, 2018 (detail)

Eric Ondina, “Palms”, 2020

Eric Ondina, “Keep the Change”, 2020

Ya Levy La’ford “American/Rōōts”, 2021

This exhibition closes 9/26/21.