Looking at Yiadom-Boakye’s portraits is an act of slow discovery, the unveiling of a mystery.
This is the second exhibition in a series of three curated by the Pulitzer Prize-winning author Hilton Als. On view at the Yale Center for British Art through December 15, 2019.
The painter’s introspective subjects can make the viewer feel uncomfortably voyeuristic.
The late civil rights activist and Black arts patron Peggy Cooper Cafritz has bestowed the “largest gift ever made of contemporary art by artists of African descent” to the Studio Museum in Harlem and the Duke Ellington School of the Arts.
2017 was a strikingly strong year for all kinds of figurative representation and portraiture: contemporary, midcentury, imagined, caricatured, oil-painted, and drawn.
Jack Shainman’s summer show, spread across galleries in Chelsea and Kinderhook, NY, effectively encourages existential reckoning.
New portraits by Lynette Yiadom-Boakye, on view at the New Museum, reveal how the artist uses color to launch into the mind and psychology of her fictional characters.
At Art Basel Miami Beach, if you only look at the art, it’s an affair worth the trip, because if you want to see the newest art made in Saint Petersburg, Vienna, Barcelona, or Berlin, it’s here.
French video and installation artist Laure Prouvost has been announced as the winner of the Tate’s Turner Prize, given this year in Londonderry, UK.
We round up the Turner Prize shortlist (Lynette Yiadom-Boakye, Tino Sehgal, Laure Prouvost, and David Shrigley) and turn it over to you. Who do you think should win?
MIAMI — There are many stories about the origins of art: ancient Greek historian Pliny suggested art was born when a Corinthian maiden traced the outline of her lover’s shadow on a wall, while an Asian legend tells of a young man who could not paint the Buddha because of his enlightened glow, and so was forced to paint his reflection in a pool of water. What these two stories share is the emphasis on the rendering of people as a foundational element of art. Fast-forward many millenia, when the story of high-priced contemporary art is vastly different from those origin stories, and walking through the latest incarnation of Art Basel Miami Beach, I was struck by the marginalization of the human form in the blue-chip work on display. What happened?
If the art world has been about globalism for quite a while I can say that is more true now than ever — if that’s possible.