viernes, 19 de septiembre de 2014

Kehinde WILEY









































Los Angeles native and New York-based visual artist Kehinde Wiley has firmly situated himself within art history's portrait painting tradition. As a contemporary descendent of a long line of portraitists--including Reynolds, Gainsborough, Titian, Ingres, and others--Wiley work showes the signs and visual rhetoric of the heroic, powerful, majestic, and sublime in his representation of urban black and brown men found throughout the world.

By applying the visual vocabulary and conventions of glorification, wealth, prestige, and history to subject matter drawn from the urban fabric, Wiley makes his subjects and their stylistic references juxtaposed inversions of each other, forcing ambiguity and provocative perplexity to pervade his imagery. Wiley's larger-than-life figures disturb and interrupt tropes of portrait painting, often blurring the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men.

Initially, Wiley's portraits were based on photographs taken of young men found on the streets of Harlem. As his practice grew, his eye led him toward an international view, including models found in urban landscapes throughout the world--such as Senegal, Dakar and Rio de Janeiro, among others--accumulating to a vast body of work called, "The World Stage." The models, dressed in their everyday clothing--most of which are based on the notion of far-reaching Western ideals of style--are asked to assume poses found in paintings or sculptures representative of the history of their surroundings. This juxtaposition of the "old" inherited by the "new"--who often have no visual inheritance of which to speak--immediately provides a discourse that is at once visceral and cerebral in scope.

Without shying away from the complicated socio-political histories relevant to the world, Wiley's figurative paintings and sculptures "quote historical sources and position young black men within the field of power." His heroic paintings evoke a modern style instilling a unique and contemporary manner, awakening complex issues that many would prefer remain mute.

An Economy of Grace, Wiley’s debut exhibition at Sean Kelly gallery, marked his first-ever series dedicated to female subjects. An award-winning documentary film about the process behind this exhibition was directed by Jeff Dupre and produced by Show of Force. 

Kehinde Wiley received his MFA from Yale University in 2001. Shortly after, he became an Artist-in-Residence at the Studio Museum in Harlem. 

Patrick Earl HAMMIE















PATRICK EARL HAMMIE (b. in 1981, New Haven, Connecticut) is best known for his monumental portraits that use body language and narrative to reconfigure inherited conceptions of ideal beauty and heroic nudity. His paintings explore the tension between power and vulnerability, questioning historical constructions of gender and race to expand the filters through which identity is understood. Examining how male artists have presented themselves and the nude, his works symbolize his shadow-selves and move towards aspect of representation that have been historically skewed, are contemporarily taboo or underrepresented. Patrick is currently an assistant professor at the University of Illinois at Urbana-Champaign, were he instructs all levels of painting and drawing, leads graduate seminars and advises students. In addition to exhibiting, he maintains an active speaking schedule as a public lecturer, visiting artist, panelist, juror, and critic.