Word: photographs
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Dates: during 2000-2009
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...Photographer Lyle Ashton Harris discussed his exploration of self through art in a lecture at the Sackler Museum yesterday. Harris, an artist and professor at NYU, opened his exhibition “Sketches from the Shore” at the Rudenstein Gallery in the W.E.B. Du Bois Center. The collection, his most recent body of work, consists of 13 photographs and a collage taken in Ghana over the past few years. His subject is the complexity of modern African culture, which he expresses through his images, as in one photograph of people in tradition dress talking on cell phones. Harris...
...life—only to have her arms cut off so she could no longer beg. As she told her character’s story, Smith bent over in her chair and raised her left hand to her face, letting her body tremble in pain. But, when a photograph of the real Henriette Mutigwarba appeared on a screen, it suddenly became clear that Anna Deveare Smith was an impersonator. The all-consuming pain that Mutigwarba must have felt was only imitated onstage; she was the only one who could truly experience her emotion. Smith thus revealed her position...
What a shame that under your photograph of "green Londoner" Cameron commuting on his bike you forgot to tell us that a limousine follows him to carry papers he "cannot put in his pannier." Some "green Londoner," eh? Dennis O'Grady, SHEFFIELD, ENGLAND...
...Pope? With Bacon there's never one answer. His great gift was for conflation, visual and psychological, for compressing multiple possibilities into a single sliding form. From a 19th century photograph by Eadweard Muybridge he could take the squatting silhouette of a man and dissolve it within the outlines of a crouching boy attributed to Michelangelo. He could borrow the eyeglasses from a famous shot of a screaming nurse in Sergei Eisenstein's Battleship Potemkin and perch them on a Pope's nose. In the same way, the meaning of his screaming Pontiff in Head VI fluctuates. Trapped...
...like the 1991 Triptych. In all three panels, a large black square is placed like a window within a flat, beige background. In the center, a figure barely recognizable as human flows over the lower edge of the black square. On each side panel, Bacon appears as a painted photograph of his own head pinned to the space above a pair of disembodied legs. Each of these has one foot stepping into the blackness. It's a portrait of the artist bowing out, dying as fearlessly as he lived. And without a trace of sentiment, making death majestic...