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- Simone Leigh / by Respini, Eva,editor,writer of introduction.(CARDINAL)356957; Agard-Jones, Vanessa,contributor.(CARDINAL)877970; Bradley, Rizvana,contributor.(CARDINAL)879756; Brand, Dionne,1953-contributor.(CARDINAL)744946; Gaines, Malik,contributor.(CARDINAL)855605; Hartman, Saidiya V.,contributor.(CARDINAL)205852; King, Daniella Rose,contributor.(CARDINAL)855927; Leigh, Simone,artist,contributor.(CARDINAL)784384; Lynne, Jessica,contributor.(CARDINAL)879055; Masilela, Nomaduma Rosa,contributor.(CARDINAL)879053; McKittrick, Katherine,contributor.(CARDINAL)877909; McMillan, Uri,contributor.(CARDINAL)784547; Medvedow, Jill,foreword.(CARDINAL)881339; Miller, Sequoia,contributor.(CARDINAL)879629; Nelson, Steven,1962-contributor.(CARDINAL)211374; O'Grady, Lorraine,contributor.(CARDINAL)204558; Ochieng' Nyongó, Tavia Amolo,contributor.(CARDINAL)828269; Parker, Rianna Jade,contributor.(CARDINAL)880105; Price, Yasmina,contributor.(CARDINAL)881010; Pullagura, Anni A.,contributor.(CARDINAL)881011; Rhodes-Pitts, Sharifa,contributor.(CARDINAL)337751; Sharpe, Christina Elizabeth,contributor.(CARDINAL)853410; Silva, Denise Ferreira da,contributor.(CARDINAL)855526; Spillers, Hortense J.,contributor.(CARDINAL)855501; California African-American Museum,host institution.(CARDINAL)853246; DelMonico Books,publisher.(CARDINAL)870896; Hirshhorn Museum and Sculpture Garden,host institution.(CARDINAL)137156; Institute of Contemporary Art (Boston, Mass.),publisher,organizer,host institution.(CARDINAL)131693; Los Angeles County Museum of Art,host institution.(CARDINAL)137901;
Includes bibliographical references and index." The first major monograph on Simone Leigh's multimedia explorations of community, Black feminism and the traditions and material cultures of the African diaspora. Over the past two decades, Simone Leigh has created artwork that situates questions of Black femme-identified subjectivity at the center of contemporary art discourse. Her sculpture, video, installation and social practice explore ideas of race, beauty and community in visual and material culture. Leigh's art addresses a wide swath of historical periods, geographies and traditions, with specific references to materials across the African diaspora, as well as forms traditionally associated with African art and architecture. This publication includes substantial new scholarship addressing Leigh's work across mediums and topics. The volume, timed with a major exhibition and national tour of the artist's work, includes contributions by her longtime collaborators, new scholars who add diverse insights and perspectives, and a conversation highlighting Leigh's voice. Additionally, generous and lushly illustrated plates feature her critically acclaimed work for the 59th Venice Biennale and works made throughout her 20-year career. A special section featuring Leigh's research images gives access to Leigh's research methodologies and encourages readers to fully engage with all aspects of Leigh's work. This monograph provides a timely opportunity to gain a holistic understanding of the complex and profoundly moving work of this groundbreaking artist." -- Publisher's website."Over the last twenty years Simone Leigh has created a multi-faceted body of work incorporating sculpture, video, and installation, all informed by her ongoing exploration of Black female-identified subjectivity. Leigh describes her work as auto-ethnographic, and her salt-glazed ceramic and bronze sculptures often employ forms traditionally associated with African art. Her performance-influenced installations create spaces where historical precedent and self-determination commingle. "I am charting a history of change and adaptation," the artist has written, "through objects and gesture and the unstoppable forward movement of Black women." Simone Leigh was born in Chicago in 1967 and first began exhibiting her work in the early-2000s. She has had one-person museum exhibitions at the Guggenheim Museum, New York; The Tate Gallery, London; the Studio Museum in Harlem; and the Hammer Museum in Los Angeles among others. In 2014 she presented "The Free People's Medical Clinic" in the Bedford-Stuyvesant neighborhood in Brooklyn, New York, a project commissioned by Creative Time. Her work was included in the 2012 and 2019 Biennial exhibitions at the Whitney Museum of American Art, New York, and she is the first artist to be commissioned for the High Line Plinth; her monumental sculpture Brick House was unveiled in April 2019. In 2022, Leigh represented the United States at the 59th Venice Biennale with her exhibition, "Simone Leigh: Sovereignty." Her work was also included in the Biennale's central exhibition, "The Milk of Dreams," for which she was awarded the Golden Lion for Best Participant." -- Biography taken from:- Subjects: Exhibition catalogs.; Leigh, Simone; African American artists; African American sculptors; African American sculpture; African American women artists; Art, American; Art, Modern; Artists; Sculpture, American; Sculpture, Modern;
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- Saturation : race, art, and the circulation of value / by Tourmaline,contributor.; Alsultany, Evelyn,contributor.; Antwi, Phanuel,contributor.; Brielmaier, Isolde,1971-contributor.; Burton, Johanna,writer of preface.; Chambers-Letson, Joshua Takano,contributor.; Chuh, Kandice,1968-contributor.; Cobb, Jasmine Nichole,contributor.; Cox, Aimee Meredith,1971-contributor.; Fung, Richard,contributor.; Gibson, Jeffrey,1972-contributor.; Giraud, Tiyé,contributor.; Gonzalez, Anita,contributor.; Gopinath, Gayatri,1969-contributor.; Haley, Sarah,contributor.; Hamraie, Aimi,contributor.; Hopkins, Candice,contributor.; Houston-Jones, Ishmael,contributor.; Ibarra, Xandra,contributor.; Johnson, Jasmine,contributor.; Khoshgozaran, Gelare,contributor.; Kim, Byron,contributor.; King, Homay,1972-contributor.; Kuppers, Petra,contributor.; Kwon, Marci,contributor.; Lê, Việt,contributor.; Lamar, M.,contributor.; Lax, Thomas J.,contributor.; Lemon, Ralph,contributor.; Lin, Candice,contributor.; Lowe, Lisa,contributor.; Madison, D. Soyini,contributor.; Montez, Ricardo,1975-contributor.; Murray, Derek Conrad,contributor.; Musser, Amber Jamilla,contributor.; O'Grady, Lorraine,contributor.; Ochieng' Nyongó, Tavia Amolo,contributor.; Pérez, Roy,contributor.; Phillips, Lisa,1954-writer of foreword.; Prosser, Jay,contributor.; Ramos, Iván A.,contributor.; Rifkin, Mark,1974-contributor.; Robinson, Dylan,contributor.; Sandahl, Carrie,1968-contributor.; Schulman, Sarah,1958-contributor.; Silva, Denise Ferreira da,contributor.; Snorton, C. Riley,editor,contributor.; Spillers, Hortense J.,contributor.; Takemoto, T. T.,contributor.; Vazquez, Alexandra T.,1976-contributor.; Yapp, Hentyle,1980-editor,contributor.; MIT Press,publisher.;
Includes bibliographical references and index."The art world is white. In this volume, contributors from different disciplines and backgrounds discuss race, diversity, and inclusion through the lens of "saturation," in art and across institutions written large. The concept of saturation stems from color theory-for Isaac Newton, the centrality of the color white to his visual theory parallels an understanding of race as its periphery in Western thought. From visual saturation to oversaturation of the bodies of minorities as they have to navigate and exist within institutions, this volume employs saturation as a rubric to ask different questions and to push us to demand more from the ways institutions normatively function and how race has come to be imagined and understood. The essays and conversations are the result of a shared curiosity over why changes in representational practices (some at very early stages of saturation and others leading to oversaturation) have not led to any substantive structural change. Much of this book contends with political economy and racial capital to help grapple with institutional critique. Because of the need to center these questions in time and space, the book is organized in two major sections: 1) The Saturation of Institutional Life: Race, Globality, and the Art Market; and 2) Methods of Racial Matter and Saturation Points. This is the forth volume in the New Museum Critical Anthologies in Art and Culture series. It includes Sarah Haley's essay on the relationship between carceral landscapes and the gendered dimensions of racial capitalism, a conversation between philosophers Denise Ferreira da Silva and Phanuel Antwi moderated by coeditor C. Riley Snorton, about modes for thinking race transnationally and in terms of structures-material, poetic, and affective. In artist Candice Lin's chapter on aesthetics of colonization, she discusses how histories of colonial violence inform her artistic practice. Sarah Schulman highlights the dynamics of navigating the publishing industry as it relates to areas considered "niche" like sexuality, race, and gender. Performance and movement theorist Jasmine Elizabeth Johnson examines the corporeal, visual, and institutional structures that delimit the legibility of the black body, and artist Byron Kim contemplates his practices and methods as they relate to formalism that simultaneously is and is not "about" race"--- Subjects: Art and race.; Art and society.;
- Available copies: 1 / Total copies: 1
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