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Wangechi Mutu

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Image
Published: 01 December 2019
Figure 6. Still from Wangechi Mutu, The End of Carrying All , 2015. Courtesy of the artist, Gladstone Gallery, New York and Brussels, Victoria Miro, London, Susanne Vielmetter Los Angeles Projects. All rights reserved. Figure 6. Still from Wangechi Mutu, The End of Carrying All, 2015 More
Image
Published: 01 December 2019
Figure 7. Still from Wangechi Mutu, The End of Carrying All , 2015. Courtesy of the artist, Gladstone Gallery, New York and Brussels, Victoria Miro, London, Susanne Vielmetter Los Angeles Projects. All rights reserved. Figure 7. Still from Wangechi Mutu, The End of Carrying All, 2015 More
Image
Published: 01 December 2019
Figure 8. Still from Wangechi Mutu, The End of Carrying All , 2015. Courtesy of the artist, Gladstone Gallery, New York and Brussels, Victoria Miro, London, Susanne Vielmetter Los Angeles Projects. All rights reserved. Figure 8. Still from Wangechi Mutu, The End of Carrying All, 2015 More
Journal Article
Critical Times (2019) 2 (3): 416–434.
Published: 01 December 2019
...Figure 6. Still from Wangechi Mutu, The End of Carrying All , 2015. Courtesy of the artist, Gladstone Gallery, New York and Brussels, Victoria Miro, London, Susanne Vielmetter Los Angeles Projects. All rights reserved. Figure 6. Still from Wangechi Mutu, The End of Carrying All, 2015...
Journal Article
Critical Times (2019) 2 (3): 347–352.
Published: 01 December 2019
... trinity of nation/state/territory,” also embodies, practices, and materializes alternate political imaginaries. 7 In “Stateless Memory,” Marianne Hirsch moves from her personal history as a stateless person to visual works by Mirta Kupferminc and Wangechi Mutu that gesture toward counter-national...