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hendrick

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Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 70–79.
Published: 01 November 2016
...Anna Arabindan-Kesson This article explores the uses of portraiture by artists Barkley L. Hendricks and Elizabeth Colomba. First, it examines the ways both artists refigure canonical forms of the genre differently to evoke an understanding of black interiority through the stylization, fashioning...
Journal Article
Nka Journal of Contemporary African Art (1 May 2009) 2009 (24): 16–29.
Published: 01 May 2009
...Trevor Schoonmaker Copyright © 2009 Nka: Journal of Contemporary African Art 2009 Barkley L. Hendricks, Slick (Self-Portrait), 1977. Oil, acrylic, and magna on linen canvas, 67 x 48 1/2 in. Chrysler Museum of Art, Norfolk, VA. Gift of the...
Journal Article
Nka Journal of Contemporary African Art (1 May 2004) 2004 (19): 90.
Published: 01 May 2004
..., though. Besides Barkley Hen• what does Fela have to do with or rigorously demonstrate, within dricks's hagiographic portrait, Barkley Hendricks, Fela: Amen, Amen, visual art...
Journal Article
Nka Journal of Contemporary African Art (1 May 2007) 2007 (21): 90–101.
Published: 01 May 2007
.... Hendricks. Wilson's installation at hip-hop with the opulent artificiality of classical the 2003 Venice Biennale's American pavilion sim• painting, Wiley has openly articulated ambiva• ilarly excavated Western art history—but more lence toward cultural allegiances. Preferring to...
Journal Article
Nka Journal of Contemporary African Art (1 May 1995) 1995 (2): 50–52.
Published: 01 May 1995
... artist (21 were male, 3 were white; one of the three was female) of the 1970s, 1980s and 1990s. Barkley L. Hendricks, George...
Journal Article
Nka Journal of Contemporary African Art (1 May 2002) 2002 (16-17): 95–98.
Published: 01 May 2002
... painting and contined throughout his studies with the Fluxus 2001 exhibition at The Project, a grid of White Drawings (2001) performance artist Geoffrey Hendricks in the late 1970's at the was displayed across from Broken Column (2001), a series of bro• Mason Gross School...
Journal Article
Nka Journal of Contemporary African Art (1 May 2014) 2014 (34): 119–123.
Published: 01 May 2014
... Marshall, ists’ self-­portraits in an essay in progress brush as another implement of resis- One True Thing, Meditations on Black Aesthet- titled “Posing the Black Painter: Barkley tance, another mode of freedom. The ics (Chicago: Museum of Contemporary Art, Hendricks and Kerry James...
Journal Article
Nka Journal of Contemporary African Art (1 May 1999) 1999 (10): 40–45.
Published: 01 May 1999
... ily functions such as defecation with bad and dirty elements of the Hendricks' canvasses in the I970's, albeit in a far more realistic self that must be hidden, suppressed or removed. In his landmark mode. What distinguishes these earlier gestures from Ofili's recy...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 80–89.
Published: 01 November 2016
... spectators through a color scale from the art historical canon. Black artists are often reminiscent of Flemish painting and a figurative sen- framed as particular in terms of the discourses they sitivity to Barkley Hendricks’s famous portraitures. are presenting.34 Her visual protagonists look at us in...
Journal Article
Nka Journal of Contemporary African Art (1 November 1996) 1996 (5): 28–33.
Published: 01 November 1996
... paradigm, the black body acts as medium; the law to entrap his body. Paintings such exhibited as an object for white voyeuristic it is a body that is compelled to perform as Barclay L. Hendricks' North Philly consumption. The Hottentot Venus...