1-20 of 110 Search Results for

photo

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Article
Small Axe (2017) 21 (2 (53)): 135–150.
Published: 01 July 2017
Image
Published: 01 November 2015
Figure 1.4. Renée Green, Mise-en-Scène , 1991. Mixed media, dimensions variable. Photo: Bernard Renoux. Courtesy the artist and Free Agent Media Figure 1.4. Renée Green, Mise-en-Scène, 1991. Mixed media, dimensions variable. Photo: Bernard Renoux. Courtesy the artist and Free Agent Media More
Journal Article
Small Axe (2012) 16 (2 (38)): 198–212.
Published: 01 July 2012
...Huey Copeland In this essay, Huey Copeland, taking his cue from artist Glenn Ligon's work on the family photo album, launches a consideration of cultural critic Kobena Mercer's important four-volume series Annotating Art's Histories (2004–8). Copeland argues that these anthologies, a veritable...
Journal Article
Small Axe (2017) 21 (3 (54)): 167–178.
Published: 01 November 2017
... and economic elites almost immediately ran into a crisis in their approach to tackling these legacies in pursuit of development. This crisis expressed itself in several ways, and four are highlighted in a photo exhibition: the Coral Gardens Incident of 1963; the government bulldozing of Back-a-Wall...
Journal Article
Small Axe (2018) 22 (3 (57)): 140–150.
Published: 01 November 2018
...Régine Michelle Jean-Charles This essay takes two images of Haitian girls in Christina Sharpe’s In the Wake: On Blackness and Being as a point of departure to reflect on the iconography of Haitian suffering. It argues that Sharpe’s claim that the Haitian girl in the photo taken in the aftermath of...
Image
Published: 01 July 2015
Stills from movt nr. 4 , Morphis , 2010; performance, two hours. Photos by Olubode Shawn; Brown/BLOOM NYC Stills from movt nr. 4, Morphis, 2010; performance, two hours. Photos by Olubode Shawn; Brown/BLOOM NYC More
Image
Published: 01 March 2015
Brella Krew , from the Fambily series, 2013. Mixed-media, hand-embellished photo tapestry; 78 × 285 in. Collection of 21c Museum Hotel, Louisville. Photo courtesy the artist and Monique Meloche Gallery, Chicago Brella Krew, from the Fambily series, 2013. Mixed-media, hand-embellished photo More
Image
Published: 01 November 2019
Figure 4 The House That Freedom Built project, 2011-present The artist’s studio, Free Gut, St. Croix, 2016. Photo credit Tamia Williams. Figure 4. The artist’s studio, Free Gut, St. Croix, 2016. Photo credit Tamia Williams. More
Image
Published: 01 July 2015
Stills from movt nr. 6 , Notes on Afro-Contemporaneity; Destination Inner Space , 2014; performance, fifteen minutes. Photos by Charl Landvreugd Stills from movt nr. 6, Notes on Afro-Contemporaneity; Destination Inner Space, 2014; performance, fifteen minutes. Photos by Charl Landvreugd More
Image
Published: 01 November 2019
Figure 3 The House That Freedom Built project, 2011-present The artist’s studio, Free Gut, St. Croix, 2011. Photo credit Bernard Castillo. The House That Freedom Built project, 2011-present Figure 3. (above) The artist’s studio, Free Gut, St. Croix, 2011. Photo credit Bernard Castillo. More
Image
Published: 01 March 2015
Untitled Species II , 2010. Mixed media on paper; 66.75 × 50 in. Collection of Eric and Tara Hirshberg, Los Angeles. Photo courtesy of the artist and Monique Meloche Gallery, Chicago Untitled Species II, 2010. Mixed media on paper; 66.75 × 50 in. Collection of Eric and Tara Hirshberg, Los Angeles More
Image
Published: 01 March 2015
Duppy Treez (detail), 2013. Mixed media on paper; 78.5 × 63 in. Collection of Vascovitz Family Collection, Seattle. Photo courtesy of the artist and Monique Meloche Gallery, Chicago Duppy Treez (detail), 2013. Mixed media on paper; 78.5 × 63 in. Collection of Vascovitz Family Collection, Seattle More
Image
Published: 01 July 2020
Figure 1 Graffiti reading, “El desastre es la colonia” (“The disaster is the colony”), on a light meter six months after Hurricane Maria, 9 March 2018. Photograph by Lorie Shaull. Published with Creative Commons License CC BY-SA 2.0, www.flickr.com/photos/number7cloud/25836790197/in/album More
Image
Published: 01 November 2019
Coral stones (left and second from right) found outside the artist’s studio. Courtesy of the artist. Figure 7 ( second from left ). Trading Post , 2015. Coral cut by enslaved Africans encased in Plexiglas, 36 × 18 × 18 in. Photo credit Tamia Williams. Figure 8 ( far right ). Wall Rubbings More
Journal Article
Small Axe (2015) 19 (1 (46)): 123–146.
Published: 01 March 2015
...Brella Krew , from the Fambily series, 2013. Mixed-media, hand-embellished photo tapestry; 78 × 285 in. Collection of 21c Museum Hotel, Louisville. Photo courtesy the artist and Monique Meloche Gallery, Chicago Brella Krew, from the Fambily series, 2013. Mixed-media, hand-embellished photo...
Journal Article
Small Axe (2005) 9 (2): 52–56.
Published: 01 September 2005
...Vladimir Cybil Small Axe Incorporated 2005 When the Saints Go Marching By Vladimir Cybil Fig. 1. (pg. 53) Marassa Andy and Basquiat Fig. 2. (pg. 54) Grande Park Fig. 3. (pg. 55) Baron Miles Fig. 4. (pg. 56) Ogoun X Photo credits: Alex Dumas Small Axe 18, September...
Journal Article
Small Axe (2008) 12 (3 (27)): 53–57.
Published: 01 October 2008
... Benjamin | 57 All the paintings are mixed media on canvas, 30 × 48 inches, from the private collection of Galerie Monnin, Pétionville, Haiti. Photo credit: Marc Lee Steed. The paintings reproduced here were part of an exhibition at Galerie Monnin between 6 and 28...
Journal Article
Small Axe (2009) 13 (2): 135–142.
Published: 01 July 2009
.... Photo cut out, collage installation. Opposite page: Untitled (Royal Cut), 2008...
Journal Article
Small Axe (2015) 19 (2 (47)): 143–166.
Published: 01 July 2015
...Stills from movt nr. 4 , Morphis , 2010; performance, two hours. Photos by Olubode Shawn; Brown/BLOOM NYC Stills from movt nr. 4, Morphis, 2010; performance, two hours. Photos by Olubode Shawn; Brown/BLOOM NYC ...
Journal Article
Small Axe (2005) 9 (2): 104–108.
Published: 01 September 2005
... owers escaped from the body’s torso. More than symbols and meanings, it is the oneiric and the sublime that justify the gesture in these works. Fig. 1. Biennal del Caribe, 2002, Santo Domingo Photo credit: Miguel Gomez [above, left] Fig. 2. La parabole de l’apocalyspe selon...