Record ID | marc_columbia/Columbia-extract-20221130-025.mrc:194334501:3256 |
Source | marc_columbia |
Download Link | /show-records/marc_columbia/Columbia-extract-20221130-025.mrc:194334501:3256?format=raw |
LEADER: 03256cam a2200397Ii 4500
001 12447793
005 20170717134023.0
008 170215t20172017be a c 000 0deng d
019 $a974973297
020 $a9782930487236
020 $a2930487232
035 $a(OCoLC)ocn974871236
035 $a(OCoLC)974871236$z(OCoLC)974973297
035 $a(NNC)12447793
040 $aERASA$beng$erda$cERASA$dZYU$dJPG$dOCLCF
050 4 $aN6496.3.B4$bB78 2017
082 04 $a700.411
245 00 $aMan alive /$ccurated by Wendy White.
264 1 $aBrussels :$bMaruani Mercier Gallery,$c[2017]
264 4 $c©2017
300 $a73 unnumbered pages :$bcolor illustrations ;$c31 cm
336 $astill image$bsti$2rdacontent
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
500 $aCatalog of the exhibition held at Maruani Mercier Gallery, Brussels, Belgium, 12 January-25 February 2017.
520 8 $aJudith Bernstein's paintings of male and female genitalia are, in her words, feminist with a capital F. Pat Steir has pushed the definition of gesture in abstract painting to new levels for nearly five decades. Rosson Crow and Liz Markus merge art and fashion seamlessly in paintings that seem to disembowel canonized painting with raw, expressive candor. Abstract painters Keltie Ferris, Joanne Greenbaum, and Ruth Root aren't looking to embellish the foyer or match the sofa, but rather to consistently redefine the boundaries of taste and propriety. Brenna Youngblood tackles identity by way of the everyday object, pushing tactile surfaces against familiar collaged images. And not every important moment comes at high volume, as evidenced by the eerie cast silicon works of Kaari Upson and the subtle oil paintings of Nathlie Provosty. The figurative painters in 'Man Alive' are leading the charge of redefining canonized subject matter. Jordan Casteel, a keen observer, tells a story of black men's lives that is not often told in portraiture. Marilyn Minter, once shunned by the art world for being too explicit, deals out a warrior's critique of representation and consumption. In Mickalene Thomas's works, black women take the place historically reserved for Western art history's leading men. In the crisp, cinematic, photo-based works of Julia Wachtel, appropriation is near weaponized. The bold, raucous paintings of Nina Chanel Abney approach subjects such as police brutality head-on, turning white, male-dominated art historical tropes inside out and upside down. Wendy White's painting celebrates First Lady Michelle Obama. Rochelle Feinstein highlights the paradox between the viewer's cognitive and visual responses, while Sue Williams uses high-key perversion to fearlessly distill the decorative and the hardcore.
650 0 $aArt, Modern$y21st century$vExhibitions.
650 0 $aWomen artists$vExhibitions.
650 7 $aArt, Modern.$2fast$0(OCoLC)fst00816615
650 7 $aWomen artists.$2fast$0(OCoLC)fst01177159
648 7 $a2000-2099$2fast
655 7 $aExhibition catalogs.$2fast$0(OCoLC)fst01424028
700 1 $aWhite, Wendy,$d1971-$eorganizer.
710 2 $aJablonka Maruani Mercier Gallery,$ehost institution.
852 00 $bfaxlc$hN6496.3.B4$iB78 2017g