Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.

Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76302 [uid] => 14 [filename] => chambers.jpg [uri] => public://landing-page--decorative-link-image/chambers.jpg [filemime] => image/jpeg [filesize] => 157453 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76303 [uid] => 14 [filename] => thames.jpg [uri] => public://landing-page--decorative-link-image/thames.jpg [filemime] => image/jpeg [filesize] => 176333 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
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[admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76304 [uid] => 14 [filename] => rivero.jpg [uri] => public://landing-page--decorative-link-image/rivero.jpg [filemime] => image/jpeg [filesize] => 127527 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [6] => Array ( [value] => 1139 [revision_id] => 40199 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1139 [revision_id] => 40199 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76308 [uid] => 14 [filename] => beasley_1.jpg [uri] => public://landing-page--decorative-link-image/beasley_1.jpg [filemime] => image/jpeg [filesize] => 49104 [status] => 1 [timestamp] => 1736284823 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kevin Beasley, Red Section III, 2021 Polyurethane Resin, Raw Virginia Cotton, Altered T-shirts, Confetti T-shirts 46 x 55 1/2 x 2 in [alt] => [metadata] => Array ( [height] => 351 [width] => 477 ) [height] => 351 [width] => 477 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kevin Beasley [format] => [safe_value] => Kevin Beasley ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
[format] => filtered_html [safe_value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [7] => Array ( [value] => 1140 [revision_id] => 40200 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1140 [revision_id] => 40200 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76309 [uid] => 14 [filename] => faye_1.jpg [uri] => public://landing-page--decorative-link-image/faye_1.jpg [filemime] => image/jpeg [filesize] => 39389 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Leyla Faye, Tug o’ War, 2020 Ink, Monotype on Paper 8 x 8 in. [alt] => [metadata] => Array ( [height] => 320 [width] => 311 ) [height] => 320 [width] => 311 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Leyla Faye [format] => [safe_value] => Leyla Faye ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [8] => Array ( [value] => 1141 [revision_id] => 40201 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1141 [revision_id] => 40201 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76311 [uid] => 14 [filename] => moore_01.jpg [uri] => public://landing-page--decorative-link-image/moore_01.jpg [filemime] => image/jpeg [filesize] => 288673 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. 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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76315 [uid] => 14 [filename] => jackson_02.jpg [uri] => public://landing-page--decorative-link-image/jackson_02.jpg [filemime] => image/jpeg [filesize] => 26446 [status] => 1 [timestamp] => 1736285717 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tomashi Jackson, 25 McDonaugh Street and Seneca Village Spring, 2019 Oil on Paper [alt] => [metadata] => Array ( [height] => 334 [width] => 496 ) [height] => 334 [width] => 496 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tomashi Jackson [format] => [safe_value] => Tomashi Jackson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. [alt] => [metadata] => Array ( [height] => 710 [width] => 600 ) [height] => 710 [width] => 600 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Torkwase Dyson [format] => [safe_value] => Torkwase Dyson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. 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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Gemstones and Acrylic on Panel, Signed and Dated on Verso 48 x 48 in. 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Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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[alt] => [metadata] => Array ( [height] => 659 [width] => 666 ) [height] => 659 [width] => 666 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Alteronce Gumby [format] => [safe_value] => Alteronce Gumby ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. 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In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76303 [uid] => 14 [filename] => thames.jpg [uri] => public://landing-page--decorative-link-image/thames.jpg [filemime] => image/jpeg [filesize] => 176333 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76304 [uid] => 14 [filename] => rivero.jpg [uri] => public://landing-page--decorative-link-image/rivero.jpg [filemime] => image/jpeg [filesize] => 127527 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [5] => Array ( [value] => 1138 [revision_id] => 40198 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1138 [revision_id] => 40198 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [6] => Array ( [value] => 1139 [revision_id] => 40199 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1139 [revision_id] => 40199 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity 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[admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76308 [uid] => 14 [filename] => beasley_1.jpg [uri] => public://landing-page--decorative-link-image/beasley_1.jpg [filemime] => image/jpeg [filesize] => 49104 [status] => 1 [timestamp] => 1736284823 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kevin Beasley, Red Section III, 2021 Polyurethane Resin, Raw Virginia Cotton, Altered T-shirts, Confetti T-shirts 46 x 55 1/2 x 2 in [alt] => [metadata] => Array ( [height] => 351 [width] => 477 ) [height] => 351 [width] => 477 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kevin Beasley [format] => [safe_value] => Kevin Beasley ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
[format] => filtered_html [safe_value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76309 [uid] => 14 [filename] => faye_1.jpg [uri] => public://landing-page--decorative-link-image/faye_1.jpg [filemime] => image/jpeg [filesize] => 39389 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Leyla Faye, Tug o’ War, 2020 Ink, Monotype on Paper 8 x 8 in. [alt] => [metadata] => Array ( [height] => 320 [width] => 311 ) [height] => 320 [width] => 311 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Leyla Faye [format] => [safe_value] => Leyla Faye ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [8] => Array ( [value] => 1141 [revision_id] => 40201 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1141 [revision_id] => 40201 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76311 [uid] => 14 [filename] => moore_01.jpg [uri] => public://landing-page--decorative-link-image/moore_01.jpg [filemime] => image/jpeg [filesize] => 288673 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. [alt] => [metadata] => Array ( [height] => 596 [width] => 1000 ) [height] => 596 [width] => 1000 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Mario Moore [format] => [safe_value] => Mario Moore ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
[format] => filtered_html [safe_value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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[field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76315 [uid] => 14 [filename] => jackson_02.jpg [uri] => public://landing-page--decorative-link-image/jackson_02.jpg [filemime] => image/jpeg [filesize] => 26446 [status] => 1 [timestamp] => 1736285717 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tomashi Jackson, 25 McDonaugh Street and Seneca Village Spring, 2019 Oil on Paper [alt] => [metadata] => Array ( [height] => 334 [width] => 496 ) [height] => 334 [width] => 496 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tomashi Jackson [format] => [safe_value] => Tomashi Jackson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76316 [uid] => 14 [filename] => dyson.jpg [uri] => public://landing-page--decorative-link-image/dyson.jpg [filemime] => image/jpeg [filesize] => 89937 [status] => 1 [timestamp] => 1736286170 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Torkwase Dyson, Overall Form #1 (Bird and Lava), 2020 Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. [alt] => [metadata] => Array ( [height] => 710 [width] => 600 ) [height] => 710 [width] => 600 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Torkwase Dyson [format] => [safe_value] => Torkwase Dyson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
[format] => filtered_html [safe_value] =>
Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76321 [uid] => 14 [filename] => spann_1.jpg [uri] => public://landing-page--decorative-link-image/spann_1.jpg [filemime] => image/jpeg [filesize] => 815643 [status] => 1 [timestamp] => 1736286746 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Vaughn Spann, Cosmic Symbiote (Marked Man), 2020 Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. [alt] => [metadata] => Array ( [height] => 897 [width] => 900 ) [height] => 897 [width] => 900 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Vaughn Spann [format] => [safe_value] => Vaughn Spann ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
[format] => filtered_html [safe_value] =>
Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => 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) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76300 [uid] => 14 [filename] => gumby-1.jpg [uri] => public://landing-page--decorative-link-image/gumby-1.jpg [filemime] => image/jpeg [filesize] => 142151 [status] => 1 [timestamp] => 1736283240 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Alteronce Gumby, Van Gogh’s Sunflowers, 2023 Glass, Gemstones and Acrylic on Panel, Signed and Dated on Verso 48 x 48 in. [alt] => [metadata] => Array ( [height] => 659 [width] => 666 ) [height] => 659 [width] => 666 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Alteronce Gumby [format] => [safe_value] => Alteronce Gumby ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76301 [uid] => 14 [filename] => hendricks.jpg [uri] => public://landing-page--decorative-link-image/hendricks.jpg [filemime] => image/jpeg [filesize] => 105994 [status] => 1 [timestamp] => 1736283452 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Barkley L. Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76303 [uid] => 14 [filename] => thames.jpg [uri] => public://landing-page--decorative-link-image/thames.jpg [filemime] => image/jpeg [filesize] => 176333 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [4] => Array ( [value] => 1137 [revision_id] => 40197 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1137 [revision_id] => 40197 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity 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[field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76304 [uid] => 14 [filename] => rivero.jpg [uri] => public://landing-page--decorative-link-image/rivero.jpg [filemime] => image/jpeg [filesize] => 127527 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [5] => Array ( [value] => 1138 [revision_id] => 40198 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1138 [revision_id] => 40198 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [6] => Array ( [value] => 1139 [revision_id] => 40199 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1139 [revision_id] => 40199 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76308 [uid] => 14 [filename] => beasley_1.jpg [uri] => public://landing-page--decorative-link-image/beasley_1.jpg [filemime] => image/jpeg [filesize] => 49104 [status] => 1 [timestamp] => 1736284823 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kevin Beasley, Red Section III, 2021 Polyurethane Resin, Raw Virginia Cotton, Altered T-shirts, Confetti T-shirts 46 x 55 1/2 x 2 in [alt] => [metadata] => Array ( [height] => 351 [width] => 477 ) [height] => 351 [width] => 477 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kevin Beasley [format] => [safe_value] => Kevin Beasley ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
[format] => filtered_html [safe_value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [7] => Array ( [value] => 1140 [revision_id] => 40200 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1140 [revision_id] => 40200 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity 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[field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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in. 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Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) 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[admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76311 [uid] => 14 [filename] => moore_01.jpg [uri] => public://landing-page--decorative-link-image/moore_01.jpg [filemime] => image/jpeg [filesize] => 288673 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. [alt] => [metadata] => Array ( [height] => 596 [width] => 1000 ) [height] => 596 [width] => 1000 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Mario Moore [format] => [safe_value] => Mario Moore ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
[format] => filtered_html [safe_value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
[format] => filtered_html [safe_value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76316 [uid] => 14 [filename] => dyson.jpg [uri] => public://landing-page--decorative-link-image/dyson.jpg [filemime] => image/jpeg [filesize] => 89937 [status] => 1 [timestamp] => 1736286170 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Torkwase Dyson, Overall Form #1 (Bird and Lava), 2020 Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. 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Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76321 [uid] => 14 [filename] => spann_1.jpg [uri] => public://landing-page--decorative-link-image/spann_1.jpg [filemime] => image/jpeg [filesize] => 815643 [status] => 1 [timestamp] => 1736286746 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Vaughn Spann, Cosmic Symbiote (Marked Man), 2020 Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. [alt] => [metadata] => Array ( [height] => 897 [width] => 900 ) [height] => 897 [width] => 900 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Vaughn Spann [format] => [safe_value] => Vaughn Spann ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76302 [uid] => 14 [filename] => chambers.jpg [uri] => public://landing-page--decorative-link-image/chambers.jpg [filemime] => image/jpeg [filesize] => 157453 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. 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In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [6] => Array ( [value] => 1139 [revision_id] => 40199 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1139 [revision_id] => 40199 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76308 [uid] => 14 [filename] => beasley_1.jpg [uri] => public://landing-page--decorative-link-image/beasley_1.jpg [filemime] => image/jpeg [filesize] => 49104 [status] => 1 [timestamp] => 1736284823 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kevin Beasley, Red Section III, 2021 Polyurethane Resin, Raw Virginia Cotton, Altered T-shirts, Confetti T-shirts 46 x 55 1/2 x 2 in [alt] => [metadata] => Array ( [height] => 351 [width] => 477 ) [height] => 351 [width] => 477 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kevin Beasley [format] => [safe_value] => Kevin Beasley ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
[format] => filtered_html [safe_value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [7] => Array ( [value] => 1140 [revision_id] => 40200 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1140 [revision_id] => 40200 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76309 [uid] => 14 [filename] => faye_1.jpg [uri] => public://landing-page--decorative-link-image/faye_1.jpg [filemime] => image/jpeg [filesize] => 39389 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Leyla Faye, Tug o’ War, 2020 Ink, Monotype on Paper 8 x 8 in. [alt] => [metadata] => Array ( [height] => 320 [width] => 311 ) [height] => 320 [width] => 311 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Leyla Faye [format] => [safe_value] => Leyla Faye ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [8] => Array ( [value] => 1141 [revision_id] => 40201 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1141 [revision_id] => 40201 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76311 [uid] => 14 [filename] => moore_01.jpg [uri] => public://landing-page--decorative-link-image/moore_01.jpg [filemime] => image/jpeg [filesize] => 288673 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. 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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76315 [uid] => 14 [filename] => jackson_02.jpg [uri] => public://landing-page--decorative-link-image/jackson_02.jpg [filemime] => image/jpeg [filesize] => 26446 [status] => 1 [timestamp] => 1736285717 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tomashi Jackson, 25 McDonaugh Street and Seneca Village Spring, 2019 Oil on Paper [alt] => [metadata] => Array ( [height] => 334 [width] => 496 ) [height] => 334 [width] => 496 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tomashi Jackson [format] => [safe_value] => Tomashi Jackson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. [alt] => [metadata] => Array ( [height] => 710 [width] => 600 ) [height] => 710 [width] => 600 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Torkwase Dyson [format] => [safe_value] => Torkwase Dyson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. 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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. 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The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
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“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Barkley L. Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
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Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [3] => Array ( [value] => 1136 [revision_id] => 40196 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => ParagraphsItemEntity Object *RECURSION* [hostEntityId:protected] => 1278 [hostEntityRevisionId:protected] => [hostEntityType:protected] => paragraphs_item [langcode:protected] => und [item_id] => 1136 [revision_id] => 40196 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76303 [uid] => 14 [filename] => thames.jpg [uri] => public://landing-page--decorative-link-image/thames.jpg [filemime] => image/jpeg [filesize] => 176333 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [4] => Array ( [value] => 1137 [revision_id] => 40197 [field_collection] => FieldCollectionItemEntity Object *RECURSION* ) [5] => Array ( [value] => 1138 [revision_id] => 40198 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1138 [revision_id] => 40198 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [6] => Array ( [value] => 1139 [revision_id] => 40199 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1139 [revision_id] => 40199 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) 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[admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76308 [uid] => 14 [filename] => beasley_1.jpg [uri] => public://landing-page--decorative-link-image/beasley_1.jpg [filemime] => image/jpeg [filesize] => 49104 [status] => 1 [timestamp] => 1736284823 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kevin Beasley, Red Section III, 2021 Polyurethane Resin, Raw Virginia Cotton, Altered T-shirts, Confetti T-shirts 46 x 55 1/2 x 2 in [alt] => [metadata] => Array ( [height] => 351 [width] => 477 ) [height] => 351 [width] => 477 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kevin Beasley [format] => [safe_value] => Kevin Beasley ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
[format] => filtered_html [safe_value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76309 [uid] => 14 [filename] => faye_1.jpg [uri] => public://landing-page--decorative-link-image/faye_1.jpg [filemime] => image/jpeg [filesize] => 39389 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Leyla Faye, Tug o’ War, 2020 Ink, Monotype on Paper 8 x 8 in. [alt] => [metadata] => Array ( [height] => 320 [width] => 311 ) [height] => 320 [width] => 311 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Leyla Faye [format] => [safe_value] => Leyla Faye ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76311 [uid] => 14 [filename] => moore_01.jpg [uri] => public://landing-page--decorative-link-image/moore_01.jpg [filemime] => image/jpeg [filesize] => 288673 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. [alt] => [metadata] => Array ( [height] => 596 [width] => 1000 ) [height] => 596 [width] => 1000 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Mario Moore [format] => [safe_value] => Mario Moore ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
[format] => filtered_html [safe_value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76316 [uid] => 14 [filename] => dyson.jpg [uri] => public://landing-page--decorative-link-image/dyson.jpg [filemime] => image/jpeg [filesize] => 89937 [status] => 1 [timestamp] => 1736286170 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Torkwase Dyson, Overall Form #1 (Bird and Lava), 2020 Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. [alt] => [metadata] => Array ( [height] => 710 [width] => 600 ) [height] => 710 [width] => 600 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Torkwase Dyson [format] => [safe_value] => Torkwase Dyson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
[format] => filtered_html [safe_value] =>
Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76321 [uid] => 14 [filename] => spann_1.jpg [uri] => public://landing-page--decorative-link-image/spann_1.jpg [filemime] => image/jpeg [filesize] => 815643 [status] => 1 [timestamp] => 1736286746 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Vaughn Spann, Cosmic Symbiote (Marked Man), 2020 Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. [alt] => [metadata] => Array ( [height] => 897 [width] => 900 ) [height] => 897 [width] => 900 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Vaughn Spann [format] => [safe_value] => Vaughn Spann ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
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—Kenny Rivero
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Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76300 [uid] => 14 [filename] => gumby-1.jpg [uri] => public://landing-page--decorative-link-image/gumby-1.jpg [filemime] => image/jpeg [filesize] => 142151 [status] => 1 [timestamp] => 1736283240 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Alteronce Gumby, Van Gogh’s Sunflowers, 2023 Glass, Gemstones and Acrylic on Panel, Signed and Dated on Verso 48 x 48 in. [alt] => [metadata] => Array ( [height] => 659 [width] => 666 ) [height] => 659 [width] => 666 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Alteronce Gumby [format] => [safe_value] => Alteronce Gumby ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76301 [uid] => 14 [filename] => hendricks.jpg [uri] => public://landing-page--decorative-link-image/hendricks.jpg [filemime] => image/jpeg [filesize] => 105994 [status] => 1 [timestamp] => 1736283452 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Barkley L. Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76302 [uid] => 14 [filename] => chambers.jpg [uri] => public://landing-page--decorative-link-image/chambers.jpg [filemime] => image/jpeg [filesize] => 157453 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76303 [uid] => 14 [filename] => thames.jpg [uri] => public://landing-page--decorative-link-image/thames.jpg [filemime] => image/jpeg [filesize] => 176333 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [4] => Array ( [value] => 1137 [revision_id] => 40197 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => ParagraphsItemEntity Object *RECURSION* [hostEntityId:protected] => 1278 [hostEntityRevisionId:protected] => [hostEntityType:protected] => paragraphs_item [langcode:protected] => und [item_id] => 1137 [revision_id] => 40197 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76304 [uid] => 14 [filename] => rivero.jpg [uri] => public://landing-page--decorative-link-image/rivero.jpg [filemime] => image/jpeg [filesize] => 127527 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [5] => Array ( [value] => 1138 [revision_id] => 40198 [field_collection] => FieldCollectionItemEntity Object *RECURSION* ) [6] => Array ( [value] => 1139 [revision_id] => 40199 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1139 [revision_id] => 40199 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76308 [uid] => 14 [filename] => beasley_1.jpg [uri] => public://landing-page--decorative-link-image/beasley_1.jpg [filemime] => image/jpeg [filesize] => 49104 [status] => 1 [timestamp] => 1736284823 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kevin Beasley, Red Section III, 2021 Polyurethane Resin, Raw Virginia Cotton, Altered T-shirts, Confetti T-shirts 46 x 55 1/2 x 2 in [alt] => [metadata] => Array ( [height] => 351 [width] => 477 ) [height] => 351 [width] => 477 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kevin Beasley [format] => [safe_value] => Kevin Beasley ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
[format] => filtered_html [safe_value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
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[field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item 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in. 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Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) 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[admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76311 [uid] => 14 [filename] => moore_01.jpg [uri] => public://landing-page--decorative-link-image/moore_01.jpg [filemime] => image/jpeg [filesize] => 288673 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. [alt] => [metadata] => Array ( [height] => 596 [width] => 1000 ) [height] => 596 [width] => 1000 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Mario Moore [format] => [safe_value] => Mario Moore ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
[format] => filtered_html [safe_value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
[format] => filtered_html [safe_value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76316 [uid] => 14 [filename] => dyson.jpg [uri] => public://landing-page--decorative-link-image/dyson.jpg [filemime] => image/jpeg [filesize] => 89937 [status] => 1 [timestamp] => 1736286170 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Torkwase Dyson, Overall Form #1 (Bird and Lava), 2020 Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. [alt] => [metadata] => Array ( [height] => 710 [width] => 600 ) [height] => 710 [width] => 600 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Torkwase Dyson [format] => [safe_value] => Torkwase Dyson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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[field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76321 [uid] => 14 [filename] => spann_1.jpg [uri] => public://landing-page--decorative-link-image/spann_1.jpg [filemime] => image/jpeg [filesize] => 815643 [status] => 1 [timestamp] => 1736286746 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Vaughn Spann, Cosmic Symbiote (Marked Man), 2020 Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. [alt] => [metadata] => Array ( [height] => 897 [width] => 900 ) [height] => 897 [width] => 900 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Vaughn Spann [format] => [safe_value] => Vaughn Spann ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
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Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
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)Kenturah Davis
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Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
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(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Barkley L. Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76303 [uid] => 14 [filename] => thames.jpg [uri] => public://landing-page--decorative-link-image/thames.jpg [filemime] => image/jpeg [filesize] => 176333 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
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[field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76304 [uid] => 14 [filename] => rivero.jpg [uri] => public://landing-page--decorative-link-image/rivero.jpg [filemime] => image/jpeg [filesize] => 127527 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [5] => Array ( [value] => 1138 [revision_id] => 40198 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => ParagraphsItemEntity Object *RECURSION* [hostEntityId:protected] => 1278 [hostEntityRevisionId:protected] => [hostEntityType:protected] => paragraphs_item [langcode:protected] => und [item_id] => 1138 [revision_id] => 40198 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [6] => Array ( [value] => 1139 [revision_id] => 40199 [field_collection] => FieldCollectionItemEntity Object *RECURSION* ) [7] => Array ( [value] => 1140 [revision_id] => 40200 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1140 [revision_id] => 40200 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76309 [uid] => 14 [filename] => faye_1.jpg [uri] => public://landing-page--decorative-link-image/faye_1.jpg [filemime] => image/jpeg [filesize] => 39389 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Leyla Faye, Tug o’ War, 2020 Ink, Monotype on Paper 8 x 8 in. [alt] => [metadata] => Array ( [height] => 320 [width] => 311 ) [height] => 320 [width] => 311 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Leyla Faye [format] => [safe_value] => Leyla Faye ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item 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60 in. 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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. 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Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76321 [uid] => 14 [filename] => spann_1.jpg [uri] => public://landing-page--decorative-link-image/spann_1.jpg [filemime] => image/jpeg [filesize] => 815643 [status] => 1 [timestamp] => 1736286746 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Vaughn Spann, Cosmic Symbiote (Marked Man), 2020 Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. 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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
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Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
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)Kevin Beasley
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Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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[alt] => [metadata] => Array ( [height] => 659 [width] => 666 ) [height] => 659 [width] => 666 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Alteronce Gumby [format] => [safe_value] => Alteronce Gumby ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Barkley L. Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
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path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
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field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76308 [uid] => 14 [filename] => beasley_1.jpg [uri] => public://landing-page--decorative-link-image/beasley_1.jpg [filemime] => image/jpeg [filesize] => 49104 [status] => 1 [timestamp] => 1736284823 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kevin Beasley, Red Section III, 2021 Polyurethane Resin, Raw Virginia Cotton, Altered T-shirts, Confetti T-shirts 46 x 55 1/2 x 2 in [alt] => [metadata] => Array ( [height] => 351 [width] => 477 ) [height] => 351 [width] => 477 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kevin Beasley [format] => [safe_value] => Kevin Beasley ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
[format] => filtered_html [safe_value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
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table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76311 [uid] => 14 [filename] => moore_01.jpg [uri] => public://landing-page--decorative-link-image/moore_01.jpg [filemime] => image/jpeg [filesize] => 288673 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. [alt] => [metadata] => Array ( [height] => 596 [width] => 1000 ) [height] => 596 [width] => 1000 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Mario Moore [format] => [safe_value] => Mario Moore ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
[format] => filtered_html [safe_value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76315 [uid] => 14 [filename] => jackson_02.jpg [uri] => public://landing-page--decorative-link-image/jackson_02.jpg [filemime] => image/jpeg [filesize] => 26446 [status] => 1 [timestamp] => 1736285717 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tomashi Jackson, 25 McDonaugh Street and Seneca 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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
[format] => filtered_html [safe_value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76316 [uid] => 14 [filename] => dyson.jpg [uri] => public://landing-page--decorative-link-image/dyson.jpg [filemime] => image/jpeg [filesize] => 89937 [status] => 1 [timestamp] => 1736286170 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Torkwase Dyson, Overall Form #1 (Bird and Lava), 2020 Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. [alt] => [metadata] => Array ( [height] => 710 [width] => 600 ) [height] => 710 [width] => 600 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Torkwase Dyson [format] => [safe_value] => Torkwase Dyson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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[admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
[format] => filtered_html [safe_value] =>
Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. 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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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[alt] => [metadata] => Array ( [height] => 659 [width] => 666 ) [height] => 659 [width] => 666 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Alteronce Gumby [format] => [safe_value] => Alteronce Gumby ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Barkley L. Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76303 [uid] => 14 [filename] => thames.jpg [uri] => public://landing-page--decorative-link-image/thames.jpg [filemime] => image/jpeg [filesize] => 176333 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76304 [uid] => 14 [filename] => rivero.jpg [uri] => public://landing-page--decorative-link-image/rivero.jpg [filemime] => image/jpeg [filesize] => 127527 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
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path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
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Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
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Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Leyla Faye, Tug o’ War, 2020 Ink, Monotype on Paper 8 x 8 in. 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Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tomashi Jackson, 25 McDonaugh Street and Seneca Village Spring, 2019 Oil on Paper [alt] => [metadata] => Array ( [height] => 334 [width] => 496 ) [height] => 334 [width] => 496 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tomashi Jackson [format] => [safe_value] => Tomashi Jackson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76316 [uid] => 14 [filename] => dyson.jpg [uri] => public://landing-page--decorative-link-image/dyson.jpg [filemime] => image/jpeg [filesize] => 89937 [status] => 1 [timestamp] => 1736286170 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Torkwase Dyson, Overall Form #1 (Bird and Lava), 2020 Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. [alt] => [metadata] => Array ( [height] => 710 [width] => 600 ) [height] => 710 [width] => 600 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Torkwase Dyson [format] => [safe_value] => Torkwase Dyson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [11] => Array ( [value] => 1144 [revision_id] => 40204 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1144 [revision_id] => 40204 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity 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[admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
[format] => filtered_html [safe_value] =>
Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [12] => Array ( [value] => 1145 [revision_id] => 40205 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1145 [revision_id] => 40205 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76321 [uid] => 14 [filename] => spann_1.jpg [uri] => public://landing-page--decorative-link-image/spann_1.jpg [filemime] => image/jpeg [filesize] => 815643 [status] => 1 [timestamp] => 1736286746 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Vaughn Spann, Cosmic Symbiote (Marked Man), 2020 Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. [alt] => [metadata] => Array ( [height] => 897 [width] => 900 ) [height] => 897 [width] => 900 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Vaughn Spann [format] => [safe_value] => Vaughn Spann ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
[format] => filtered_html [safe_value] =>
Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) ) ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) [hostEntityId:protected] => 1278 [hostEntityRevisionId:protected] => [hostEntityType:protected] => paragraphs_item [langcode:protected] => und [item_id] => 1141 [revision_id] => 40201 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array 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varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76311 [uid] => 14 [filename] => moore_01.jpg [uri] => public://landing-page--decorative-link-image/moore_01.jpg [filemime] => image/jpeg [filesize] => 288673 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. 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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76300 [uid] => 14 [filename] => gumby-1.jpg [uri] => public://landing-page--decorative-link-image/gumby-1.jpg [filemime] => image/jpeg [filesize] => 142151 [status] => 1 [timestamp] => 1736283240 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Alteronce Gumby, Van Gogh’s Sunflowers, 2023 Glass, Gemstones and Acrylic on Panel, Signed and Dated on Verso 48 x 48 in. [alt] => [metadata] => Array ( [height] => 659 [width] => 666 ) [height] => 659 [width] => 666 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Alteronce Gumby [format] => [safe_value] => Alteronce Gumby ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Barkley L. Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76303 [uid] => 14 [filename] => thames.jpg [uri] => public://landing-page--decorative-link-image/thames.jpg [filemime] => image/jpeg [filesize] => 176333 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kevin Beasley, Red Section III, 2021 Polyurethane Resin, Raw Virginia Cotton, Altered T-shirts, Confetti T-shirts 46 x 55 1/2 x 2 in [alt] => [metadata] => Array ( [height] => 351 [width] => 477 ) [height] => 351 [width] => 477 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kevin Beasley [format] => [safe_value] => Kevin Beasley ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
[format] => filtered_html [safe_value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
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path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Leyla Faye, Tug o’ War, 2020 Ink, Monotype on Paper 8 x 8 in. 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Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76311 [uid] => 14 [filename] => moore_01.jpg [uri] => public://landing-page--decorative-link-image/moore_01.jpg [filemime] => image/jpeg [filesize] => 288673 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. [alt] => [metadata] => Array ( [height] => 596 [width] => 1000 ) [height] => 596 [width] => 1000 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Mario Moore [format] => [safe_value] => Mario Moore ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
[format] => filtered_html [safe_value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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[base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-testimonial-carousel [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_gold_accent_grid_item] => Array ( [label] => Field collection field_gold_accent_grid_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-gold-accent-grid-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_number_blocks] => Array ( [label] => Field collection field_number_blocks [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-number-blocks [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76316 [uid] => 14 [filename] => dyson.jpg [uri] => public://landing-page--decorative-link-image/dyson.jpg [filemime] => image/jpeg [filesize] => 89937 [status] => 1 [timestamp] => 1736286170 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Torkwase Dyson, Overall Form #1 (Bird and Lava), 2020 Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. [alt] => [metadata] => Array ( [height] => 710 [width] => 600 ) [height] => 710 [width] => 600 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Torkwase Dyson [format] => [safe_value] => Torkwase Dyson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
[format] => filtered_html [safe_value] =>Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
) ) ) [field_decorative_link] => Array ( ) [field_heading_level] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [entity_view_prepared] => 1 ) ) [11] => Array ( [value] => 1144 [revision_id] => 40204 [field_collection] => FieldCollectionItemEntity Object ( [fieldInfo:protected] => [hostEntity:protected] => [hostEntityId:protected] => [hostEntityRevisionId:protected] => [hostEntityType:protected] => [langcode:protected] => und [item_id] => 1144 [revision_id] => 40204 [field_name] => field_decorative_link_items [default_revision] => 1 [archived] => 0 [entityType:protected] => field_collection_item [entityInfo:protected] => Array ( [label] => Field collection item [label callback] => entity_class_label [uri callback] => entity_class_uri [entity class] => FieldCollectionItemEntity [controller class] => EntityAPIController [base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity 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Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. 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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Village Spring, 2019 Oil on Paper [alt] => [metadata] => Array ( [height] => 334 [width] => 496 ) [height] => 334 [width] => 496 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tomashi Jackson [format] => [safe_value] => Tomashi Jackson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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)Tomashi Jackson
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Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
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(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Barkley L. Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Felandus Thames, Charlie, Charlee, Charlae, 201 9Edition 1/1 Two Color Photolithography, Hand Flocked Green Interference, ArchivalInkjet, Hand-Embellished Sal Application on Magnni Pescia Grey Paper 15 x 22 in. [alt] => [metadata] => Array ( [height] => 845 [width] => 640 ) [height] => 845 [width] => 640 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Felandus Thames [format] => [safe_value] => Felandus Thames ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
[format] => filtered_html [safe_value] =>The passage of race through time forms the dazzling core of Felandus Thames’s art. His work tries to absorb the bits and pieces of quotidian life—the detritus that remains from the passing of historical time. The historical transformation of racial representation is accordingly the subject of Thames’s passionate contemplation. Thames traces the historical iterations of racial representation in everyday life.
Thames’s art performs an important symbolic act. His works, or rather, his repeating lips, eloquently voice the racial questions of our times. What, for instance, is the visual language of race after the age of civil rights, or racial representation in the time of Obama? Is there such a thing as post-racial art? If so, what does it look like? How does one visualize race when the concept itself has, in some instances, become banal and virtual? That is, how does one represent race today when no single image proves equal to the power and coherence of, say, the slave ship? Thames’s art provides us with a good place to start because it compels us to be creative in grasping the slippages of racial representation across time. About such matters Thames certainly shows himself, even this early in his career, to be an old master full of new tricks.
—Charlie Samuya Veric
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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76304 [uid] => 14 [filename] => rivero.jpg [uri] => public://landing-page--decorative-link-image/rivero.jpg [filemime] => image/jpeg [filesize] => 127527 [status] => 1 [timestamp] => 1736284325 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenny Rivero, Swimming in the Babel, 2020, Oil on Canvas Stretched Over Panel, 8 x 10 in. [alt] => [metadata] => Array ( [height] => 605 [width] => 750 ) [height] => 605 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenny Rivero [format] => [safe_value] => Kenny Rivero ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
[format] => filtered_html [safe_value] =>“Faith has always been a comforting way to ‘prepare for dying,’ as a way to cope with that perpetual fear. The work often references a parallel world that may be the after life—it’s almost dreamlike, combining so many aspects of my life and subconscious. The scenes are loosely familiar but feel like something is ‘off’ and not quite realistic. The more mystical aspects of my own spiritual practice are where my faith comes into the paintings. In my community growing up, my aunt was a well-known reader of Barajas, a Tarot-like divination tool that uses a Spanish card deck, where you can communicate with the ancestors. The work speaks directly to that, knowing that I’m part of a legacy that has an ability to connect with spiritual energies.”
—Kenny Rivero
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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76305 [uid] => 14 [filename] => davis_1.jpg [uri] => public://landing-page--decorative-link-image/davis_1.jpg [filemime] => image/jpeg [filesize] => 51177 [status] => 1 [timestamp] => 1736284604 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kenturah Davis TXME II- clr- K suite, 2021 UV Ink Print, Chine Colle on Kozo Paper 19 x 19 1/2 in. [alt] => [metadata] => Array ( [height] => 500 [width] => 500 ) [height] => 500 [width] => 500 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kenturah Davis [format] => [safe_value] => Kenturah Davis ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
[format] => filtered_html [safe_value] =>
Fundamental to my interest in portraiture is a manner of approaching portraits as vessels capable of carrying and projecting meaning. Rather than paint images, however, I write them, inscribing the histories that entangle us. The repetition and layering of text to the point of illegibility signals the complexities of how we absorb and embody ideas conveyed through language. Understanding that language interferes as much as it aids us in shaping our perceptions, I’ve followed the path of the written line to a woven one to further my investigation outside of figuration. Unconventional looms and other structures incorporate forms and materials that suggest, and occasionally embody, a liminal space. I make forms that blur distinctions like movement and stillness, opacity and transparency, and levity and gravity. While remaining committed to portraiture, my expanding sculptural practice finds strategies outside figuration to explore concepts around the mysterious, the illegible, and the space of things at the edge of perception.
—Kenturah Davis
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path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Kevin Beasley, Red Section III, 2021 Polyurethane Resin, Raw Virginia Cotton, Altered T-shirts, Confetti T-shirts 46 x 55 1/2 x 2 in [alt] => [metadata] => Array ( [height] => 351 [width] => 477 ) [height] => 351 [width] => 477 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Kevin Beasley [format] => [safe_value] => Kevin Beasley ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am," Kevin Beasley says, "it’s all because there is a context for those materials.”
[format] => filtered_html [safe_value] =>
Kevin Beasley creates sculptures and installations made from found materials, personal artifacts, and cultural ephemera. The use of resin helps to bring form to these materials, creating shapes similar to the bodies that might have once inhabited them as a way to preserve memory and highlight their personal and cultural meaning. His pieces explore themes of power, labor, Black identity, and family. The work invites viewers to explore conversations on culture, politics, and history while reflecting on the deeply personal nature of the materials to bring humanity to the forefront.
“As materially oriented as I am,” Kevin Beasley says, “it’s all because there is a context for those materials.”
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path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76309 [uid] => 14 [filename] => faye_1.jpg [uri] => public://landing-page--decorative-link-image/faye_1.jpg [filemime] => image/jpeg [filesize] => 39389 [status] => 1 [timestamp] => 1736285463 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Leyla Faye, Tug o’ War, 2020 Ink, Monotype on Paper 8 x 8 in. [alt] => [metadata] => Array ( [height] => 320 [width] => 311 ) [height] => 320 [width] => 311 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Leyla Faye [format] => [safe_value] => Leyla Faye ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
[format] => filtered_html [safe_value] =>
Faye’s Tug o’ War introduces voluminous figures, molded in strength. Black ink and white negative space compete for balance within the confines of Faye’s composition. Faye’s technique illuminates an account of social discourse. Movement under the constraints of limited space gives way to the push-and-pull of fingers, hands, and arms. An emotional discomfort permeates this elegantly impactful scene.
Faye’s interest in realism coupled with her exploration of varying aesthetic styles help to shape surrealist qualities in her figuration as she explores themes of authenticity and belonging.
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path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) 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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Mario Moore, Joy and Pain, 2019, Oil on Linen 36 x 60 in. 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Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
[format] => filtered_html [safe_value] =>
Joy and Pain is a painting of Moore’s nephew. As he created the work, he notes the unequivocal conflict, teetering between a desire for his nephew to experience a childhood with excitement and joy while privy to the unavoidable suffering he will undoubtedly face at the hands of a society rooted in deep patterns of traumatizing the Black body. The police car in the background of Moore’s composition highlights a reality for many: they are ever present and always looking.
“Joy and Pain deliberately is thinking about Black boys’ lives and Black people’s lives and how you can exist in one body having happiness and giddiness and being a child with hopes and goals, the beauty of life and aspirations, but at the same time in that same body, you have to deal with that trauma you are alerted usually at a very young age and as a young boy.”
—Mario Moore
An image of a photograph of the artist’s great uncle, a soldier in the Civil War after being enslaved in his youth, is prominently displayed in the center of the composition. It leans against the iconic DC comic book featuring the battle between Superman and Muhammad Ali with Batman and a host of 1970s celebrities within the crowd. Off-centered, we see the artist himself in the reflection of the gold rimmed vanity mirror, his gaze off site, guiding viewers to the movement of the burning incense above. Viewers are brought back to the composition by way of the Will that freed Moore’s family from slavery, bound to the table from the weight of a silver watch to mark the importance of time. Moore completes his still life with a bowl of water, which serves as a pathway between two worlds. The water’s stillness, shaped by the folds of the 6th Unit United States Cavalry flag, binds each element in unity. Moore’s work reflects dual histories within one frame, exploring a complex personal narrative of two worlds where recognition of the past is essential to moving forward.
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field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76315 [uid] => 14 [filename] => jackson_02.jpg [uri] => public://landing-page--decorative-link-image/jackson_02.jpg [filemime] => image/jpeg [filesize] => 26446 [status] => 1 [timestamp] => 1736285717 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tomashi Jackson, 25 McDonaugh Street and Seneca Village Spring, 2019 Oil on Paper [alt] => [metadata] => Array ( [height] => 334 [width] => 496 ) [height] => 334 [width] => 496 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tomashi Jackson [format] => [safe_value] => Tomashi Jackson ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
[format] => filtered_html [safe_value] =>
Balancing her artistic practice with research, Jackson creates work on the stories of displacement and dispossession, particularly within Black and Brown communities in New York. Inspired by the investigative journalism of Stephen Witt and Kelly Mena, Jackson brings further light to the Third-Party Transfer program, a system used to justify sudden foreclosures of properties that have been fully paid for. Jackson’s research-based practice investigates historical and present-day disenfranchisement. Using archival references, Jackson tells the story of the 1955 Brown v. Board of Education II Supreme Court decision that ordered the integration of schools “with all deliberate speed,” a year after Brown v. Board of Education declared segregation unconstitutional. Wake Up Everybody illustrates the account of Brown II and its legacy. Diagonal maroon and lime hues intersect with delicate urgency as they make space for the horizontal and vertically connected lines beneath them. Connectivity and strength feel prevalent in the construction of Jackson’s work as much as geometry and abstraction do.
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[base table] => field_collection_item [revision table] => field_collection_item_revision [fieldable] => 1 [redirect] => [entity keys] => Array ( [id] => item_id [revision] => revision_id [bundle] => field_name ) [module] => field_collection [view modes] => Array ( [full] => Array ( [label] => Full content [custom settings] => ) [ical] => Array ( [label] => iCal [custom settings] => ) [diff_standard] => Array ( [label] => Revision comparison [custom settings] => ) [token] => Array ( [label] => Tokens [custom settings] => ) ) [access callback] => field_collection_item_access [deletion callback] => field_collection_item_delete [metadata controller class] => FieldCollectionItemMetadataController [translation] => Array ( [entity_translation] => Array ( [class] => EntityTranslationFieldCollectionItemHandler [base path] => field-collection/field-decorative-link-items/%field_collection_item [path wildcard] => %field_collection_item [default_scheme] => field_decorative_link_items [path schemes] => Array ( [field_manual_link_item] => Array ( [base path] => field-collection/field-manual-link-item/%field_collection_item ) [field_home_page_identity_images] => Array ( [base path] => field-collection/field-home-page-identity-images/%field_collection_item ) [field_testimonial_carousel] => Array ( [base path] => field-collection/field-testimonial-carousel/%field_collection_item ) [field_gold_accent_grid_item] => Array ( [base path] => field-collection/field-gold-accent-grid-item/%field_collection_item ) [field_number_blocks] => Array ( [base path] => field-collection/field-number-blocks/%field_collection_item ) ) ) ) [bundles] => Array ( [field_decorative_link_items] => Array ( [label] => Field collection field_decorative_link_items [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-decorative-link-items [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_manual_link_item] => Array ( [label] => Field collection field_manual_link_item [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-manual-link-item [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_home_page_identity_images] => Array ( [label] => Field collection field_home_page_identity_images [admin] => Array ( [path] => admin/structure/field-collections/%field_collection_field_name [real path] => admin/structure/field-collections/field-home-page-identity-images [bundle argument] => 3 [access arguments] => Array ( [0] => administer field collections ) ) [rdf_mapping] => Array ( ) ) [field_testimonial_carousel] => Array ( [label] => Field collection field_testimonial_carousel [admin] => Array ( [path] => 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Array ( ) ) ) [static cache] => 1 [field cache] => 1 [load hook] => field_collection_item_load [base table field types] => Array ( [item_id] => serial [revision_id] => int [field_name] => varchar [archived] => int ) [schema_fields_sql] => Array ( [base table] => Array ( [0] => item_id [1] => revision_id [2] => field_name [3] => archived ) [revision table] => Array ( [0] => revision_id [1] => item_id ) ) [token type] => field_collection_item [configuration] => ) [idKey:protected] => item_id [nameKey:protected] => item_id [statusKey:protected] => status [defaultLabel:protected] => [wrapper:protected] => [field_decorative_link_image] => Array ( [und] => Array ( [0] => Array ( [fid] => 76318 [uid] => 14 [filename] => adeniyi_jones_01.jpg [uri] => public://landing-page--decorative-link-image/adeniyi_jones_01.jpg [filemime] => image/jpeg [filesize] => 18327 [status] => 1 [timestamp] => 1736286444 [type] => image [rh_action] => [rh_redirect] => [rh_redirect_response] => [field_file_image_alt_text] => Array ( ) [field_file_image_title_text] => Array ( ) [_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Tunji Adeniyi-Jones, Play Cloth, 2019 Ink Pen on Paperr7 3/4 x 5 in. [alt] => [metadata] => Array ( [height] => 390 [width] => 274 ) [height] => 390 [width] => 274 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Tunji Adeniyi-Jones [format] => [safe_value] => Tunji Adeniyi-Jones ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>
Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
[format] => filtered_html [safe_value] =>
Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Cotton Paper, Hand Beveled Edges, Embossed X, 22 7/8 x 22 7/8 in. 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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Spann considers greatly the passing of time and the transience of life. Thus, without creating nor really imposing subjects he deals with loss and sometimes death, symbolic or real, but also with a form of resurrection, a joy that explodes formally on the painting surface. He immerses himself in materiality and movement, pushing the viewer to consider his works as much in a form of pause, or even contemplation, as in the dynamism linked to the expressiveness of gesture.
—Marie Maertens, writer and critic
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Gouache, Acrylic, Pencil, and Collage Mounted on Paper 17 x 14 in. 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Torkwase Dyson integrates architecture and infrastructure to radically engage with form as power, particularly in how Black and brown bodies compose, perceive, and negotiate space. Responding to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square), and Harriet Jacobs (garret=triangle), the shape system is a compositional tool to articulate an infrastructure of resistance in geometric abstraction. (Via Pace Gallery)
"In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It's time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution."
—Torkwase Dyson
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“In this moment of environmental precarity we will need to be both liquid and mountains, bird and lava. And it is the density of Black grace that will always be the thing that keeps us in our own humanity. Thinking through the histories of Black liberation, these are the victories that fortify my being in the objects I make. It’s time for a new relationship with abstraction, an illegal abstraction developed out of the condition of new world-building toward liberation and revolution.”
—Torkwase Dyson
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Dance, described by Adeniyi-Jones as a means of communicating across all boundaries and dialects, serves as a mechanism and medium for language. Centering the figure at the forefront of identity and diasporic perspective, Adeniyi-Jones makes use of colors as pathways to non-instructive tones and emotional undertones where viewers can feel and express their own sentiments, void of direction. Bold tones, expressive forms, and fluidity come alive on paper.
The mythology of ancient West African Kingdoms is prevalent in the narratives of Black Harlequin V and Play Cloth. Abstracted figures, rich in identity from the Yoruba diaspora, dance through each composition playfully, with movement contrasted to colorful patterns within the cloth that surrounds each body.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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Kelvin Beachum is a veteran NFL football player who, with his wife, Jessica, uses art to illuminate American history and contemporary life. This exhibition at YDS features pieces of abstraction, figuration, and mixed media representing themes of identity, power, and the Black experience. Yale Divinity School thanks Jessica and Kelvin Beachum for sharing these selections from their collection.
Below is the catalogue for the Beachum Collection Exhibition January 2025.
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[alt] => [metadata] => Array ( [height] => 659 [width] => 666 ) [height] => 659 [width] => 666 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Alteronce Gumby [format] => [safe_value] => Alteronce Gumby ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it's an obsession.” —Vogue
[format] => filtered_html [safe_value] =>Through Gumby’s fluorescent and chromatic spectrum of iridescent color, the artist engages the viewer and expands the notions through which we perceive form and color, the subjectivity of identity, and the materiality of earth and cosmic space. Alteronce is currently in production for his first documentary feature, COLOR, exploring the many facets of its abundant spectrum experienced around the world.
(Via Alteronce Gumby Studios) “Color is a preoccupation for most painters. For Bronx-based artist Alteronce Gumby, it’s an obsession.” —Vogue
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Barkley L. Hendricks Untitled, 1980 Silver Gelatin LE Print 16 x 24 in. [alt] => [metadata] => Array ( [height] => 563 [width] => 750 ) [height] => 563 [width] => 750 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Barkley L. Hendricks [format] => [safe_value] => Barkley L. Hendricks ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
[format] => filtered_html [safe_value] =>Barkley L. Hendricks was an American painter and photographer who revolutionized portraiture through his realist and post-modern oil paintings of Black Americans living in urban areas, beginning in the 1960s and 1970s.
Hendricks’ depictions of the Black figure exude attitude and style. The artist culled subjects for his hagiographic portraits from sartorially minded friends and acquaintances he encountered around the world. Steeped in pop culture and balanced with exquisite detail, the cast of characters in Hendricks’ work inhabit an unconventional realism united by painterly mastery.
Hendricks was first a photographer before taking up painting. Beyond his portraiture, he also made distinct works on paper and painted landscapes and still lifes. Throughout his career, Hendricks refused to be boxed into a medium, and his practice is commanding, bold, and without limitations to media or form.
(Via the Estate of Barkley L. Hendricks)
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[_drafty_revision_requested] => FIELD_LOAD_CURRENT [rdf_mapping] => Array ( ) [title] => Dominic Chambers, The Night is Our Friend, 2020, Oil on Canvas, 70 x 77 in. [alt] => [metadata] => Array ( [height] => 618 [width] => 560 ) [height] => 618 [width] => 560 ) ) ) [field_decorative_link_heading] => Array ( [und] => Array ( [0] => Array ( [value] => Dominic Chambers [format] => [safe_value] => Dominic Chambers ) ) ) [field_decorative_link_descriptio] => Array ( [und] => Array ( [0] => Array ( [value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
"I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
[format] => filtered_html [safe_value] =>In The Night is Our Friend, two subjects are resting on the other side of this wall. In this moment, we as viewers are granted permission to rest, following in the footsteps of the subjects who have afforded consent through their own choice to do the same. The consistent theme of respite in Chambers’ work is only matched by the equally consistent remnants of magical realism. This element takes shape as the two spirits that reside on the opposite side of the wall. These two [secret] self-portraits, or dancing spirits as they are affectionately referred to by Chambers, are the artist’s silhouettes. In conversation with Chambers, he reflects on his relationship to color and the effect it has in all art — including the relevance of chiaroscuro, a technique in art emphasizing dramatic contrasts between light and dark.
“I consider myself a student, and I consider the process of making art as an intellectual activity. The idea that museums exist because they hold intellect in the objects that they house is powerful. When I approach a painting, I have to think about the message I want to convey. My job is to offer my perspective as not all perspectives are told.” —Dominic Chambers
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