ブルックリン美術館さんのインスタグラム写真 - (ブルックリン美術館Instagram)「In John Edmond’s Untitled (Marion & Yaure Mask), a stylish young man, wearing a skull cap and leather garments, contemplates a wooden mask by a Yaure tribe artist from Côte d’Ivoire that was once owned by the late Black American writer Ralph Ellison. As part of his solo exhibition A Sidelong Glance, the Museum invited the Brooklyn-based artist to create new work featuring objects from Ellison’s collection. Edmonds made this picture in the Museum’s Beaux-Arts Court, where the European Art collection is currently installed, evident by the letters “rope” (clipped from “European”) visible behind the studio backdrop. While many of Edmonds’s previous photographs feature models touching or in close proximity to objects, the physical distance between the two in this picture highlights the various barriers created by art history and its institutions. It also serves as a metaphor for the African diaspora and its relationship to Africa.⁠ ⁠ This #BlackHistoryMonth, we’re examining how John Edmonds centers African art in his photography as a site of identity, power, and artistic ingenuity.⁠ ⁠ John Edmonds (American, born 1989). Untitled (Marion & Yaure Mask), 2020. Digital silver gelatin photograph. Courtesy of the artist. © John Edmonds」2月20日 23時01分 - brooklynmuseum

ブルックリン美術館のインスタグラム(brooklynmuseum) - 2月20日 23時01分


In John Edmond’s Untitled (Marion & Yaure Mask), a stylish young man, wearing a skull cap and leather garments, contemplates a wooden mask by a Yaure tribe artist from Côte d’Ivoire that was once owned by the late Black American writer Ralph Ellison. As part of his solo exhibition A Sidelong Glance, the Museum invited the Brooklyn-based artist to create new work featuring objects from Ellison’s collection. Edmonds made this picture in the Museum’s Beaux-Arts Court, where the European Art collection is currently installed, evident by the letters “rope” (clipped from “European”) visible behind the studio backdrop. While many of Edmonds’s previous photographs feature models touching or in close proximity to objects, the physical distance between the two in this picture highlights the various barriers created by art history and its institutions. It also serves as a metaphor for the African diaspora and its relationship to Africa.⁠

This #BlackHistoryMonth, we’re examining how John Edmonds centers African art in his photography as a site of identity, power, and artistic ingenuity.⁠

John Edmonds (American, born 1989). Untitled (Marion & Yaure Mask), 2020. Digital silver gelatin photograph. Courtesy of the artist. © John Edmonds


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