# data[].attributes.attachment_link.keywords[]
from here i saw what happened and i cried

# data[].attributes.attachment_link.authors[].name
Designed and developed by Lisa Goodlin Design

# data[].attributes.attachment_link.description
Welcome to the official website of artist Carrie Mae Weems

# data[].attributes.body
Yale News

# data[].attributes.attachment_link.readable_text
A fall installation at the Yale University Art Gallery on the theme "American History Revisited" brings together paintings, sculptures, and photographs by several contemporary artists who reflect on American history in diverse ways.

The installation, in the Modern and Contemporary Art permanent galleries on the third floor, is designed to be in conversation with the issues explored in Carrie Mae Weems' "Grace Notes: Reflections for Now," a new work by the photographer and visual artist that was recently performed at the Yale Repertory Theatre. "Grace Notes" examines themes of social justice, race, and identity in the context of our historical moment.

Some of the artwork on view explores the roles of both the victims and profiteers of the slave trade in the founding of the United States, while others reexamine specific events from the nation's past or contemplate the absence of African Americans from historical accounts. For instance, Weems' photographic series "Slave Coast" alludes to the West African coast where millions of slaves were held and shipped abroad, reclaiming sites of past violence and oppression.

Martin Puryear merges purist formal language with traditional craftsmanship to create allegorical sculptures that point to centuries of slavery and raise questions about identity and culture.

The installation also questions the role that venerated American institutions such as Yale have played in the racial narrative. Many of the school's prominent benefactors were involved and profited from the slave trade and colonialism, including its namesake, Elihu Yale. Titus Kaphar, a graduate of the Yale School of Art, uses two early 18th-century portraits of Elihu Yale from the gallery's collection as a starting point to scrutinize and respond to his actions.

On Dec. 1, Weems will deliver the Andrew Carnduff Ritchie Lecture at the gallery.

The installation will be on view through the fall. The Yale University Art Gallery, 1111 Chapel St., is open Tuesday-Friday, 10 a.m.-5 p.m. (until 8 p.m. on Thursday evenings), and Saturday and Sunday, 11 a.m.-5 p.m. It is free and open to the public.

# data[].attributes.attachment_link.title
Art installation examines America's history and racial past

# data[].attributes.attachment_link.description
A fall installation at the Yale University Art Gallery on the theme "American History Revisited" brings together paintings, sculptures, and photographs by several contemporary artists who reflect on American history in diverse ways.

# data[].attributes.attachment_link.provider_name
The Metropolitan Museum of Art, i.e. The Met Museum

# data[].attributes.attachment_link.readable_text
This major monographic exhibition is the largest museum retrospective to date of the work of American artist Kerry James Marshall (born 1955). Encompassing nearly 80 works-including 72 paintings-that span the artist's remarkable 35-year career, it reveals Marshall's practice to be one that synthesizes a wide range of pictorial traditions to counter stereotypical representations of black people in society and reassert the place of the black figure within the canon of Western painting.

Born before the passage of the Civil Rights Act in Birmingham, Alabama, and witness to the Watts rebellion in 1965, Marshall has long been an inspired and imaginative chronicler of the African American experience. He is known for his large-scale narrative history paintings featuring black figures-defiant assertions of blackness in a medium in which African Americans have long been invisible-and his exploration of art history covers a broad temporal swath stretching from the Renaissance to 20th-century American abstraction. Marshall critically examines and reworks the Western canon through its most archetypal forms: the historical tableau, landscape and genre painting, and portraiture. His work also touches upon vernacular forms such as the muralist tradition and the comic book in order to address and correct, in his words, the "vacuum in the image bank" and to make the invisible visible.

Accompanied by a catalogue
"Smashing"-New York Times "This retrospective is a stone-cold stunner"-Guardian "'Mastry' has a breakthrough feel: the suggestion of a new normal, in art and in the national consciousness."-New Yorker
The exhibition is made possible by the Ford Foundation, Kenneth and Rosalind Landis, and the H. Tony and Marti Oppenheimer Foundation.

Additional support is provided by The Andy Warhol Foundation for the Visual Arts.

The exhibition is organized by The Metropolitan Museum of Art, New York; Museum of Contemporary Art Chicago; and The Museum of Contemporary Art, Los Angeles.

Kerry James Marshall (American, b. 1955). Untitled (Studio), 2014. Acrylic on PVC panels, 83 5/16 x 119 1/4 in. (211.6 x 302.9 cm). The Metropolitan Museum of Art, New York, Purchase, The Jacques and Natasha Gelman Foundation Gift, Acquisitions Fund and The Metropolitan Museum of Art Multicultural Audience Development Initiative Gift, 2015 (2015.366) © Kerry James Marshall

# data[].attributes.attachment_link.description
This major monographic exhibition is the largest museum retrospective to date of the work of American artist Kerry James Marshall (born 1955). Encompassing nearly 80 works-including 72 paintings-that span the artist's remarkable 35-year career, it reveals Marshall's practice to be one that synthesizes a wide range of pictorial traditions to counter stereotypical representations of black people in society and reassert the place of the black figure within the canon of Western painting.

# data[].attributes.headline
YALE University Art Gallery Field Trip 2017

# data[].attributes.subject
YALE University Art Gallery Field Trip 2017

# data[].attributes.attachment_link.title
Yale University Art Gallery HU 150 Trip Press Release (2)

# data[].attributes.attachment_link.readable_text
Mercy, 1999
Charcoal on wood, found objects

88 x 59 1/2 x 6 inches

You're My Thrill, 2004
Charcoal on wood, bombshell casings

54 x 36 1/2 x 14 inches

Cada Dia, 2004

Charcoal on wood, chair

46 x 35 1/2 x 18 inches

Autour Du Monde, 2008
Conte crayon on wood panels with globes

102 x 189 x 171 inches

Cut, 2008
Conte crayon and wall paper on wood, axes, nails

46 1/2 x 37 x 4 inches

Lenox, 2008
Conte crayon on wood, radios

71 x 21 x 10 1/2 inches

Whitfield Lovell is internationally renowned for his installations that incorporate masterful Conte crayon portraits of anonymous African Americans from between the Emancipation Proclamation and the Civil Rights Movement. Using vintage photography as his source, Lovell often pairs his subjects with found objects, evoking personal memories, ancestral connections, and the collective American past. In 2007, Lovell was awarded with a MacArthur Foundation fellowship, often referred to as the "genius grant."

From October 2016 to January 2017, The Phillips Collection in Washington, DC, hosted The Kin Series and Other Related Works. The major exhibition focused on Lovell's Kin series and his most remarkable Tableaux and other installations. A monograph, Whitfield Lovell Kin, was published in tandem with the exhibition by Skira Rizzoli.

From May to October of 2013, The Hunter Museum of American Art, Chattanooga, TN hosted a major exhibition of works by Whitfield Lovell. The exhibition featured works from the last five years of Lovell's career, including large-scale tableaux, as well as Deep River, a new site-specific installation. The installation explores ideas of memory, identity, freedom and passage, and it includes portraits on wooden discs as well as video and sound elements.

History and memory have inspired Lovell's work for a number of years. During the 1980s and early 1990s, he created large-scale oil stick and charcoal drawings that allegorically examined issues of family, identity, gender, love, death, loss, and the passage of time. Lovell was working mostly from family photographs, juxtaposed with symbols and found images.

Lovell's most recent works are his "tableaux," in which he combines Conte crayon portraits on antique wood panels with found objects. Lovell draws upon a personal archive of hundreds of studio photographs of anonymous African Americans, most dating from the early years of the twentieth century. It is by looking through these tintypes, cabinet cards, bubble-glass portraits, and postcards that Lovell develops each individual work. Once an image has captured his attention, Lovell draws freehand in charcoal on the panels, which range in size from small, hand-size discs to multiple large pieces that extend across a museum wall. Lovell gives careful thought to the grain and texture of each surface as well as to any remnants of color from paint or wallpaper, making the background for each drawing as unique as the person depicted. Lovell then adds found objects in an intuitive process that varies from piece to piece to create three-dimensional tableaux.

Recent works also include Lovell's Kin Series, a group of Conte crayon drawings on paper that feature stark portraits of early- to mid-20th-century African Americans. As in Lovell's tableaux, these images are paired with objects including playing cards, flags, ropes, vessels, and jewelry, suggesting personalities or life experiences. Lovell's inspiration comes from songs, films, and poems, which he alludes to in the titles of the works, compounding the psychological and sociological resonances of each piece.

The freestanding tableaux developed out of a series of installations that Lovell has created over the past twenty years. Lovell's first installations, in a 19th-century slave-trader's mansion in Italy, in an abandoned 1930s row house in Houston, Texas, and in the former barracks of a 16th-century Spanish fort in Havana, Cuba, recognized and utilized the ambiance of the existing historical spaces. Lovell began by making marks on the walls and progressively worked his way out into three-dimensional, theatrical space.

Lovell's fourth installation, Whispers From the Walls, was created during a residency at the University of North Texas Art Gallery in Denton during spring of 1999. Here, in a nondescript modern gallery space, Lovell created a small rectangular house built of salvaged boards with various colors of peeling paint. The floor of the gallery was covered with soil and old clothing, over which viewers walked to get to the house. Inside was a single room complete with furniture, clothing, personal and household objects, and sound. Life-size charcoal drawings were made directly on the walls, suggesting past residents who might have inhabited similar spaces. The exhibition received much critical acclaim and toured nationally, appearing at venues including the Seattle Art Museum and New York's Studio Museum in Harlem.

Lovell's major installations include: Visitation: The Richmond Project, which traveled to the University of Wyoming in Laramie, the Columbus Museum in Georgia, and the Museum of Contemporary Art in Sydney, Australia; SANCTUARY: The Great Dismal Swamp at the Contemporary Art Center of Virginia in Virginia Beach, VA; and Grace: A Project by Whitfield Lovell at the Bronx Museum of the Arts in New York City.

Works by Whitfield Lovell are featured in major museum collections including The Whitney Museum of American Art, NY; The Metropolitan Museum of Art, NY: The Corcoran Gallery, Washington, DC; The Smithsonian American Art Museum, DC; The Smithsonian National Museum of African American History and Culture, DC; Pennsylvania Academy of the Fine Arts, PA; The Yale University Art Gallery; The Hunter Museum of American Art, Chattanooga, TN; The Brooklyn Museum, NY; The Studio Museum in Harlem, NY; Seattle Art Museum, WA, and many others.

# data[].attributes.attachment_link.description
Mercy, 1999 Charcoal on wood, found objects 88 x 59 1/2 x 6 inches You're My Thrill, 2004 Charcoal on wood, bombshell casings 54 x 36 1/2 x 14 inches Cada Dia, 2004 Charcoal on wood, chair 46 x 35 1/2 x 18 inches Autour Du Monde, 2008 Conte crayon

# data[].attributes.attachment_link.description
If you're seeing this message, it means we're having trouble loading external resources on our website. If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked.

# data[].attributes.body
Assignment Description

# data[].attributes.body
Thumbnails to Studies

# data[].attributes.body
OBEY

# data[].attributes.attachment_link.description
AKA Andre the Giant Has a Posse. A street art project and an experiment in phenomenology by artist and skateboarder Shepard Fairey.

# data[].attributes.attachment_link.title
Ellen Driscoll - The Loophole of Retreat

# data[].attributes.attachment_link.description
Above this structure a large wheel supported suspended objects of significance to Jacobs's life. As the overhead objects slowly rotated, their inverted images were projected on the inner wall of the dwelling. The conflicting sensations of the weight of confinement and the poetic movement of the shadowy images conveyed the almost inexpressible paradoxes of Jacobs's life.

# data[].attributes.attachment_link.readable_text
Martin Puryear was born in Washington, DC, in 1941. In his youth, he studied crafts and learned how to build guitars, furniture, and canoes through practical training and instruction. After earning his BA from Catholic University in Washington DC, Puryear joined the Peace Corps in Sierra Leone, and later attended the Swedish Royal Academy of Art. He received an MFA in sculpture from Yale University in 1971. Puryear's objects and public installations-in wood, stone, tar, wire, and various metals-are a marriage of minimalist logic with traditional ways of making. Puryear's evocative, dreamlike explorations in abstract forms retain vestigial elements of utility from everyday objects found in the world.

In Ladder for Booker T. Washington, Puryear built a spindly, meandering ladder out of jointed ash wood. More than thirty-five-feet tall, the ladder narrows toward the top, creating a distorted sense of perspective that evokes an unattainable or illusionary goal. In the massive stone piece, Untitled, Puryear enlisted a local stonemason to help him construct a building-like structure on a ranch in northern California. On one side of the work is an eighteen-foot-high wall-on the other side, an inexplicable stone bulge. A favorite form that occurs in Puryear's work, the thick-looking stone bulge is surprisingly hollow, coloring the otherwise sturdy shape with qualities of uncertainty, emptiness, and loss.

Martin Puryear represented the United States at the Bienal de São Paulo in 1989, where his exhibition won the Grand Prize. Puryear is the recipient of numerous awards, including a John D. and Catherine T. MacArthur Foundation Award, a Louis Comfort Tiffany Grant, and the Skowhegan Medal for Sculpture. Puryear was elected to the American Academy and Institute of Arts and Letters in 1992 and received an honorary doctorate from Yale University in 1994. Martin Puryear lives and works in the Hudson Valley region of New York.

# data[].attributes.attachment_link.description
Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

# data[].attributes.headline
Julie Mehretu on Velázquez's Juan de Pareja

# data[].attributes.subject
Julie Mehretu on Velázquez's Juan de Pareja

# data[].attributes.attachment_link.title
Julie Mehretu on Velázquez's Juan de Pareja | The Artist Project Season 1 | The Metropolitan Museum of Art

# data[].attributes.attachment_link.description
"Looking at his expression I'm moved, almost to tears. That's not often that a painting can do that."

# data[].attributes.headline
Conflict and Resistance: Art Through Time-A Global View

# data[].attributes.subject
Conflict and Resistance: Art Through Time-A Global View

# data[].attributes.attachment_link.title
Art Through Time: A Global View - Conflict and Resistance

# data[].attributes.body
RESEARCH RESOURCES

# data[].attributes.attachment_link.title
Slavery- Race, Class, Gender HU.150 Phase 1.17.Updated