Presents an introduction to the works of the painter, photographer, printmaker, and installation artist.

Kerry James Marshall

Marshall, Kerry James

Arts & Photography

Harry N. Abrams

In Kerry James Marshall's Rythm Mastr comic strip, an urban superhero battles the forces of evil using a combination of futuristic and traditional African accoutrements. This graphic narrativization is a stylistic update of Marshall's best-known work, monumental paintings of African-American subjects based on the traditional genre of narrative history painting. In One True Thing, the catalogue accompaniment to Marshall's first solo show in five years, the artist presents a multi-media range of new work that demonstrates the evolution of his ideas and his ongoing commitment to issues of construction and interpretation of meaning. The body of work Marshall is developing for the book and exhibition centers on the idea of ambiguity surrounding the representation of African Americans in our culture. Stemming in part from the Rythm Mastr comic strip project first developed for the 2000 Carnegie International exhibition, the monumental paintings in this new body of work portray figures in the urban landscape of the South Side of Chicago, inspired by the tradition of old-master paintings, especially the townscapes of Canaletto. Marshall is also creating several photographic series depicting urban settings along with a group of figurative works based on African tribal sculptures.

Kerry James Marshall: One True Thing: Meditations On Black Aesthetics

Mills, Charles

Molesworth, Helen

Fitzpatrick, Robert

Smith, Elizabeth A.T.

Donaldson, Jeff

McLin, Nathaniel

History & Criticism

Museum Of Contemporary Art, Chicago

<ul>
<li>The first examination of the evocative paintings of the self-taught African American artist Horace Pippin in over twenty years</li>
<li>Accompanies a major exhibition at the Brandywine River Museum of Art April 25 - July 19, 2015</li>
</ul>
"A real and rare genius, combining folk quality with artistic maturity so uniquely as almost to defy classification." - Alain Locke
Horace Pippin's response to the question of what made him a great painter: "I paint it the way I see it." This exciting new publication will look closely at Pippin (1888-1946) as an artist who was embraced by the art world, yet remained independent, creating and upholding a unique aesthetic sensibility while also candidly, if subtly, expressing his opinions on a wide range of social issues. A self-taught master of form, color and composition, Pippin vividly depicted a range of subject matter, from scenes of war, history and religion, to sporting scenes, floral still lifes and intimate family moments. Accompanying a major exhibition at the Brandywine River Museum of Art, the book will be the first examination of the artist's work in twenty years and is an opportunity to re-examine Pippin with fresh eyes. His development as a self-aware, self-taught artist will be explored in-depth, looking at the rich pictorial language and multi-layered narratives of his paintings. Fully illustrated with over 60 works from around the United States, the book will introduce a new generation of scholarly voices, speaking to such issues as influence, racial and religious politics, and narrative truths in history.
Institutions lending to the Horace Pippin exhibition include: Archives of American Art, Smithsonian Institution, Washington, D.C.; Allen Memorial Art Museum, Oberlin College, Ohio; Art Institute of Chicago; The Butler Institute of American Art, Youngstown, Ohio; The Carnegie Museum of Art, Pittsburgh; Chester County Historical Society, West Chester, Pennsylvania; Cincinnati Art Museum; Davis Museum at Wellesley College, Massachusetts; The Fine Arts Museums of San Francisco; Fort Wayne Museum of Art, Indiana; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; The Howard University Gallery of Art, Washington, D.C.; The Menil Collection, Houston, TX; The Metropolitan Museum of Art, New York; Museum of Art, Rhode Island School of Design, Providence; Museum of Fine Arts, Boston; Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; Neuberger Museum, Purchase, New York; New Jersey State Museum, Trenton; Pennsylvania Academy of the Fine Arts, Philadelphia; Philadelphia Museum of Art; The Phillips Collection, Washington, D.C.; Reynolda House Museum of American Art, Winston-Salem, North Carolina; Robert Brady Museum, Cuernavaca, Mexico; The Schomburg Center for Research in Black Culture, Art &amp; Artifacts Division, New York Public Library; Wichita Art Museum, Kansas.

Horace Pippin: The Way I See It

Lewis, Audrey

Dolkart, Judith F.

Francis, Jacqueline

Monahan, e

Scala Arts Publishers, Inc.

This publication documents 2017’s Serpentine Pavilion by Berlin-based architect Francis Kéré (born 1965). Inspired by the tree that serves as a central meeting point in his home town of Gando, Burkina Faso, Kéré designed a responsive Pavilion that connects visitors to nature.

Francis Kéré: Serpentine Pavilion 2017

Reference

LOKKO, Lesley

OBRIST, Hans-Ulrich

Adjaye, David

Peel, Yana

Mostafavi, Mohsen

Gang, Jeanne

Kéré, Francis

Encyclopedias & Subject Guides

Walther König, Köln

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Books by Marshall, Kerry James