拍品 3
  • 3

麗奈特·伊亞登·博亞基耶

估價
100,000 - 150,000 USD
已售出
555,000 USD
招標截止

描述

  • Lynette Yiadom-Boakye
  • 《安珀的助手》
  • 款識:畫家簽名、書題目並紀年2017(背面)
  • 油彩亞麻布

來源

Courtesy the artist, Corvi-Mora, London and Jack Shainman Gallery, New York

拍品資料及來源

EXHIBITION HISTORY WITH THE STUDIO MUSEUM

Solo
Lynette Yiadom-Boakye: Any Number of Preoccupations, November 2010 - March 2011

Group 
Their Own Harlems
, July 2017 - January 2018
In Profile: Portraits from the Permanent Collection, March - June 2015
Collected: Reflections on the Permanent Collection, April - June 2010
Flow, April - June 2008

“When I think of the figure, I think of immortality or an otherness that is just out of this world, representing an endless possibility” (The artist quoted in Antwaun Sargent, “Lynette Yiadom-Boakye’s Fictive Figures,” Interview Magazine, May 15, 2017)

The Studio Museum in Harlem has long supported British-Ghanaian artist Lynette Yiadom-Boakye, presenting the artist’s very first solo museum exhibition Lynette Yiadom-Boakye: Any Number of Preoccupations from November 2010 to March 2011. Yiadom-Boakye also participated in Flow, one of the iconic “F-shows” that has come to define the Studio Museum’s recent exhibition history. Yiadom-Boakye has been recognized for her gorgeously rendered fictional figures that appear to exist independently of a narrative or history, instead allowing the viewer to rely on imagination and project his or her own story. Her works are most often characterized by spare surroundings and a lush palette of bold contrasting colors. She paints quickly, often completing even large canvases in just one day so as to preserve the freshness and urgency of her work. Of her cast of characters typically of African descent, Yiadom-Boakye explains: “Race is something that I can completely manipulate, or reinvent, or use as I want to. Also they’re all black because…I’m not white.” (The artist in an interview with Hans Ulrich Obrist in Kaleidoscope 30, Summer 2017) Her goal as an artist has been less about celebrating black figures in art, and rather, simply normalizing their presence in an art historical narrative from which they have long been excluded. Yiadom-Boakye’s rich paintings have been internationally celebrated and reside in many institutional collections including the Tate Collection, London, the Royal Academy of Arts, London the Studio Museum in Harlem, New York, the Museum of Contemporary Art, Chicago, The Museum of Modern Art, New York, and the National Museum of African Art, Smithsonian Institution, Washington, D.C.

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