AZ MELANIN HAPPY HOUR: First Friday is a group of young black professionals in Arizona taking over happy hour at different locations in the valley on the first friday of every month.
I can't contain my excitement for this night. As a minority who enjoys the arts and specifically portraiture, there is a unsettling feeling I get when art, media, and fashion are not as diverse as they could and should be in the people that are celebrated in those industries. Phoenix is a melting pot of different cultures that have come here to study, work and live. So I'm excited to see the diversity amongst the local artists as well (i.e. Antoinette Cauley, Shaunte Glover, Phoenix Afrobeat Orchestra just to name a few local talents I've been following for a while).
Melanin or lack there of... if you are reading this I hope you come out and enjoy this night with us! Get as excited as I am! Dets are below! If coming to support AZ Melanin Happy Hour, make sure to use #AZMHH!
~The Social Photog
Exhibit: A New Republic by Kehinde Wiley
10.7.16 at 6pm ($5 for adults and $3 for ages 6-17)
Phoenix Art Museum: Marley Gallery
Kehinde Wiley is one of the leading American artists to emerge in the last decade and he has been ingeniously reworking the grand portraiture traditions. Since ancient times the portrait has been tied to the representation of power, and in European courts and churches, artists and their patrons developed a complex repository of postures and poses and refined a symbolic language. This language, woven into all aspects of a portrait, described the sitter’s influence and power, virtue and character, or profession. In his consideration of portrait traditions, Wiley has been especially drawn to the grand aristocratic portraits of the 18th century.
The artist began his first series of portraits in the early 2000s during a residency at the Studio Museum in Harlem. He set out to photograph and recast assertive and self-empowered young men from the neighborhood in the style and manner of traditional history painting. Since then he has also painted rap and sports stars but for the most part his attention has focused on ordinary men of color in their everyday clothes. Trained at Yale in the 1990s, Wiley was steeped in the discussions concerning identity politics during this decade and he brings his personal insights and theoretical studies to his practice.
Wiley’s portraits are highly stylized and staged, and draw attention to the dialectic between a history of aristocratic representation and the portrait as a statement of power and the individual’s sense of empowerment.
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures.
Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed, allowing them to have a voice in the telling of their individual, unique story.
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