collage

Basquiat at The Broad

/ erinkhylton / Leave a comment
Jean-Michel Basquiat “Obnoxious Liberals” 1982. Acrylic, oilstick, and spray paint on canvas. Photo by Erin K. Hylton 2018.
Jean‐Michel Basquiat “Untitled” 1981 acrylic and oilstick on canvas. Photo by Erin K. Hylton 2018.
Jean-Michel Basquiat “with Strings Two” 1983. Acrylic and oilstick on canvas. Photo by Erin K. Hylton 2018.
Jean-Michel Basquiat “Horn Players” 1983. Acrylic and oilstick on three canvas panels mounted on wood supports. Photo by Erin K. Hylton 2018.
Jean-Michel Basquiat “Eyes and Eggs” 1983. Acrylic, oilstick, and paper collage on cotton drop cloth with metal hinges. Photo by Erin K. Hylton 2018.

I have always appreciated the work of Jean-Michel Basquiat. In fact, I wrote my undergrad art history thesis about the public perception of his racial identity to his work. At The Broad, it was inspiring to see Basquiat’s work in a dedicated section. Must-see section of their permanent collection gallery!

Jean-Michel Basquiat “with Strings Two” 1983. Acrylic and oilstick on canvas. Photo by Erin K. Hylton 2018.
Jean-Michel Basquiat “Obnoxious Liberals” 1982. Acrylic, oilstick, and spray paint on canvas. Photo by Erin K. Hylton 2018.
Jean-Michel Basquiat “Horn Players” 1983. Acrylic and oilstick on three canvas panels mounted on wood supports. Photo by Erin K. Hylton 2018.
Jean-Michel Basquiat “Eyes and Eggs” 1983. Acrylic, oilstick, and paper collage on cotton drop cloth with metal hinges. Photo by Erin K. Hylton 2018.
Jean‐Michel Basquiat “Untitled” 1981 acrylic and oilstick on canvas. Photo by Erin K. Hylton 2018.
Advertisements

Greenville County Museum of Art

/ erinkhylton / Leave a comment

In Greenville, SC there is a hidden gem of a museum with great exhibitions and a stunning permanent collection. My visit was full of excitement as I saw some of my favorite artists on view: John Ahearn, Sam Gilliam, Beauford Delaney, Jacob Lawrence and William H, Johnson. Must-visit place! Greenville County Museum of Art

Greenville County Museum of Art. Photo by Erin K. Hylton 2016.
Sam Gilliam “Carousel Merge 4” 1971 Acrylic on canvas Greenville County Museum of Art. Photo by Erin K. Hylton 2016.
Sam Gilliam “Carousel Merge 4” 1971 Acrylic on canvas Greenville County Museum of Art. Photo by Erin K. Hylton 2016.
John Ahearn from left to right: “Emma Lois McNeil” (1984), “Arthur Magill” (1984), “Pat and Selena at Play” (1983), “Erick or Derick Locke” (1984), “Claude Davis” (1984)” painted cast plaster Greenville County Museum of Art. Photo by Erin K. Hylton 2016.
John Ahearn “Pat and Selena at Play” 1983 Painted cast plaster Greenville County Museum of Art. Photo by Erin K. Hylton 2016.
Beauford Delaney “Washington Square” 1952 Oil on canvas Greenville County Museum of Art. Photo by Erin K. Hylton 2016.
Jacob Lawrence “The North Star (from Harriet and The Promised Land)” 1967 gouache and tempera on paper Greenville County Museum of Art. Photo by Erin K. Hylton 2016.
William H. Johnson (1901-1970) “On a John Brown Fight” circa 1945 pochoir on paper Greenville County Museum of Art. Photo by Erin K. Hylton 2016.

Volta NY 2015

/ erinkhylton / Leave a comment

This past week was a huge and insanely busy weekend in the art world. One of my favorite stops was at Volta NY 2015 and wanted to share some of what I saw in the booths:

20150306_192901 (2)

Rudy Shepherd “Portraits” 2007-2015 Watercolor on paper Each 12 x 9 Mixed Greens, New York. Photo by Erin K. Hylton

20150306_200249 (2)

Dustin Yellin Glass, acrylic and collage Richard Heller Gallery, Los Angeles. Photo by Erin K. Hylton

20150306_200507 (2)

Dustin Yellin Glass, acrylic and collage Richard Heller Gallery, Los Angeles. Photo by Erin K. Hylton

20150306_200501 (2)

Dustin Yellin. detal. Glass, acrylic and collage Richard Heller Gallery, Los Angeles. Photo by Erin K. Hylton

20150306_200243 (2)

Dustin Yellin Glass, acrylic and collage Richard Heller Gallery, Los Angeles. Photo by Erin K. Hylton

20150306_200146 (2)

Travis Somerville “Well Division” 2009 Acrylic on vintage porcelain drinking fountains and panels, automotive paint on metal drinking fountain, copper pipes, running water Beta Pictoris/Maus Contemporary, Birmingham, Alabama. Photo by Erin K. Hylton

20150306_195945 (2)

Detail of the Black water fountain from: Travis Somerville “Well Division” 2009 Acrylic on vintage porcelain drinking fountains and panels, automotive paint on metal drinking fountain, copper pipes, running water Beta Pictoris/Maus Contemporary, Birmingham, Alabama. Photo by Erin K. Hylton

20150306_200107 (2)

Detail of the Latino water fountain from: Travis Somerville “Well Division” 2009 Acrylic on vintage porcelain drinking fountains and panels, automotive paint on metal drinking fountain, copper pipes, running water Beta Pictoris/Maus Contemporary, Birmingham, Alabama. Photo by Erin K. Hylton

20150306_200055 (2)

Detail of the Native American water fountain from: Travis Somerville “Well Division” 2009 Acrylic on vintage porcelain drinking fountains and panels, automotive paint on metal drinking fountain, copper pipes, running water Beta Pictoris/Maus Contemporary, Birmingham, Alabama. Photo by Erin K. Hylton

20150306_195120 (2)

We Are All Imperfect (www.imperfectarticles.com) Trenton Doyle Hancock at Volta NY. Photo by Erin K. Hylton

20150306_194439 (2)

Peterson Kamwathi “Untitled (Positions Series Part II, VII) Signed titled and dated 2015 on the reverse Charcoal, stencil, pastel, spray paint, watercolor, ink and collage on paper. Executed in 2015. ARTLabAfrica, Nairobi. Photo by Erin K. Hylton

20150306_194426 (2)

Peterson Kamwathi “Untitled (Positions Series Part II, IX) Signed titled and dated 2015 on the reverse Charcoal, stencil, pastel, spray paint, watercolor, ink and collage on paper. Executed in 2015. ARTLabAfrica, Nairobi. Photo by Erin K. Hylton

20150306_193909 (2)

Yashua Klos killing it at #Volta2015. Photo by Erin K. Hylton

20150306_193901 (2)

Yashua Klos. Photo by Erin K. Hylton

20150306_193529 (2)

Kenyatta Hinkle. Jenkins Johnson Gallery, San Francisco/New York. Photo by Erin K. Hylton

20150306_193527 (2)

Kenyatta Hinkle. Jenkins Johnson Gallery, San Francisco/New York. Photo by Erin K. Hylton

20150306_193523 (2)

Kenyatta Hinkle. Jenkins Johnson Gallery, San Francisco/New York. Photo by Erin K. Hylton

20150306_193507 (2)

Kenyatta Hinkle. Jenkins Johnson Gallery, San Francisco/New York. Photo by Erin K. Hylton

20150306_193455 (2)

Kenyatta Hinkle. Jenkins Johnson Gallery, San Francisco/New York. Photo by Erin K. Hylton

20150306_193254 (2)

Kenyatta Hinkle “The Transfiguration” 2015 gouache, India ink and acrylic on wood panel. Jenkins Johnson Gallery, San Francisco/New York. Photo by Erin K. Hylton

20150306_193156 (2)

Kenyatta Hinkle “The Seer” 2015 India ink, polyfilm, acrylic paint on wood panel. Jenkins Johnson Gallery, San Francisco/New York. Photo by Erin K. Hylton

20150306_193105 (2)

Kenyatta Hinkle “The Sower” 2015 India ink, acrylic paint and polyfilm on wood panel. Jenkins Johnson Gallery, San Francisco/New York. Photo by Erin K. Hylton

 

Venturing Out of the Heart of Darkness

/ erinkhylton / Leave a comment

20150208_185535

On Saturday, February 7th I attended the Family Opening for Venturing Out of the Heart of Darkness at the Henry B. Gantt Center for African-American Arts and Culture in Charlotte, NC.  Focused on colonialism and its impact on  black culture, the exhibit  features 19 artists who are national and international representatives of the African diaspora. Some of the artists featured include Jason Patterson and Bethany Collins. Within the exhibit are a variety of mediums, such as sculpture, performance art, collage and digital media. Full of thought-provoking and inspiring artworks, it is a must-see for all that can attend.

My personal favorite was the collaboration between Heather Hart and André D. Singleton, which allowed for personal introspection and participation in an activated space in the galleries. Sharing my wish was a powerful and moving experience.

Open through June 26th  the exhibit provides a breadth of work that allows you to examine the societal impact of colonialism on how black culture is viewed and defined.