#kevinbeasley

“Strange Fruit (Pair 1)” by @kevinmbeasley 🖤 Spent some time with @guggenheim Conservation in preparation for my show at @icaboston! Super excited to see this work, Strange Fruit (Pair 1), will be back in rotation. Show opens on May 8th! . . #supportblackart #kevinbeasley #strangefruit #icaboston #blackart #artistic #contemporaryart #blackartist #staytuned #blackexcellence #artsy

Kevin Beasley “Untitled Organ”, 2015

Today we're thinking about Kevin Beasley, whose show at @caseykaplangallery through Oct 24.⁠⠀ ⁠⠀ Images here from Beasley's 2018 monograph from @icaboston⁠⠀ ⁠⠀ Untitled (...just watch), 2015⁠⠀ Strange Fruit (Pair 1), 2015⁠⠀ If I was standing alone I wouldn’t stand it at all, 2017 ⁠⠀ Untitled, 2014⁠⠀ ⁠⠀ Read more via linkinbio.⁠⠀ ⁠⠀ #kevinbeasley @kevinmbeasley https://www.instagram.com/p/CGsHiSqpgi8/?igshid=di3jadyh2koy

Interested in #disruptions of #establishment, #KevinBeasley seeks to re-establish the meaning of a symbol or image. To realize this in previous works, Beasley has inserted the viewer into a sculpture by playing back the sound of one’s own actions and movements slowed down, disrupted and displaced, or he has penetrated a prominent art institution with the loud and chilling a #cappella voices of #dead #blackrappers. For this exhibition, dual meanings and word plays are positioned within individual moments of #manipulation, #deconstruction and #regeneration. Two #acoustic foam panels comprised of NBA jerseys emblazoned with the surnames of #NBA superstars John “WALL” and Metta “#WORLDPEACE” pad the walls. Coated in resin, the #jerseys are torn and splayed. Tiled across the composition in an assemblage of bold colors, "wall" is repeated in a double entendre that conjures #xenophobic #politicalstrategies. #Players in motion are frozen and individuality reduced to a collective itemization, and yet a bodily presence lingers in each liquid collage as #resin and #sweat #conflate. https://caseykaplangallery.com/exhibitions/ #BlackLivesMatter #BlackArtistsMatter (at U.S. Embassy Singapore) https://www.instagram.com/p/CCNabOvlKOt/?igshid=24d2vlyk1uos

The Joyner/Giuffrida Collection Generations: A History of Black Abstract Art Baltimore Museum of Art September 29, 2019 - January 19, 2020 Final days of an extraordinary exhibition at the Baltimore Museum of Art! We drove down early this morning after reading Seph Rodney’s incisive Hyperallergic Twitter post. Check it out if you’re within driving, or walking distance, of this fascinating and historically significant exhibition. Image: Kevin Beasley, Chair of the Ministers of Defense, 2016 “Kevin Beasley’s ‘Chair of the Ministers of Defense’ captures some of the energy of the ideals of empowerment and community espoused by the Black Panther Party and provides a space for respite and protected reflection in a time of great upheaval and uncertainty.” - Anne Ellegood, Curator, Hammer Projects, 2017 #kevinbeasley #baltimoremuseumofart #empowerment #blackpantherparty #africanculture #maasai #zulu #berninipapalalter #baltimore #sephrodney #hyperallergic #tuckercontemporaryart (at The Baltimore Museum of Art) https://www.instagram.com/p/B7eOoYilvXN/?igshid=qywoc42o3obd

Kevin Beasley engaged with the legacy of the American South through an nstallation that centered on a cotton gin motor from Maplesville, Alabama. In operation from 1940 to 1973, the motor powered the gins that separated cotton seeds from fiber. For this exhibition, the New York-based artist used it to generate sound as if it were a musical instrument, creating space for visual and aural contemplation. Photograph by Ron Amstutz.

Gorgeous Work by Kevin Beasley @whitneymuseum #kevinbeasley (at Whitney Museum of American Art) https://www.instagram.com/p/BrggJ_BF5uc/?utm_source=ig_tumblr_share&igshid=1igko81rqhzw6

"American history is a history of traumatic and blatant erasures of black subjects through perniciously visible, durable, and interconnected systems, including the transatlantic slave trade, centuries of enslavement, lynching and public murders, the industrial prison system, and institutional racism. While ranging widely in form and structure, the bodies alluded to in Kevin Beasley’s recent artistic production have been anchored in his exploration of black experiences. His practice has emerged during a period of heightened awareness among whites, myself included, of the destruction of black bodies in America, as so powerfully articulated by the contemporary writers Ta-Nehisi Coates, Saidiya Hartman, and Christina Sharpe, among many others, and by the Black Lives Matter movement. In Beasley’s work, bodies are rarely whole or complete, but rather are envisaged in indeterminate and interconnected states. Sometimes the bodies are “spectral” ones, those of deceased rappers or murdered teens; absences are metaphorically presented in the form of a dented surface or the image of a field in the South at sunset. At other times, the bodies are very particular, and even enumerated as personal objects that figure in his artworks: “That is my thermal shirt . . . my underwear . . . my old sneakers . . . my brother’s wisdom teeth.” And then there are the listeners and viewers who share space with Beasley’s performances, sculptures, and installations, and who are always present in the conception of his work. Beasley conjures these bodies and their states of being through various strategies, from selecting objects and manipulating materials to activating space through sound and installation. Each gesture underscores the ethics of his artistic practice—his respect for the power and responsibility of bringing an artwork into the world that requires space, resources, and care." —Ruth Erickson, from "Kevin Beasley," published to accompany the show on view today through August 29 at @icaboston @kevinmbeasley #kevinbeasley #rutherickson