#wilmer wilson iv

[philamuseum]

Wilmer Wilson IV explores the relationships among race, identity, and underlying hierarchies of power. Often working with the concept of skin as a barrier or boundary, Wilson has expanded his conceptual frame in his most recent works to respond to the public discourse and demonstrations around Confederate monuments. Originally created as outdoor billboards, these two vinyl banners ruminate on the potential transformation of bronze, a traditional sculptural medium that can turn from a solid into a liquid by melting it down. Wilson’s work calls for the destruction of the symbols upholding the legacy of America’s racist past and, ultimately, for the transformation of the underlying structures of power that perpetuate white supremacy. Don't miss Wilson's work on view in "New Grit: Art & Philly Now."

"'TIL BRONZE FLOWS THROUGH THE STREETS," 2020, by Wilmer Wilson IV (Courtesy of the artist and Susan Inglett Gallery, New York).

"Untitled (522–524 N 3rd St, Richmond VA)," 2020, by Wilmer Wilson IV (Courtesy of the artist and Susan Inglett Gallery, New York).

[newyorkarttours]

Wilmer Wilson IV at Susan Inglett Gallery

Thousands of staples obscure and decorate the surface of a photo mounted on wood by Philadelphia-based artist Wilmer Wilson IV at Susan Inglett Gallery. Hiding the besuited figures barely visible below, the staples create an antsy rhythm, reflect light and deflecting viewers’ gaze. (On view in Chelsea through March 16th). Wilmer Wilson IV, Host, staples and pigment print on wood, 48 x 192 x 2 ¼ inches (diptych), 2018.

[9091kwan]

[mademoiselleclipon]

Wilmer Wilson IV

[longlistshort]

Currently at Kasmin Gallery are Matvey Levenstein's paintings (pictured above) depicting scenes from his life in North Fork, Long Island. There's a quiet, peaceful quality to the works, which begin with snapshots before they are turned into paintings. This exhibition closes Saturday 3/2/19.

Across the street at another of Kasmin Gallery's Chelsea locations, and worth a visit, is an exhibition of some of Andy Warhol's polaroid portraits.

Susan Inglett Gallery is showing Slim… you don’t got the juice, an exhibition of work by Wilmer Wilson IV (pictured below). His work with staples may seem familiar from its inclusion in the New Museum's 2018 Triennial: Songs for Sabotage.

From the press release-

Slim… you don’t got the juice presents multidisciplinary departures from familiar modes of figurative representation, as they have evolved in the realm of photographic discourse. Wilmer Wilson IV has developed strategies of redaction and annotation in his work that begin to destabilize the norms of making and viewing portraiture through visual, material, and technical manipulation. An exploration into the complex renderings of individual subject-hood versus object-hood in portraiture, the artist has conceived of a stapled-surface-as-viewing-device that mediates image with material. The device is manifest in a series of staple works that almost fully shroud the photographic subjects beneath dense fields of metal fasteners. The austere, randomized application of the staples onto the surface of each portrait results in a resistance of visual penetration from many angles, complicating access to the underlying figures and deconstructing the voyeuristic inclinations of the viewer.

This exhibition closes 3/16/19.

At Lehmann Maupin's 24th Street location is McArthur Binion, Hand:Work, an exhibition of the artist's grid paintings created with oil paint stick and paper on board (pictured below with close up detail). The patterns created in the work are overwhelming at first glance but then when seen up close, the personal details add a new dimension to the paintings.

From the press release-

...For Binion, his personal documents represent the sum total of one’s social life: relationships, citizenship, vocation, and family life. The revealing and obscuring of these aspects of his life also addresses the larger sociopolitical reality of African-American identity—often obscured or erased from common knowledge, yet always present in tandem with major movements in American culture. In his newest Hand:Work paintings, Binion takes an introspective approach that is more closely aligned with the artist’s own self-perception—effectively, his first self-portraits. Using copies of a photo of the home where he was born, along with a photograph of his hand as the ground layer of the paintings, Binion pares down his identity to its most essential elements. These images are tiled in repeated succession, layered under his repetitious line work in oil stick. These gestures themselves relate to memories Binion has of his early childhood farm life, a disciplined approach to the cyclical, sustained effort he maintains in his work today. Through the insertion of his hand, literally in the photographs, and figuratively in his intricate, overlapping mark-making, the artist relates to his earliest introduction to artistry in his mother’s quilting, a tradition he modified and carried into his practice.

This exhibition closes 3/2/19.

Robert Mann Gallery is showing the newly discovered work of photographer Ed Sievers. The exhibition of black and white photos also includes his later work from the 1970s in Venice Beach. The gallery also has an exhibition of Michael Kenna's series of black and white female nudes made in Japan (not shown). Both shows close 3/2/19.

(Ed Sievers, Untitled (woman in the shadows), c. 1960s, courtesy of the artist, image via Robert Mann Gallery)

Damn! The Defiant, a group show curated by Damon Brandt and Andrew Freiser at Fredericks & Freiser Gallery, brings together "images of rebellion and dissent in contemporary portraiture" and includes a wide variety of work in different mediums from an incredible selection of artists that includes Mary Ellen Mark, Gordon Parks, Dana Schutz, Bruce Davidson, Whitfield Lovell and many more. It's a show that's very appropriate for a time period that is going to require more and more defiance.

From the press release-

Nothing creates projected personal territory more than the emotional push back generated from the recalcitrant expression of a defiant subject. Yet ironically, it is the very nature of this engagement that makes it difficult for the viewer to quickly detach or withdraw from what in fact amounts to an extended glare or moment of social tension. In a time of undeniable anxiety, finding both the common and contrasting ground in the portrayal of defiance speaks directly to the angst and pre-occupation for self-determination that has been and continues to be a pervasive human concern.

This exhibition closes 3/2/19.

[rainingmusic]

The Gap Band - You Dropped A Bomb On Me

[aureliomadrid]

’til bronze flows through the streets, a multi-site public art commission by Wilmer Wilson IV

[degen-studio]

Halsey McKay Gallery is celebrating 10 years of putting on shows, collaborating with artists and generally working their tails off to make beautiful things happen. 🎉🎉🎉🎉🎉 Viva la Artist run gallery spaces!!!! ❤️❤️❤️❤️❤️❤️ If you’re out East this weekend, check out the celebration. You can peep this painting “Shell on a Sill” and then hit the beach for rill. The show is up through June 21st at @halseymckaygallery and features: Josh Abelow, Polly Apfelbaum, Glen Baldridge, Lisha Bai, Gina Beavers, Bianca Beck, Timothy Bergstrom, Jean-Baptiste Bernadet, Colby Bird, Ben Blatt, Patrick Brennan, Ernesto Burgos, Ryan Travis Christian, Graham Collins, John Copeland, Anne-Lise Coste, Steven Cox, David Kennedy Cutler, Benjamin Degen, Alexander Deschamps, Alex Dodge, Chris Duncan, Sally Egbert, Cory Escoto, Arielle Falk, Elise Ferguson, Rachel Foullon, Saskia Friedrich, Joe Fyfe, Ted Gahl, Hope Gangloff, Henry Glavin, Bryan Graf, Ethan Greenbaum, Joanne Greenbaum, Joseph Hart, Elias Hansen, Hilary Harnischfeger, Virva Hinnemo, An Hoang, Sheree Hovsepian, Raymie Iadevaia, Jodie Vicenta Jacobson, David-Jeremiah, Matt Kenny, Matthew Kirk, Andrew Kuo, Denise Kupferschmidt, Jennie Jieun Lee, Jose Lerma, Hanna Liden, Christian Little, Lauren Luloff, Charlie Ly, Adam Marnie, Eddie Martinez, Sam Moyer, Keegan McHargue, Augusutus Nazzaro, Shaun O’Dell, Scott Olson, Hilary Pecis, Ann Pibal, Eli Ping, Walter Price, Joey Piziali, Nathlie Provosty, Sara Greenberger Rafferty, Matt Rich, Mariah Robertson, Brion Nuda Rosch, Adrianne Rubenstein, Andrew Schoultz, Beverley Semmes, Shelter Serra, Kate Shepherd, David B. Smith, Ruby Sky Stiler, Ryan Steadman, Kianja Strobert, Mika Tajima, Richard Tinkler, Betty Tompkins, Johannes VanDerBeek , William Villalongo, Jessica Vaughn, Wilmer Wilson IV, Miranda Fengyuan Zhang, Almond Zigmund https://www.instagram.com/p/CPtP69OFL08/?utm_medium=tumblr

[yourarthereblog]

wilmer wilson iv ‘till bronze flows through the streets’ richmond, va

[toughlimo]

Wilmer Wilson IV  “til bronze flows through the streets”  Richmond, VA

[supportblackart]

This Friday “Bodies of Knowledge” opens at the @neworleansmuseumofart. On view June 28 – October 13, 2019, the exhibition brings together eleven international contemporary artists to reflect on the role that language plays in defining our cultural identities, and will be the first global contemporary exhibition of its kind at NOMA. Working with materials that range from books and silent film to ink and musical scores, artists Manon Bellet, Wafaa Bilal, Garrett Bradley, Mahmoud Chouki, Adriana Corral, Zhang Huan, William Kentridge, Shirin Neshat, Edward Spots, Donna Crump and Wilmer Wilson IV propose new ways of representing our collective past. Organized around a series of immersive installation and film projects, Bodies of Knowledge asks us to consider how we might write more inclusive narratives, reshape public space, and account for people and histories that have, in large measure, been shared. Featured artworks in order: Edward Spots, photographed by Louis Greenfield Shirin Neshat, Rapture series (Women With Writing on Hands, 1999 Zhang Huan, Family Tree, 2000 Wilmer Wilson IV, A Running Tour of Some Monuments of Rome, 2014 Manon Bellet, Brêve baise, 2010-Present Wafaa Bilal, The Ashes Series: Samara, 2000-2003 Garrett Bradley, America (still from film), 2019 Mahmoud Chouki in New Orleans, photo by Marion Hill, 2019 Adriana Corral, Memento, 2013-Present William Kentridge, Zeno Writing, 2002 Come out and support this phenomenal range of artists! (at New Orleans Museum of Art) https://www.instagram.com/p/BzMLA0tBSJL/?igshid=1gy4ou01s00ro

[mademoiselleclipon]

Wilmer Wilson IV

[buzzmiu]

Henry Box Brown: FOREVER Day 3: Congress 2012,Wilmer Wilson IV - still from performance (video: https://www.connersmith.us.com/artists/wilmer-wilson-iv/featured-works?view=slider#27)

[shaddad]

do trabalho de wilmer wilson iv

[secrets-of-the-dark-academia]

Wilmer Wilson IV, Left for Dead (2016). Staples and pigment print on wood [1812x1200]