#torkwase dyson
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Torkwase Dyson (American, b.1973)
Liveness and Distance 2 series - 2022-23
more here
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Torkwase Dyson,
"I Am Everything That Will Save Me #4 (Bird and Lava)," 2021,
Acrylic, string, and graphite on wood,
60" (152.4 cm), diameter.
Courtesy: Pace Gallery
#art#abstract#abstraction#painting#forms#abstractart#sculpture#minimal#torkwase dyson#lava#wood#plywood#circle#black#pacegallery
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The magnitude of the movement, manifested.
Torkwase Dyson’s trapezoidal work made of painted steel, glass, painted aluminum, and dry-erase marker welcomes you at the beginning of A Movement in Every Direction: Legacies of the Great Migration. Titled “Way Over There Inside Me (A Festival of Inches),” this large-scale work visualizes the exhibition’s name and symbolizes how Black people historically have had to “bend space to have life.” On the surface of the sculpture are Dyson’s drawings. Each reflects findings from her research on Black liberation methodologies, architecture, plantation economies, and environmental crises from the Great Migration era to the present.
Join us on May 3 for our next Poetry Workshop inspired by the Great Migration. We’ll be joined by Candace Williams, a poet and interdisciplinary artist, and Indira A. Abiskaroon, Curatorial Assistant for Modern and Contemporary Art, for this in-gallery writing workshop.
🎟 http://bit.ly/3Kxg095
📷 Brooklyn Museum. (Photo: Jonathan Dorado) → Torkwase Dyson, Photographed by Suzie Howell. Courtesy of the artist and Pace Gallery.
#Brooklyn Museum#brooklyn#museum#art#exhibition#Torkwase Dyson#GreatMigrationBkM#artist#the great migration#black artist#New York City#nyc#sculpture
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Torkwase Dyson, Liveness and Distance, 2022, acrylic and wood on canvas, 229.9 cm × 184.2 cm × 7 cm
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Admission to many museums in the UK are free, so once and a while we drop in to get to see local art. Here are some photos of art with themes of colonization, injustice, and issues of our time at Tate Liverpool.
This photo is of a Palestinian woman in what’s left of her home during the Sabra Camp massacre in 1982. It is by Don McCullin, a British photographer who covered the Lebanese Civil War during his visits in 1976 and 1982. Palestinian refugees fled to Lebanon after the establishment of Israel in 1948 in what was once a part of Palestine. The war in Lebanon led to massacres of Muslim neighborhoods including Palestinians in the Sabra refugee camp.
The late Zarina Hashmi was an Indian-American artist born in India, whose family was displaced by the 1947 partition of India after British colonial rule. While her sister Rani moved to Pakistan, Zarina eventually traveled the world, staying in touch with her sister everywhere she went. “Letters from Home” use these letters from Rani as a basis for the art, as they are written in Urdu and printed along with depictions of blue prints and maps of the places Zarina had lived through the years.
Kader Attia was born in France to Algerian parents, and later grew up in Algeria. Believe it or not, this artwork is made out of food. Specifically, couscous, a staple in Algeria as well as the rest of North Africa. Near the exhibit is a photo of Swiss-French architect Le Corbusier, who applied modernist architecture during the French colonial period in Algeria near the mid 1900s. In this artwork Attia seems to shape buildings in the modernist style, depicting the ancient hilltop city of Ghardaia in Algeria. The buildings are molded in couscous, and cracks and crumbling areas in the buildings could be seen as weathering from both the city’s old age and French colonization.
Torkwase Dyson handcrafted these huge, black structures and placed them in a large dark space on the first floor of Tate Liverpool. Dyson’s abstract works “grapple with the ways in which space is perceived, imagined and negotiated particularly by black and brown bodies.” This installation, “Liquid a Place,” definitely displays this, with these huge statues of what seam like heavy slabs of the darkest marble. They definitely convey the weight of colonization for me, and the artist description of them echoing “the curve of a ship’s hull” got me the most. Tate Liverpool sits in what was once one of Europe’s busiest ports serving the Transatlantic Slave Trade.
Lubaina Himid was one of the pioneers of the UK’s Black Art movement in the 1980s. “Carrot Piece” shows a white figure hovering a carrot over a Black woman carrying her own plentiful batch of food and items. The white figure is on a unicycle and wears light make up, conveying ridiculousness or crude entertainment, as if a clown. These are cut-out wooden paintings that are life-sized and was made for, as Himid wrote in her description, “…the moment when you slowly realise that you have learned something quite useful about yourself which proves to be a whole lot better than anything ever offered to you for free.”
Kerry James Marshall is known for his colorful paintings depicting Black people in dark shades. He counters “Western pictorial tradition” and brings forward Black figures in it. This work shows a Black figure wearing a British royal guard uniform, holding a sandwich board advertising a fish and chips restaurant named after a freedman, prominent writer, and British slavery abolitionist Olaudah Equiano. The irony of this art, is that it does not show a place in England. It is a scene in Arizona, where a “London Bridge” was made to attract American tourism.
#Tate Liverpool#Kerry James Marshall#Zarina Hashmi#Don McCullin#Lubaina Himid#Kader Attia#Torkwase Dyson
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Torkwase Dyson, from Liquid: a Place
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The creative process is about swimming in the paradox. Hypershapes reminds me that the act of looking in every direction at once, or moving while absolutely still, all of it is in my blood. It’s a trans position of being liberated. The waters are rising, the bridges are giving, the air is shocking, the belonging is fragile, the interstitial is liveness. Graphite, marker, glass on wood. 2022 via Instagram / Torkwase Dyson
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Torkwase Dyson
I Belong to the Distance
2019, Wood, graphite, string, dimensions variable
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Torkwase Dyson (born 1973, Chicago) received a BFA from Virginia Commonwealth University in 1999 and MFA from Yale School of Art in painting/printmaking in 2003.
Working in multiple mediums, Dyson describes herself as a painter whose forms address the continuity of ecology, infrastructure, and architecture. She merges ideas such as site and built environments, nature and culture under the rubric of environmentalism. Fascinated with transformations, ambiguities and environmental changes that place these subjects in relationship to each other, her work revolves around investigating our connections to imagination, materiality, geography and belonging.
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Coming Soon… A Movement in Every Direction: Legacies of the Great Migration. 📍
In this exhibition, twelve influential and emerging artists reflect on the Great Migration period (1915–70), during which millions of Black Americans fled from their homes to other areas of the South and across the country in the wake of racial terror. Large-scale installation, painting, immersive film, tapestry, mixed media, and photography depict the artists’ experience with this mass movement, as well as its continuing impact on their lives and on social and cultural life in the United States.
We look forward to sharing with you the work of Akea Brionne, Mark Bradford, Zoë Charlton, Larry W. Cook, Torkwase Dyson, Theaster Gates Jr., Allison Janae Hamilton, Leslie Hewitt, Steffani Jemison, Robert Pruitt, Jamea Richmond-Edwards, and Carrie Mae Weems.
📷 Allison Janae Hamilton (born Lexington, Kentucky, 1984; based in New York, New York). Still from “A House Called Florida,” 2022. Three-channel film installation (color, sound): 34 min., 46 sec. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen
#Brooklyn Museum#brooklyn#museum#art#exhibition#artist#painting#film#photography#installation#New York City#nyc#great migration#GreatMigrationBkM
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