Figuration, the body, and representation


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Amy Sherald, <em>Precious Jewels by the Sea</em>
Amy Sherald, Precious Jewels by the Sea

This monumental painting of Black people at the beach speaks to a dearth of Black figures in the art history canon

Louise Bourgeois, <i>Maman</i>
Louise Bourgeois, Maman

At more than thirty feet tall, this work is an homage to the artist's mother as a spider that towers above all the rest

Michelle Browder, <i>Mothers of Gynecology</i>
Michelle Browder, Mothers of Gynecology

This memorial honors three women who were victims of medical experimentation by the "father of gynecology"

Kehinde Wiley, <em>Rumors of War</em>
Kehinde Wiley, Rumors of War

A monumental solution, rethinking the sculpture of Richmond

Will Wilson, Critical Indigenous Photographic Exchange
Will Wilson, Critical Indigenous Photographic Exchange

Referencing the photographs of Edward Curtis, Wilson intends to produce a contemporary visual reimagining of Native American culture through his photographs.

Takashi Murakami
Takashi Murakami

In his New York City studio, Takashi Murakami discusses his three-decades-long practice in which he blends traditional and modern art techniques to create enormous paintings with a visual power unmatched in contemporary art.

Figures & Fictions: Santu Mofokeng
Figures & Fictions: Santu Mofokeng

Mofokeng lives in Johannesburg where he began his career as a photojournalist, but has long been engaged with the poetic and symbolic potential of black and white photography.

Catherine Opie, <em>Self-Portrait/Cutting</em>
Catherine Opie, Self-Portrait/Cutting

Opie has been using photography as a means of self-expression—and making friends through taking their portraits—since age nine.

Shirin Neshat, ‘Dreams Are Where Our Fears Live’
Shirin Neshat, ‘Dreams Are Where Our Fears Live’

Iranian visual artist Shirin Neshat uses film, video, and photography to explore issues of gender and identity, with a particular focus on women's relationships with religious cultural systems of Islam.

Stefanie Jackson, <em>Bluest Eye</em>
Stefanie Jackson, Bluest Eye

Taking its name from Toni Morrison's debut novel, this painting shows the clash of innocence and the adult violence of bigotry and hatred.

Identity Politics: From the Margins to the Mainstream
Identity Politics: From the Margins to the Mainstream

As the ideas and perspectives from non-white artists, queer artists, and those with other intersectional identities were given space in the museum throughout the 1990s, the terrain of art history began to shift as well.

Selected Contributors