テート・ギャラリーさんのインスタグラム写真 - (テート・ギャラリーInstagram)「Hurvin Anderson is a #TurnerPrize nominated British artist whose vibrant paintings draw on the genres of still-life, landscape and portraiture to explore the way community and identity can be represented.  ​ ​🟥🟦🟪🟩⬜🟨  Born in Birmingham, UK to Jamaican parents, Anderson’s practice touches upon his heritage as well as referencing wider art history. Repeated images such as the interior of barbershops appear throughout his paintings (including in this one -- 'Jersey' 2008) as a place synonymous with enterprise, affirmation and community for many Afro-Caribbean migrants. His paintings evoke a sense of, as he puts it, ‘being in one place but thinking about another’.  ​ ​While the artist’s work draws on his own political and social context, he is rarely directly critical. In recent paintings his subject matter has become more explicit with representations of Black icons, such as Malcolm X and Martin Luther King, such as in 'Is it Okay to be Black?' 2016. Anderson references the creativity and visibility of Blackness within contemporary society, paying homage to his cultural and political forebears while contributing to discussions about the legacy of painting. ​ ​Hurvin Anderson, Jersey 2008」10月13日 21時19分 - tate

テート・ギャラリーのインスタグラム(tate) - 10月13日 21時19分


Hurvin Anderson is a #TurnerPrize nominated British artist whose vibrant paintings draw on the genres of still-life, landscape and portraiture to explore the way community and identity can be represented. 

​🟥🟦🟪🟩⬜🟨

Born in Birmingham, UK to Jamaican parents, Anderson’s practice touches upon his heritage as well as referencing wider art history. Repeated images such as the interior of barbershops appear throughout his paintings (including in this one -- 'Jersey' 2008) as a place synonymous with enterprise, affirmation and community for many Afro-Caribbean migrants. His paintings evoke a sense of, as he puts it, ‘being in one place but thinking about another’. 

​While the artist’s work draws on his own political and social context, he is rarely directly critical. In recent paintings his subject matter has become more explicit with representations of Black icons, such as Malcolm X and Martin Luther King, such as in 'Is it Okay to be Black?' 2016. Anderson references the creativity and visibility of Blackness within contemporary society, paying homage to his cultural and political forebears while contributing to discussions about the legacy of painting.

​Hurvin Anderson, Jersey 2008


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