It really is as good as art gets.” – ***** Will Gompertz, BBC Arts
The question is always about what does an event bring locally and globally and how it adds to a place.“…go to the Serpentine Gallery to see this outstanding Jennifer Packer exhibition. Hans-Ulrich Obrist By Stephanie Bailey, London While mostly known for his View Bio, Works & Exhibitions
In Kerry James Marshall's paintings, Black bodies lead the stage-both historical and fictional-encompassing the times of slavery and civil rights movements through to contemporary scenes in Black life. Though he sometimes employs a variety of other mediums, Shimoyama primarily focuses on painting, specifically the genre of View Bio, Works & Exhibitions 1989, USA) is a visual artist whose work explores depictions of the black, queer, male body. Self's depictions of the body are made up of shapes, pieced together View Bio, Works & Exhibitionsĭevan Shimoyama (b. Read MoreĪmerican artist Tschabalala Self creates paintings, prints, sculptures, and animations that open up a range of topics, including attitudes towards the gendered and racialised body. Jennifer Packer's intimate portraits are showing for the first time in Europe at Serpentine Galleries in London. Throughout the year, some of the world's largest View What's On in the City London is an internationally-renowned destination for lovers of modern and contemporary art, with a vibrant, diverse scene that is home to countless galleries, institutions, and non-profit spaces. In the grounds of the Gallery is a permanent work by artist and poet Ian View Institution It attracts up to 800,000 visitors in any one year and admission is free. The Serpentine Gallery is one of London’s best-loved galleries for modern and contemporary art. The intimate, politically charged paintings of Philadelphia-born artist Jennifer Packer examine the contemporary Black American experience, while acknowledging the dynamics of power and ethics of representation tied to portraiture in painting's View Bio, Works & Exhibitions John Berger, Ways of Seeing, Chapter 1, available at Packer has previously spoken of being influenced by artists including Manet, Goya, Fantin-Latour, Botticelli, Matisse, Morandi, alongside contemporaries like Lynette Yiadom-Boakye, Kehinde Wiley, Hurvin Anderson, Nicole Eisenman who she describes as part of her 'painting family.' See Emily LaBarge, 'Jennifer Packer', 4 Columns, 29 January 2021, ĥ. Christina Sharpe, 'The Wake,' In the Wake: On Blackness and Being, (Duke University Press: 2016), p.13.Ĥ. Jennifer Packer: The Eye Is Not Satisfied With Seeing, press release, Serpentine Galleries. Youssra Manlaykhaf & Róisín McVeigh, 'Jennifer Packer's Political Still Lifes & Intimate Portraits Centre Black Lives,' Serpentine Galleries, Ģ. In Ways of Seeing, John Berger situates the importance of representation in the moment when he states that 'no other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times.' 5 Packer's painterly generosity calls us to see, now. Here, visual representation is posited as a form of bearing witness to the present. Where Packer locates imagination in her work is expressed in the title of her Serpentine exhibition, which references Ecclesiastes 1:8, a bible verse alluding to a relentless quest for desires that are never satisfied through looking and seeing alone.
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