2024-03-28T09:58:57Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:593212024-03-27ycba:pd
YCBA/lido-TMS-59321
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300312222
digital print
300041424
photomechanical print
300178376
planographic print
300015638
still life
300041273
Print
The Prize
Rivington Place Portfolio
Inscribed in pen and black ink, lower right: "18/50 | Hew Locke 07"
Signed and dated in pen and black ink, lower right: "Hew Locke 07"
500303557
Yale Center for British Art
http://britishart.yale.edu
B2008.10.3
Not on view
Yale Center for British Art
41.3080060, -72.9306282
no. 18 in an edition of 50
30 x 20 x 5 inches (76.2 x 50.8 x 12.7 cm)
height
cm
76.2
width
cm
50.8
depth
cm
12.7
Overall
59321
300054713
production
Hew Locke, born 1959, British
ycba_actor_7599
https://www.wikidata.org/wiki/Q15433825
Hew Locke
Locke Hew, born 1959
Hew Locke, born 1959
Hew Locke, born 1959
7009546
7005275
7011359
7011781
7011781
British
1959
2059
male
300025103
Artist
Published by Brodsky Center for Innovative Editions, Rutgers University, New Jersey
ycba_actor_7592
Rutgers University
Brodsky Center for Innovative Editions, Rutgers University, New Jersey
Brodsky Center for Innovative Editions, Rutgers University, New
Brodsky Center for Innovative Editions, Rutgers University, New Jersey
Published by Brodsky Center for Innovative Editions, Rutgers University, New Jersey
0
0
300025103
Artist
Published by
300111159
British
2007
2007
2007
26
20th century
Digital inkjet prints with silkscreen, collaged into a 3D structure, with plastic beads and flowers on moderately thick, smooth, white wove paper, mounted on white board
300138699
collage
300014187
wove paper
300211037
toys (recreational artifacts)
300196645
board, foamcore
300234006
beads (necklaces)
screen printing
Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30)
553
https://britishart.yale.edu/node/654/
https://britishart.yale.edu/node/654
300054766
exhibition
Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
http://id.loc.gov/authorities/names/n77005277
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
300311675
Borrower
2007-09-27 - 2007-12-30
2007-09-27
2007-12-30
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
Organized to commemorate the bicentenary of the abolition of the British slave trade, Art and Emancipation in Jamaica was the first exhibition to focus exclusively on the visual and material culture of slavery and emancipation in Jamaica. It featured works produced in the Caribbean and Britain, including a number lent from public and private collections in Jamaica that had rarely or never been exhibited. The exhibition chronicled the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s, with a particular focus on the turbulent years preceding and immediately following emancipation in 1838. Gathered together for the first time were drawings and prints depicting life on a Jamaican sugar plantation, and images used by the anti-slavery campaign. Many works were selected from the Center’s extraordinarily rich holdings relating to the Caribbean, which provided the original impetus for the exhibition. — —
At the center of the exhibition was the remarkable lithographic series Sketches of Character, In Illustration of the Habits, Occupation, and Costume of the Negro Population in the Island of Jamaica, made by Jewish Jamaican-born artist Isaac Mendes Belisario. Published in Jamaica in 1837–38, Sketches of Character provides the first detailed visual representation of Jonkonnu (or John Canoe), the celebrated Afro-Jamaican masquerade performed by the enslaved during the Christmas and New Year holidays. Tracing the West African roots of Jonkonnu, its evolution in Jamaica, and its continuing transformation into the twenty-first century, the exhibition featured Jamaican and West African costumes and musical instruments, accompanied by video footage of historic and contemporary performances, as well as a specially commissioned sound track. The exhibition concluded with work by contemporary Jamaican and Afro-Caribbean artists investigating the complex legacy of slavery and emancipation. — —
Credits — —
Art and Emancipation in Jamaica was curated by Gillian Forrester, Associate Curator of Prints and Drawings at the Center; Tim Barringer, Paul Mellon Professor of the History of Art, Yale University; and Barbaro Martinez-Ruiz, Assistant Professor, Department of Art History, Stanford University. Generous support for the project was provided by the Reed Foundation.
Yale Center for British Art
300435424
Organized to commemorate the bicentenary of the abolition of the British slave trade, Art and Emancipation in Jamaica was the first exhibition to focus exclusively on the visual and material culture of slavery and emancipation in Jamaica. It featured works produced in the Caribbean and Britain, including a number lent from public and private collections in Jamaica that had rarely or never been exhibited. The exhibition chronicled the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s, with a particular focus on the turbulent years preceding and immediately following emancipation in 1838. Gathered together for the first time were drawings and prints depicting life on a Jamaican sugar plantation, and images used by the anti-slavery campaign. Many works were selected from the Center’s extraordinarily rich holdings relating to the Caribbean, which provided the original impetus for the exhibition. — —
At the center of the exhibition was the remarkable lithographic series Sketches of Character, In Illustration of the Habits, Occupation, and Costume of the Negro Population in the Island of Jamaica, made by Jewish Jamaican-born artist Isaac Mendes Belisario. Published in Jamaica in 1837–38, Sketches of Character provides the first detailed visual representation of Jonkonnu (or John Canoe), the celebrated Afro-Jamaican masquerade performed by the enslaved during the Christmas and New Year holidays. Tracing the West African roots of Jonkonnu, its evolution in Jamaica, and its continuing transformation into the twenty-first century, the exhibition featured Jamaican and West African costumes and musical instruments, accompanied by video footage of historic and contemporary performances, as well as a specially commissioned sound track. The exhibition concluded with work by contemporary Jamaican and Afro-Caribbean artists investigating the complex legacy of slavery and emancipation. — —
Credits — —
Art and Emancipation in Jamaica was curated by Gillian Forrester, Associate Curator of Prints and Drawings at the Center; Tim Barringer, Paul Mellon Professor of the History of Art, Yale University; and Barbaro Martinez-Ruiz, Assistant Professor, Department of Art History, Stanford University. Generous support for the project was provided by the Reed Foundation.
Yale Center for British Art
59321
7975878
N8243 S576 B37 2007 OVERSIZE (YCBA)
128236950
3652
300054686
publication event
Timothy J. Barringer, ^Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds^, Yale Center for British Art, New Haven, 2007, p. 184, fig. 11.5, N8243 S576 B37 2007 OVERSIZE (YCBA)
Yale Center for British Art
Timothy J. Barringer
ycba_actor_5763
Barringer Timothy J.
300025492
Author
Gillian Forrester, British
ycba_actor_2052
Forrester Gillian
300025492
Author
Bárbaro Martinez-Ruiz
ycba_actor_14382
Martinez-Ruiz Bárbaro
300025492
Author
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
300025574
Publisher
2007
2007
2007
New Haven
59321
14300234
N6761 .Y33 2019 (LC) (YCBA)
1088665967
4451
300054686
publication event
Martina Droth, ^Britain in the world: Highlights from the Yale Center for British Art in honor of Amy Meyers^, Yale University Press, New Haven, London, p. 167, N6761 .Y33 2019 (LC) (YCBA)
Yale Center for British Art
Martina Droth
ycba_actor_11416
Droth Martina
300025526
editor
Nathan Flis
ycba_actor_12399
Flis Nathan
300025526
editor
Michael Hatt
ycba_actor_12045
Hatt Michael
300025526
editor
Yale University Press
ycba_actor_7029
Yale University Press
300025574
Publisher
0
0
New Haven, London
59321
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
2008-03-07
2008-03-07
2008-03-07
300417642
purchase
This portfolio was published in 2007 to support the foundation of Rivington Place, a public gallery and community space in Shoreditch, London. Rivington Place describes itself as the UK’s "first permanent public space dedicated to diversity in the visual arts" and is housed in an award-winning building designed by David Adjaye, a British architect of Ghanaian descent. As well as hosting regular exhibitions, film screenings, talks, and performances, it is the home of the Association of Black Photographers (Autograph ABP), the International Institute of Visual Arts (Iniva), and the Stuart Hall Library. The artists selected to contribute to the portfolio were chosen for their international reputations and commitment to creating work dealing explicitly with contemporary cultural issues.
--- --- Gallery label for installation of YCBA collection, 2016
59321
300048722
Gallery label
2016
Hew Locke is a British artist who spent his teenage years in Guyana (the home of his father, the sculptor Donald Locke) before returning to live in Brixton, London. Locke works primarily as a sculptor and collagist, often using cheap materials such as cardboard and plastic beads, and objects he collects on the street. His recent work has shown a particular interest in the language of power, globalization, and postcolonial identity. The Prize—a collage assembled from screenprinted images of found objects, onto which actual objects have been attached—tests the limits of printmaking, while engaging with the culture of trophy-making. Locke’s trophy is an overblown parody; a chaotic, troubling, and tasteless jumble of objects that are much less expensive than they look. The flowers are plastic and the gold is paper, suggesting that this is, in the end, something of a hollow prize.
--- --- Gallery label for installation of YCBA collection, 2016
Glenn Ligon is a New York-born artist who works in a variety of media, including paintings, films, and installation. His work constitutes a sustained and profound investigation of race, identity, gender, and sexuality. He regularly references African American writers such as James Baldwin, Ralph Ellison, and Gwendolyn Brooks. In 1996, Ligon began an extensive series of works entitled Stranger in response to Baldwin’s essay "Stranger in the Village" (1953), which describes his experience of living in a remote Swiss village whose inhabitants had never before seen a black man, and his resulting sense of alienation. The text in this print derives from a 1987 conservation analysis of the seventeenth-century Dutch artist Samuel van Hoogstraten’s Peepshow, owned by the National Gallery in London. But, the accompanying image is a cross-section of a paint sample from another source. This text recalls a passage in Ellison’s novel Invisible Man (1951) in which the protagonist (who is black) reminisces about working in a paint factory where only he knew the secret of mixing the perfect white paint by adding a secret quantity of black.
--- --- Gallery label for installation of YCBA collection, 2016
59321
300048722
Gallery label
2016
Born in Edinburgh in 1959, Hew Locke spent his late childhood and adolescence in the former British colony of Guyana, and trained as a printmaker and sculptor in London, where he now lives. Locke's work centers on the ways that culture and history are used as global commodities in post-colonial societies, and his elaborate and decorative cardboard constructions investigate the role played by international trade, packaging, and commodification in everyday lives. Locke's ongoing House of Windsor series of portraits of members of the British royal family, to which this print is related, reflects the artist's ambivalence about the legacies of empire.
--- --- Gallery label for Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30)
59321
300048722
Gallery label
2007
Timothy J. Barringer, Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds, Yale Center for British Art, New Haven, 2007, p. 184, fig. 11.5, N8243 S576 B37 2007 OVERSIZE (YCBA)
7975878
N8243 S576 B37 2007 OVERSIZE (YCBA)
128236950
3652
related to
Martina Droth, Britain in the world: Highlights from the Yale Center for British Art in honor of Amy Meyers, Yale University Press, New Haven, London, p. 167, N6761 .Y33 2019 (LC) (YCBA)
14300234
N6761 .Y33 2019 (LC) (YCBA)
1088665967
4451
related to
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Friends of British Art Fund
300055598
© The Artist
300435434
https://rightsstatements.org/vocab/InC/1.0/
59321
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:59321
oai:tms.ycba.yale.edu:59321
https://manifests.collections.yale.edu/v2/ycba/obj/59321
https://manifests.collections.yale.edu/ycba/obj/59321
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art