2024-03-29T11:25:50Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:593412024-03-27ycba:pd
YCBA/lido-TMS-59341
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300046300
photograph
300312222
digital print
300015637
portrait
300046300
Photograph
Autoportrait
Inscribed in artist's hand on back in graphite bottom right "6/20"; in artist's hand in graphite bottom left to right: "VIII Autoportait "Joy Gregory | 20006"
Signed and dated on verso in graphite: "Joy Gregory | 2006"
500303557
Yale Center for British Art
http://britishart.yale.edu
B2008.8.8
Not on view
Yale Center for British Art
41.3080060, -72.9306282
7 x 5in. (17.8 x 12.7cm)
width
cm
12.7
height
cm
17.8
Sheet
59341
300054713
production
Joy Gregory, born 1959, British
ycba_actor_7588
https://rkd.nl/nl/explore/artists/391810
https://www.wikidata.org/wiki/Q26251637
Joy Gregory
Gregory Joy, born 1959
Joy Gregory, born 1959
Joy Gregory, born 1959
1028475
7011781
British
1959
2059
female
300025103
Artist
300111159
British
2006
2006
2006
26
20th century
Giclée print on medium, smooth, white cotton rag paper
Art in Focus : Women at Yale (Yale Center for British Art, 2020-04-08 - 2020-08-30)
1024
https://britishart.yale.edu/node/965/
300054766
exhibition
Art in Focus : Women at Yale
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
2020-04-08 - 2020-08-30
2020-04-08
2020-08-30
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
This exhibition celebrates women artists in the collection of the Yale Center for British Art. Inspired by Yale University’s celebration of 50 years of coeducation in Yale college and 150 years of coeducation in Yale graduate programs, Art in Focus: Women From the Center highlights women artists whose inventive art practices have enabled them to stake out space in the art world. The title for this exhibition references both the use of the collection of the Yale Center for British Art and Lucy Lippard’s influential collection of feminist essays, From the Center (1976). --- ---
The artists featured here span the nineteenth century to the present day and work across a broad spectrum of media, styles, and techniques. The display is composed of four different themes: “Women and Institutions” looks at artists who challenge bodies of knowledge and control that have historically marginalized or oppressed women. “Space and Place” showcases women artists who reimagine urban and pastoral environments and imprint their own subjectivity on these spaces. “Women as Muses” challenges traditional understandings of artist and muse—namely that of an active male artist and a passive female muse—for on this wall women play both roles. Finally, “Beyond the Figure” examines the role that women have played in breaking free from the politics of figuration.
Yale Center for British Art
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://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
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
59341
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, pp. 186-7, fig. 11.8, 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
59341
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
B2008.8.2, B2008.8.5, B2008.8.8
The photographer Joy Gregory was born in Britain to Jamaican parents. She studied at the Royal College of Art, London, and has exhibited internationally, including in Cape Town, South Africa, where she first showed her series Lost Histories, which reflected on colonization and its effects on culture and self-image. Gregory's practice constitutes a penetrating investigation of issues of race, gender, and personal and cultural identity, while her visual language, as she has noted, "resides within a traditional aesthetic of truth and beauty." The artist has an eclectic technical repertoire, ranging from Victorian print processes to digital imaging. First published in 1990, Autoportrait originally consisted of a series of self-portrait silver prints that existed only in an edition of two, but Gregory recently had the original photographs scanned and the portfolio was republished in 2006 as a series of giclée prints.
In Gregory's 1990 Autoportrait photo series [figs. 11.7 and 11.8], there is nothing else in the frame, nothing for the eye to see, nowhere else to look, except at the black woman "in the field of vision." Or rather the parts of her-eyes, eyebrows, mouth, neck, ears, half-profile, hands-covering-face-that Gregory allows us to see: for the deliberately distorted staging of these self-images, disrupting the "normal" distances of viewing, their isolation in space and fragmented shapes, also breaks the frame in a wider sense, refusing the wholeness of the tradition of western portraiture and, in a counter-move, obliging us to see and look otherwise. As I argued elsewhere:
Black self-portraiture in this historical moment has broken many of its links with the dominant western humanist celebration of self and has become more the staking of a claim, a wager. Here, the black self-image is, in a double sense, an exposure, a coming-out. The self is caught emerging . . . the experience of rupture, break, discontinuity, of loss and resistance to loss, of migration, upheaval, of the struggle to live within multiple locations and to sustain multiple strategies of resistance are allowed to invade the mythical inner wholeness of the self-image.
--- --- 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)
59341
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, pp. 186-7, fig. 11.8, N8243 S576 B37 2007 OVERSIZE (YCBA)
7975878
N8243 S576 B37 2007 OVERSIZE (YCBA)
128236950
3652
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/
59341
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:59341
oai:tms.ycba.yale.edu:59341
https://manifests.collections.yale.edu/v2/ycba/obj/59341
https://manifests.collections.yale.edu/ycba/obj/59341
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art