Days On My Own - Part 1
There is something which draws me to big cities. To traveling light and alone. To the power of art when experienced in person. To using a camera and posting words and images.
Grand Central Station & Fifth Avenue
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| Larry Wolf, Grand Central Station (2021) |
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Larry Wolf,
Vincent Ballentine And Still They Rise - Octavia Butler
(2021) |
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Larry Wolf,
Vincent Ballentine And Still They Rise - Maya Angelou
(2021) |
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| Larry Wolf, Prometheus and the Capitalists (2021) |
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| Larry Wolf, Masked Atlas and the Cathedral (2021) |
John Edmonds: A Sidelong Glance @ The Brooklyn Museum
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| Larry Wolf, Brooklyn Museum (2021) |
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| Larry Wolf, John Edmonds - A Sidelong Glance - American Gods 2017 (2021) |
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| Larry Wolf, John Edmonds - A Sidelong Glance (2021) |
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| Larry Wolf, John Edmonds - A Sidelong Glance (2021) |
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| Larry Wolf, John Edmonds - A Sidelong Glance (2021) |
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| Larry Wolf, John Edmonds - A Sidelong Glance (2021) |
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| Larry Wolf, John Edmonds - A Sidelong Glance (2021) |
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| Larry Wolf, John Edmonds - A Sidelong Glance (2021) |
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| Larry Wolf - John Edmonds - Whose Hands? 2019 - Poster (2021) |
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| Larry Wolf, John Edmonds - Whose Hands? 2019 (2021) |
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| Larry Wolf, John Edmonds - Whose Hands? 2019 (2021) |
PDF of John Edmonds - Whose Hands? 2019 - Poster
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| Larry Wolf, John Edmonds - Whose Hands? 2019 - Wall Text (2021) |
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| Larry Wolf, John Edmonds - American Gods 2017 (2021) |
Here the pyramidal composition recalls the sacred geometry of Renaissance paintings, while the three du-rags correspond to the red, black, and green of the Pan-African flag. [wall text]
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| Larry Wolf, John Edmonds - Female Nude 2018 (2021) |
This photograph of a reclining nude woman recalls European Renaissance and Baroque representations of Venus and other idealized female figures, as well as modernist takes on this tradition. [wall text]
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| Larry Wolf, John Edmonds - Tourist Items from Liberia 2019 (2021) |
Many of the sculptures and masks that Edmonds has photographed were made for commercial purposes, as the title of this picture indicates. By collecting and then photographing these items alongside models, Edmonds addresses how and by whom value is determined over time. [wall text]
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| Larry Wolf, John Edmonds - A Guard for the Gods 2020 (2021) |
... yet here the man's cap seems to suggest the authority of a museum guard, someone task with ensuring the safety of the work ... The artwork highlights, even if subtly, how property and possession are intimately linked to legacies of violence - state-sanctioned, colonial, or otherwise. [wall text]
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| Larry Wolf, John Edmonds - Anotolli and Collection 2019 (2021) |
Photography and the process of collecting are both expressions of possession and desire, which Edmonds explores in this photograph of a bare-chested man, Anatolli, contemplating the artist's own collection of African art. ... "It is essential to me to consider my role as a vessel for understanding these objects in a liminal space between their origins and the new space in which they exist." [wall text]
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| Larry Wolf, John Edmonds - Two Spirits 2019 (2021) |
This photograph is structured around doubling. ... For Edmonds, the picture "calls and echos the sentiments of Ibeji, which is an orisha or spirit representing a pair of twins in Yoruba religion." ... The twinning is reinforced by Edmonds's use of double exposure, a technique associated with European and American Surrealist photographers ... The title also evokes the model's own gender-fluidity ... [wall text]
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Larry Wolf, John Edmonds - Young Man Looking at a Female Sculpture (from the Senufo) 2019
(2021) |
Many of Edmonds's photographs, like this one, engage the legacy of work made by artists during the Harlem Renaissance, in the 1920s and 1930s, who reclaimed African artifacts and aesthetics as a source of inspiration and experimentation. [wall text]
Addendum - Ancient Egyptian Royalty at the Met
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Larry Wolf, His Hair Is A Crown - Met Museum (2021)
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Larry Wolf, His Hair Is A Crown - Met Museum (2021)
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