著者：Antwaun Sargent
Photographed by Campbell Addy, Arielle Bobb-Willis, Micaiah Carter, Awol Erizku, Nadine Ijewere, Quil Lemons, Namsa Leuba, Renell Medrano, Tyler Mitchell, Jamal Nxedlana, Daniel Obasi, Ruth Ossai, Adrienne Raquel, Dana Scruggs, and Stephen Tayo And including conversations with Shaniqwa Jarvis, Mickalene Thomas, and Deborah Willis
出版社： Aperture
サイズ： 20.96 x 2.79 x 27.9 cm
キュレーターであり、批評家でもあるアントワン・サージェントのキュレーションによる、15名のアーティストにフィーチャーした写真集。アメリカンヴォーグ紙で表紙を飾った初の黒人写真家であるタイラー・ミッチェル、Nii Agency/Nii Journalの創設者でもあるキャンベル・アディー、ステラ・マッカートニーとのコラボレーションでも有名なナディーン・イジャウェーといったアーティストたちを紹介している。 現在、サージェントはガゴシアン・ギャラリーのキュレーターとしても活躍中。
In The New Black Vanguard: Photography between Art and Fashion, curator and critic Antwaun Sargent addresses a radical transformation taking place in fashion and art today. The featuring of the Black figure and Black runway and cover models in the media and art has been one marker of increasingly inclusive fashion and art communities. More critically, however, the contemporary visual vocabulary around beauty and the body has been reinfused with new vitality and substance thanks to an increase in powerful images authored by an international community of Black photographers. In a richly illustrated essay, Sargent opens up the conversation around the role of the Black body in the marketplace; the cross-pollination between art, fashion, and culture in constructing an image; and the institutional barriers that have historically been an impediment to Black photographers participating more fully in the fashion (and art) industries. Fifteen artist portfolios feature the brightest contemporary fashion photographers, including Tyler Mitchell, the first Black photographer hired to shoot a cover story for American Vogue; Campbell Addy, founder of the Nii Agency and journal; and Nadine Ijewere, whose early series title, The Misrepresentation of Representation, says it all. Alongside a series of conversations between generations, their images and stories chart the history of inclusion, and exclusion, in the creation of the commercial Black image, while simultaneously proposing a brilliantly reenvisioned future.
Photographed by Campbell Addy, Arielle Bobb-Willis, Micaiah Carter, Awol Erizku, Nadine Ijewere, Quil Lemons, Namsa Leuba, Renell Medrano, Tyler Mitchell, Jamal Nxedlana, Daniel Obasi, Ruth Ossai, Adrienne Raquel, Dana Scruggs, and Stephen Tayo And including conversations with Shaniqwa Jarvis, Mickalene Thomas, and Deborah Willis
出版社： Aperture
サイズ： 20.96 x 2.79 x 27.9 cm
キュレーターであり、批評家でもあるアントワン・サージェントのキュレーションによる、15名のアーティストにフィーチャーした写真集。アメリカンヴォーグ紙で表紙を飾った初の黒人写真家であるタイラー・ミッチェル、Nii Agency/Nii Journalの創設者でもあるキャンベル・アディー、ステラ・マッカートニーとのコラボレーションでも有名なナディーン・イジャウェーといったアーティストたちを紹介している。 現在、サージェントはガゴシアン・ギャラリーのキュレーターとしても活躍中。
In The New Black Vanguard: Photography between Art and Fashion, curator and critic Antwaun Sargent addresses a radical transformation taking place in fashion and art today. The featuring of the Black figure and Black runway and cover models in the media and art has been one marker of increasingly inclusive fashion and art communities. More critically, however, the contemporary visual vocabulary around beauty and the body has been reinfused with new vitality and substance thanks to an increase in powerful images authored by an international community of Black photographers. In a richly illustrated essay, Sargent opens up the conversation around the role of the Black body in the marketplace; the cross-pollination between art, fashion, and culture in constructing an image; and the institutional barriers that have historically been an impediment to Black photographers participating more fully in the fashion (and art) industries. Fifteen artist portfolios feature the brightest contemporary fashion photographers, including Tyler Mitchell, the first Black photographer hired to shoot a cover story for American Vogue; Campbell Addy, founder of the Nii Agency and journal; and Nadine Ijewere, whose early series title, The Misrepresentation of Representation, says it all. Alongside a series of conversations between generations, their images and stories chart the history of inclusion, and exclusion, in the creation of the commercial Black image, while simultaneously proposing a brilliantly reenvisioned future.