Items Similar to Kicking and Screaming
Want more images or videos?
Request additional images or videos from the seller
1 of 4
Chris BarnardKicking and Screaming2017
2017
About the Item
Based on one of the painting galleries at the Met, but with a fictionalized sculpture, the form of which is based on an iconic photo by Will Counts, capturing a white segregationist kicking Alex Wilson, a black journalist, in the head on Sep. 23, 1957. Alex Wilson was in Little Rock, AR, as the 'Little Rock Nine' attempted to enter the segregated public schools.
[b. 1977 – New York, NY ::: lives & works – New Haven, CT]
CHRIS BARNARD received his BA from Yale and his MFA from The University of Southern California (USC) in Los Angeles. Having previously held faculty positions at Denison University, Indiana University, and USC, Barnard is currently associate professor of art at Connecticut College in New London.
Barnard’s work has been shown in solo and group exhibitions in Los Angeles, New York, Chicago, and New Haven, among other locations, and can be found in public and private collections nationally and internationally. His work is represented by Fred Giampietro Gallery in New Haven, where he and his partner live.
artist statement
In my work I focus on white supremacy’s relationship to the privileged spaces of my experiences, such as private art and educational institutions. Amidst widening gaps in wealth and opportunity, discussions about race, power, justice and representation—across visual culture broadly—seem more relevant than ever.
In many of my compositions, which reference real sites, I have inserted fictional elements to raise questions about the allegiances and priorities of these institutions, as well as people—including myself—who have benefitted from, or continue to support them. The resulting works are representational, but through gestural passages and color and surface manipulation, I aim to suggest instability, corrosion and decay. In the end, I strive to make engaging paintings that suggest dissonance and ambivalence, that entice and challenge viewers, just as painting them does for me.
These paintings are rooted in my contemplating Whiteness and emerge from wrestling with the politics of painting—the connections and gaps between painting and lived experience. They also reflect: a love of paint, the act of painting, and the power of the painted image; a regard for practitioners past and present, as well as those for whom practice has not been possible; and an admission of painting’s complicity with hegemonic power. As always, my process remains driven by questions. In this case, questions like: What role does painting play in the face of concrete social crises? How can my paintings respectfully incorporate¬—rather than exploit—relevant and thought-provoking content and imagery? What does it mean to think about racism, dehumanization, injustice, etc., and then to paint such pictures, and in particular as a straight, White man?
These questions and this body of work owe much to the work of others, and most acutely to four scholars’ books in particular: The History of White People, by Nell Irvin Painter; Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities by Craig Steven Wilder; The New Jim Crow: Mass Incarceration in the Age of Colorblindness, by Michelle Alexander; and White Rage, by Carol Anderson. I am greatly indebted to the depth of research and insight that these books represent; each was inspiring as much as it was devastating. These people’s work, among others, influenced my own immeasurably, concretely sparking ideas for compositions, and more ephemerally—but equally importantly—by setting a standard, a tone, and a spirit for me in the studio that I strive to honor.
There is always danger in making art in response to inhumanity and suffering. I do so sincerely and humbly, without claiming success or certainty. And certainly, I recognize that painting has its limitations when compared to direct social action. That said, I believe art enables interaction and introspection for individuals, as well as creates opportunities for dialogue and discussion. My hope is that these works communicate a degree of internal struggle—among and between compositions, materials, processes, intents, and experiences—but, even more importantly, provoke conversation and critical thought.
- Creator:Chris Barnard (American)
- Creation Year:2017
- Dimensions:Height: 48 in (121.92 cm)Width: 36 in (91.44 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New Orleans, LA
- Reference Number:1stDibs: LU10524925541
About the Seller
5.0
Gold Seller
These expertly vetted sellers are highly rated and consistently exceed customer expectations.
Established in 1998
1stDibs seller since 2015
139 sales on 1stDibs
Typical response time: <1 hour
- ShippingRetrieving quote...Ships From: New Orleans, LA
- Return PolicyA return for this item may be initiated within 3 days of delivery.
More From This SellerView All
- The Evidence of Things SeenBy Chris BarnardLocated in New Orleans, LAAn abstracted view of the Art Institute of Chicago's Grand Staircase. The lone sculpture fictionally represents an armed officer pointing a gun at an absent figure. [b. 1977 – New York, NY ::: lives & works – New Haven, CT] CHRIS BARNARD received his BA from Yale and his MFA from The University of Southern California (USC) in Los Angeles. Having previously held faculty positions at Denison University, Indiana University, and USC, Barnard is currently associate professor of art at Connecticut College in New London. Barnard’s work has been shown in solo and group exhibitions in Los Angeles, New York, Chicago, and New Haven, among other locations, and can be found in public and private collections nationally and internationally. His work is represented by Fred Giampietro Gallery in New Haven, where he and his partner live. artist statement In my work I focus on white supremacy’s relationship to the privileged spaces of my experiences, such as private art and educational institutions. Amidst widening gaps in wealth and opportunity, discussions about race, power, justice and representation—across visual culture broadly—seem more relevant than ever. In many of my compositions, which reference real sites, I have inserted fictional elements to raise questions about the allegiances and priorities of these institutions, as well as people—including myself—who have benefitted from, or continue to support them. The resulting works are representational, but through gestural passages and color and surface manipulation, I aim to suggest instability, corrosion and decay. In the end, I strive to make engaging paintings that suggest dissonance and ambivalence, that entice and challenge viewers, just as painting them does for me. These paintings are rooted in my contemplating Whiteness and emerge from wrestling with the politics of painting—the connections and gaps between painting and lived experience. They also reflect: a love of paint, the act of painting, and the power of the painted image; a regard for practitioners past and present, as well as those for whom practice has not been possible; and an admission of painting’s complicity with hegemonic power. As always, my process remains driven by questions. In this case, questions like: What role does painting play in the face of concrete social crises? How can my paintings respectfully incorporate¬—rather than exploit—relevant and thought-provoking content and imagery? What does it mean to think about racism, dehumanization, injustice, etc., and then to paint such pictures, and in particular as a straight, White man? These questions and this body of work owe much to the work of others, and most acutely to four scholars’ books in particular: The History of White People, by Nell Irvin Painter; Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities by Craig Steven Wilder; The New Jim Crow: Mass Incarceration in the Age of Colorblindness, by Michelle Alexander; and White Rage, by Carol Anderson...Category
21st Century and Contemporary Contemporary Figurative Paintings
MaterialsCanvas, Oil, Panel
- C'mon, son!By Chris BarnardLocated in New Orleans, LAThis depicts an Art Institute of Chicago gallery space with a fictional sculpture. The two men rendered in the sculpture are based on white youth who attacked and beat Ted Landsmark, a black lawyer...Category
21st Century and Contemporary Contemporary Figurative Paintings
MaterialsOil, Canvas, Panel
- OverseerBy Gina PhillipsLocated in New Orleans, LAGina Phillips is a mixed media, narrative artist who grew up in Kentucky and has lived in New Orleans since 1995. The imagery, stories and characters of both regions influence her wo...Category
21st Century and Contemporary Contemporary Figurative Paintings
MaterialsAcrylic, Oil, Panel
- Seeking Funn SEXY friends - mw4mw - 30 (NO ky SO oh)By Carlton Scott SturgillLocated in New Orleans, LA"Seeking Funn SEXY friends - mw4mw - 30 (NO ky SO oh)" by Carlton Scott Sturgill. Born in 1971 in Cincinnati, Ohio, CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) fr...Category
21st Century and Contemporary Contemporary Figurative Paintings
MaterialsFound Objects, Oil, Panel
- "The Rain" -- Oil Painting by Alexander StolinLocated in New Orleans, LAALEXANDER STOLIN, born and raised in Kiev, Ukraine (under the former Soviet Socialist Republic), where he received intensive training and a master of fine arts degree in his homeland...Category
21st Century and Contemporary Contemporary Figurative Paintings
MaterialsOil, Wood Panel
- "The Sunset" -- Oil Painting by Alexander StolinLocated in New Orleans, LAALEXANDER STOLIN, born and raised in Kiev, Ukraine (under the former Soviet Socialist Republic), where he received intensive training and a master of fine arts degree in his homeland...Category
21st Century and Contemporary Contemporary Figurative Paintings
MaterialsOil, Wood Panel
You May Also Like
- Chinese Contemporary Art by Wang Dianyu - HomelandLocated in Paris, IDFOil on wooden panelCategory
2010s Contemporary Figurative Paintings
MaterialsWood Panel, Canvas, Oil
- Composition in Blue and Green- 21st Century Dutch Realistic Still-life paintingBy Henk BoonLocated in Nuenen, Noord BrabantHenk Boon Composition in Blue and Green Oil on canvas on wood 100 x 120 cm Frame included 107 x 127 cm The still-life paintings of Dutch painter Henk Boon ...Category
2010s Contemporary Still-life Paintings
MaterialsCotton Canvas, Oil, Wood Panel
- Tumbling into LightBy Angela FraleighLocated in New York, NYSigned and dated (on verso): Angela Fraleigh 2021Category
2010s Contemporary Figurative Paintings
MaterialsCanvas, Oil, Panel
- Wait For Me ThereBy Angela FraleighLocated in New York, NYSigned and dated (on verso): Angela Fraleigh 2021Category
2010s Contemporary Figurative Paintings
MaterialsCanvas, Oil, Panel
- Silent SparksBy Angela FraleighLocated in New York, NYSigned and dated (on verso): Angela Fraleigh 2021Category
2010s Contemporary Figurative Paintings
MaterialsCanvas, Oil, Panel
- Still Life with MushroomsBy Fabian JeanLocated in Montreal, QuebecFabian Jean graduated with a Bachelor of Fine Arts from Concordia University. He has had solo exhibitions in Montreal, Toronto and Halifax and has been included in several group exhi...Category
2010s Contemporary Still-life Paintings
MaterialsCanvas, Oil, Panel