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JEROME LAGARRIGUE

ENCRYPTED

July 16 - August 11, 2016

Opening Reception: Saturday, July 16, 6-8pm

Jerome Lagarrigue was born in 1973 to a French father and an American mother and raised in Paris. He moved to the United States in 1992 and graduated from the Rhode Island School of Design in 1996.

He has since received several awards for his work, including the Coretta Scott King/John Steptoe Award as well as the Ezra Jack Keats Award (2002).

He taught a drawing and painting class at the Parsons School of Design in New York from 1997 to 2005.

A documentary, Jerome Lagarrigue: portrait of an artist, directed by Richard Mothes and Anne-Laurence Bizeau, was selected for the sixth International Documentary Competition at the Centre Georges Pompidou (Paris, 1998).

In 2005, he was on of the recipients of the grant and residency program at Villa Medici in Rome. At the end of his stay, he held a solo exhibition in the villa’s main gallery, entitled “Paesaggio delViso” (Landscapes of the Face).

In 2007, he collaborated with celebrated African-American poet Maya Angelou to illustrate of her book poetry for young people.

In 2009, Jerome Lagarrigue was commissioned by the Metropolitan Opera to paint “Tosca.” The painting was part of the opera’s set design (season 2009–2010 opening, directed by Luc Bondy, set design by Richard Peduzzi).

In 2010, Jerome was one of a hundred artists to have been personally selected by George Lucas to participate on an exclusive project commemorating the original Star Wars trilogy. George Lucas subsequently purchased the original art for his personal collection.

In 2012, Jerome Lagarrigue is featured in a full-length documentary entitled HEAVYWEIGHTPAINT about four Brooklyn-based figurative painters: Jerome Lagarrigue, Joseph Adolphe, Tim Okamura and Taha Clayton.

He also created Round Zero, a video project commemorating Rumble in the Jungle, the historic fight held in Kinshasa (Zaire) in 1974 between Mohammad Ali and George Foreman.

In 2013, Jerome was commissioned by Richard Parsons and Alexander Smalls to paint a 14 ft. wide portrait for the prestigious Cecil restaurant in Harlem NY.

In 2014, Jerome Lagarrigue’s solo exhibit at Driscoll Babcock gallery in Cheslea entitled “Visible Man” focusing on Alibno Model Shaun Ross was reviewed by Artsy.com as a must-see exhibit of the month. The exhibit received major press attention.

In 2015, Jerome was asked to participate in “Manifest Justice” in Los Angeles. The exhibited curated by Yosi Sargant (National Endowement for the Arts) featured the controversial works of 149 artists, such as Eric Fishl. The exhibit was a major success and was reviewed in the LA Times.

The artist resides and works in Brooklyn.

BARRON CLAIBORNE + TIM OKAMURA

GODDESS

June 18 - July 14, 2016

Opening Reception: Saturday, June 18, 6-8pm

 

Photographer Barron Claiborne and painter Tim Okamura challenge Eurocentric mythology in the celebration of black womanhood that is their two-man show “Goddess.” Through portraits that juxtapose the religious symbols of antiquity with modern iconography, Claiborne and Okamura syncretize the visual languages of western portraiture, the Abrahamic religions, and urban America to create layered conversations about the intersection of identities and contemporary geopolitics. They highlight the often overlooked beauty both in black women’s physical appearances and in the interplay of seemingly contradictory characteristics in all humans. Contrary to the Renaissance-born classical tradition that tend to include black women in portraits as possessions, like books and globes, to show the sitter's economic status, Claiborne and Okamura's work make black women's agency and personhood the focus. 

                                                   

Claiborne began photographing the women in his “Saints” series in 1999.  Shot on 8 x 10 Polaroid film, the subjects are either draped in rich cloths like relics of dynasties past or partially nude, they peer directly into the camera with hints of vulnerability and derision in their eyes, often clutching crosses, guns, or each other’s hands. Okamura superimposes the figure of the black woman atop layers of graffiti writing, noting the variances in temporality of the two forms of narrative preservation, the static nature of the portrait and the ever-evolving dialogue of street art. “Goddess” questions the gendering and racialization of the divine in the Western tradition, placing the black women at the center of a new mythology as both creator and steward.

 

JULES ARTHUR

ASCENSION

August 13 - September 5, 2015