VOLTA NY 2015
POSSIBLE BIBLIOGRAPHY
2015 52 b&w archival inkjet prints on Canson Infinity Platine Fibre Rag edition of 7 Available
POSSIBLE BIBLIOGRAPHY
2015 portfolio of 52 archival inkjet prints edition of 7 Available
POSSIBLE BIBLIOGRAPHY
2015 portfolio of 52 archival inkjet prints edition of 7 Available
WHO'S AFRAID OF SOMETHING REAL?
2012 archival pigment print on Somerset paper in artist's frame 43 3/8" x 35" Available
WHO'S AFRAID OF SOMETHING REAL?
2012 archival pigment print on Somerset paper in artist's frame 43 3/8" x 35" Available
WHO'S AFRAID OF SOMETHING REAL?
2012 archival pigment print on Somerset paper in artist's frame 43 3/8" x 35" Available
WHO'S AFRAID OF SOMETHING REAL?
2012 archival pigment print on Somerset paper in artist's frame 43 3/8" x 35" Available
WHO'S AFRAID OF SOMETHING REAL?
2012 archival pigment print on Somerset paper in artist's frame 43 3/8" x 35" Available
WHEN WILL MY LOVE BE RIGHT
2013 galvanized welded and riveted steel, leather, brass, copper and seashell 26" x 25" x 40 1/2" Available
WHAT ACTUALLY HAPPENS (SEE BLUE SAY WHITE)
2013 archival pigment print on Somerset paper in artist's frame 22" x 18 1/2" x 1 1/2" Available
WHAT ACTUALLY HAPPENS (SEE BLUE SAY WHITE)
2013 archival pigment print on Somerset paper in artist's frame 22" x 18 1/2" x 1 1/2" Available
WHAT ACTUALLY HAPPENS (SEE BLUE SAY WHITE)
2013 archival pigment print on Somerset paper in artist's frame 22" x 18 1/2" x 1 1/2" Available
WHAT ACTUALLY HAPPENS (SEE BLACK SAY RED)
2013 archival pigment print on Somerset paper in artist's frame 43 3/8" x 35" x 1 1/2" Available
DAYDREAM NATION (12)
2010 graphite pencil and Flashe on Chinese paper 15" x 14 1/2" (framed) Available
DAYDREAM NATION (1)
2010 graphite pencil and Flashe on Chinese paper 9 1/2" x 9 1/2" Available
Artists
Statement
Arnold Joseph Kemp is of the generation of pacesetting artists who became known in New York through participation in the Studio Museum in Harlem’s groundbreaking Freestyle exhibition of 2001. Kemp’s work functions as an indicator of one of the varied directions artists are taking in deploying references to black culture. At the center of the presentation Kemp has placed a hauntingly, enigmatic sculpture titled WHEN WILL MY LOVE BE RIGHT that is made of objects that look found but are actually made by the artist. Accompanying this work are several of Kemp’s photographic images of "aluminums" that speak with a paradoxical coolness of the conflict between competing needs to mask and to express the self that is an aesthetic stance familiar from African art and American jazz. Kemp’s work displays a certain mastery of and irreverence toward history that allows him to move like a jazz musician who plays with the confidence to push blackness into a higher level of abstraction, to push it into silence and poetry.