Jennifer Packer Man Holding Hands to His Forehead and Arms Outstretched 508x1024

Jennifer Packer – Whitney – PROVOKR

BY: Ines Valencia

Essentially the most in depth assortment of Jennifer Packer’s work is at the moment on view on the Whitney. The New York museum options over thirty of her work and drawings within the exhibition: The Eye Is Not Glad With Seeing. It comes from Serpentine in London and is on view till April 17, 2022.

Not solely is that this the artist’s largest present to this point, however additionally it is her first main museum exhibition in New York. Combining statement, reminiscence, and improvisation, Jennifer Packer creates works in regards to the emotional expertise of Black folks and their environments.

Jennifer Packer was born in Philadelphia in 1984 and at the moment lives and works in New York Metropolis. She obtained the 2020 Hermitage Greenfield Prize, the Nancy B. Negley Rome Prize, and is now an Assistant Professor on the Rhode Island College of Design’s portray division. Packer studied on the Tyler College of Artwork, Temple College, Philadelphia, the place she obtained a BFA in 2007. On the Yale College of Artwork, she obtained an MFA in 2012. About her work, she has acknowledged: “My inclination to color, particularly from life, is a totally political one. We belong right here. We need to be seen and acknowledged in real-time. We need to be heard and to be imaged with shameless generosity and accuracy.”

The present options items created between 2011 and 2021. They’re new work and infrequently exhibited drawings, amongst different works which have been part of the museum’s assortment for a while. It contains The Physique Has Reminiscence (2018) and A Lesson in Longing (2019). Aside from her figurative work, guests may also have the chance to view a few of her floral compositions. She describes many of those works as “funerary bouquets” and “vessels of non-public grief.” Say Her Title (2017), for instance, is a response to the loss of life of Sandra Bland in 2015. 

The curators of this present first introduced her work throughout the 2019 Whitney Biennial. “Over the previous a number of years, the Whitney has introduced vital reveals devoted to a variety of latest painters, together with Julie Mehretu, Laura Owens, and Salman Toor, and we’re honored so as to add Jennifer Packer to this unfolding story,” stated Senior Deputy Director and Chief Curator Scott Rothkopf. “Her latest canvases had been standouts within the 2019 Biennial, whereas this exhibition will present a chance to survey the breadth of her extraordinary, nonetheless evolving physique of labor.” “We’re thrilled to be bringing Packer’s work to a broader institutional viewers, particularly in such depth,” Jane Panetta and Rujeko Hockley have added. “Her capability to formally reimagine the chances of portray, mixed along with her distinctive engagement with a private narrative fused with one across the acute vulnerability of Black life, make Packer a singular voice in up to date portray.”

Jennifer Packer: The Eye Is Not Glad With Seeing is organized by Rujeko Hockley, Arnhold Affiliate Curator, and Jane Panetta, Curator, and Director of the Assortment. It’s on view within the Museum’s eighth-floor Hurst Household Galleries from October 30, 2021, to Spring 2022. Don’t miss it!

Jennifer Packer, Say Her Name, 2017. Oil on canvas, 48 × 40 in. (121.9 × 101.6 cm). Private collection. © Jennifer Packer. Photograph by Matt Grubb. Image courtesy Sikkema Jenkins & Co., New York, and Corvi-Mora, London
Jennifer Packer, Say Her Title, 2017. Oil on canvas, 48 × 40 in. (121.9 × 101.6 cm). Non-public assortment. © Jennifer Packer. {Photograph} by Matt Grubb. Picture courtesy Sikkema Jenkins & Co., New York, and Corvi-Mora, London
Jennifer Packer, For James (III), 2013. Oil on canvas. Private collection. © Jennifer Packer. Photo by Marcus Leith. Image courtesy Sikkema Jenkins & Co., New York, and Corvi-Mora, London
Jennifer Packer, For James (III), 2013. Oil on canvas. Non-public assortment. © Jennifer Packer. Photograph by Marcus Leith. Picture courtesy Sikkema Jenkins & Co., New York, and Corvi-Mora, London
Jennifer Packer, Cumulative Losses, 2012–17. Oil on canvas. Collection of Valeria and Gregorio Napoleone. © Jennifer Packer. Photo by Marcus Leith. Image courtesy Sikkema Jenkins & Co., New York, and Corvi-Mora, London
Jennifer Packer, Cumulative Losses, 2012–17. Oil on canvas. Assortment of Valeria and Gregorio Napoleone. © Jennifer Packer. Photograph by Marcus Leith. Picture courtesy Sikkema Jenkins & Co., New York, and Corvi-Mora, London
Jennifer Packer, The Body Has Memory, 2018. Oil on canvas. Whitney Museum of American Art, NY; promised gift of Miyoung Lee and Neil Simpkins. © Jennifer Packer. Photo by Jason Wyche. Image courtesy Sikkema Jenkins & Co., NY, and Corvi-Mora, London
Jennifer Packer, The Physique Has Reminiscence, 2018. Oil on canvas. Whitney Museum of American Artwork, NY; promised present of Miyoung Lee and Neil Simpkins. © Jennifer Packer. Photograph by Jason Wyche. Picture courtesy Sikkema Jenkins & Co., NY, and Corvi-Mora, London
Jennifer Packer, Tia, 2017. Oil on canvas. Collection of Joel Wachs. © Jennifer Packer. Photo by Matt Grubb. Image courtesy Sikkema Jenkins & Co., NY, and Corvi-Mora, London
Jennifer Packer, Tia, 2017. Oil on canvas. Assortment of Joel Wachs. © Jennifer Packer. Photograph by Matt Grubb. Picture courtesy Sikkema Jenkins & Co., NY, and Corvi-Mora, London

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