Hughie Lee-Smith:
Hughie Lee-Smith's body of work spans nearly seven decades. He came of age in the midst of the Great Depression, spending his early life primarily between Cleveland and Detroit. He was in Chicago from 1943-45 where he enlisted in the Great Lakes Naval Station. The Midwest left an indelible infl...
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
New York
Karma
[2023]
|
| Schlagworte: | |
| Zusammenfassung: | Hughie Lee-Smith's body of work spans nearly seven decades. He came of age in the midst of the Great Depression, spending his early life primarily between Cleveland and Detroit. He was in Chicago from 1943-45 where he enlisted in the Great Lakes Naval Station. The Midwest left an indelible influence on Lee-Smith, whose Social Realist paintings made reference to its expansive gray skies and industrial architecture. He was involved in several projects that were recipients of Works Progress Administration funding: Karamu House in Cleveland, the oldest running African American theater in the nation, and the Southside Community Art Center in Chicago, where he would cross paths with Charles White, Gordon Parks, and Margaret Taylor-Burroughs, among others. Eventually teaching would take him to the East Coast, where he was artist in residence at Howard University in Washington, DC and later an instructor at the Art Students League of New York. Imagery of the carnival fairground recurs throughout Lee-Smith's work via the motifs of ribbons, pendants, and balloons. His paintings often reference the contrast between the carnival's playful theatricality and its uncanny imitation of reality. He depicts abandoned, crumbling urban architecture as the sets for his existential tableaus. Even when his figures appear together, they always seem solitary. In Two Girls (1956), his subjects stand at the edge of a pier, turned away from the viewer and gazing toward a bleak horizon, as if on a separate picture plane. Over the course of his long career, Lee-Smith developed a distinct figurative vocabulary influenced by both Neoclassicism and Surrealism. Lee-Smith left behind an idiosyncratic body of work, the summation of a lifelong effort to see beyond the real. Exhibition: Karma, New York, USA (03.08-17.09.2022); Karma, Los Angeles, (09.29-11.05.2022) |
| Beschreibung: | Seite [392]: Published on the occasion of "Hughie Lee-Smith", August 3-September 17, 2022, Karma... New York, New York; September 29-November 5, 2022, Karma ... Los Angeles |
| Beschreibung: | 391 Seiten 29 cm |
| ISBN: | 9781949172911 1949172910 |
Internformat
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| 245 | 1 | 0 | |a Hughie Lee-Smith |c with contributions by Hilton Als, Lauren Haynes, Leslie King-Hammond, and Steve Locke, and a conversation with Kellie Jones, LeRonn P. Brooks, and Reggie Burrows Hodges |
| 264 | 1 | |a New York |b Karma |c [2023] | |
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| 520 | 3 | |a Hughie Lee-Smith's body of work spans nearly seven decades. He came of age in the midst of the Great Depression, spending his early life primarily between Cleveland and Detroit. He was in Chicago from 1943-45 where he enlisted in the Great Lakes Naval Station. The Midwest left an indelible influence on Lee-Smith, whose Social Realist paintings made reference to its expansive gray skies and industrial architecture. He was involved in several projects that were recipients of Works Progress Administration funding: Karamu House in Cleveland, the oldest running African American theater in the nation, and the Southside Community Art Center in Chicago, where he would cross paths with Charles White, Gordon Parks, and Margaret Taylor-Burroughs, among others. Eventually teaching would take him to the East Coast, where he was artist in residence at Howard University in Washington, DC and later an instructor at the Art Students League of New York. Imagery of the carnival fairground recurs throughout Lee-Smith's work via the motifs of ribbons, pendants, and balloons. His paintings often reference the contrast between the carnival's playful theatricality and its uncanny imitation of reality. He depicts abandoned, crumbling urban architecture as the sets for his existential tableaus. Even when his figures appear together, they always seem solitary. In Two Girls (1956), his subjects stand at the edge of a pier, turned away from the viewer and gazing toward a bleak horizon, as if on a separate picture plane. Over the course of his long career, Lee-Smith developed a distinct figurative vocabulary influenced by both Neoclassicism and Surrealism. Lee-Smith left behind an idiosyncratic body of work, the summation of a lifelong effort to see beyond the real. Exhibition: Karma, New York, USA (03.08-17.09.2022); Karma, Los Angeles, (09.29-11.05.2022) | |
| 600 | 1 | 7 | |a Lee-Smith, Hughie |d 1915-1999 |0 (DE-588)121807630 |2 gnd |9 rswk-swf |
| 648 | 7 | |a Geschichte 1940-1996 |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Malerei |0 (DE-588)4037220-0 |2 gnd |9 rswk-swf |
| 653 | 1 | |a Lee-Smith, Hughie | |
| 653 | 0 | |a exhibition catalogs | |
| 653 | 0 | |a Exhibition catalogs | |
| 653 | 0 | |a Catalogues d'exposition | |
| 655 | 7 | |0 (DE-588)4135467-9 |a Ausstellungskatalog |x Karma |y 03.08.2022-17.09.2022 |z New York, NY |2 gnd-content | |
| 655 | 7 | |0 (DE-588)4135467-9 |a Ausstellungskatalog |x Karma |y 29.09.2022-05.11.2022 |z Los Angeles, Calif. |2 gnd-content | |
| 655 | 7 | |0 (DE-588)4145395-5 |a Bildband |2 gnd-content | |
| 689 | 0 | 0 | |a Lee-Smith, Hughie |d 1915-1999 |0 (DE-588)121807630 |D p |
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| 689 | 0 | 2 | |a Geschichte 1940-1996 |A z |
| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Als, Hilton |d 1960- |0 (DE-588)174175248 |4 wst | |
| 700 | 1 | |a Haynes, Lauren |0 (DE-588)1045163619 |4 wst | |
| 700 | 1 | |a King-Hammond, Leslie |0 (DE-588)1056598239 |4 wst | |
| 710 | 2 | |a Karma (Firma) |0 (DE-588)1137232463 |4 his |4 isb | |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-034922570 | |
Datensatz im Suchindex
| _version_ | 1811019840658341888 |
|---|---|
| adam_text | |
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author_GND | (DE-588)121807630 (DE-588)174175248 (DE-588)1045163619 (DE-588)1056598239 |
| building | Verbundindex |
| bvnumber | BV049577566 |
| classification_rvk | LI 99999 |
| ctrlnum | (OCoLC)1390110862 (DE-599)KXP1879066793 |
| dewey-full | 700.411 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 700 - The arts |
| dewey-raw | 700.411 |
| dewey-search | 700.411 |
| dewey-sort | 3700.411 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
| discipline_str_mv | Kunstgeschichte |
| era | Geschichte 1940-1996 gnd |
| era_facet | Geschichte 1940-1996 |
| format | Book |
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| genre | (DE-588)4135467-9 Ausstellungskatalog Karma 03.08.2022-17.09.2022 New York, NY gnd-content (DE-588)4135467-9 Ausstellungskatalog Karma 29.09.2022-05.11.2022 Los Angeles, Calif. gnd-content (DE-588)4145395-5 Bildband gnd-content |
| genre_facet | Ausstellungskatalog Karma 03.08.2022-17.09.2022 New York, NY Ausstellungskatalog Karma 29.09.2022-05.11.2022 Los Angeles, Calif. Bildband |
| id | DE-604.BV049577566 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T23:31:38Z |
| indexdate | 2024-09-23T20:25:08Z |
| institution | BVB |
| institution_GND | (DE-588)1137232463 |
| isbn | 9781949172911 1949172910 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034922570 |
| oclc_num | 1390110862 |
| open_access_boolean | |
| owner | DE-255 |
| owner_facet | DE-255 |
| physical | 391 Seiten 29 cm |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Karma |
| record_format | marc |
| spelling | Lee-Smith, Hughie 1915-1999 (DE-588)121807630 art Hughie Lee-Smith with contributions by Hilton Als, Lauren Haynes, Leslie King-Hammond, and Steve Locke, and a conversation with Kellie Jones, LeRonn P. Brooks, and Reggie Burrows Hodges New York Karma [2023] 391 Seiten 29 cm sti rdacontent txt rdacontent n rdamedia nc rdacarrier Seite [392]: Published on the occasion of "Hughie Lee-Smith", August 3-September 17, 2022, Karma... New York, New York; September 29-November 5, 2022, Karma ... Los Angeles Hughie Lee-Smith's body of work spans nearly seven decades. He came of age in the midst of the Great Depression, spending his early life primarily between Cleveland and Detroit. He was in Chicago from 1943-45 where he enlisted in the Great Lakes Naval Station. The Midwest left an indelible influence on Lee-Smith, whose Social Realist paintings made reference to its expansive gray skies and industrial architecture. He was involved in several projects that were recipients of Works Progress Administration funding: Karamu House in Cleveland, the oldest running African American theater in the nation, and the Southside Community Art Center in Chicago, where he would cross paths with Charles White, Gordon Parks, and Margaret Taylor-Burroughs, among others. Eventually teaching would take him to the East Coast, where he was artist in residence at Howard University in Washington, DC and later an instructor at the Art Students League of New York. Imagery of the carnival fairground recurs throughout Lee-Smith's work via the motifs of ribbons, pendants, and balloons. His paintings often reference the contrast between the carnival's playful theatricality and its uncanny imitation of reality. He depicts abandoned, crumbling urban architecture as the sets for his existential tableaus. Even when his figures appear together, they always seem solitary. In Two Girls (1956), his subjects stand at the edge of a pier, turned away from the viewer and gazing toward a bleak horizon, as if on a separate picture plane. Over the course of his long career, Lee-Smith developed a distinct figurative vocabulary influenced by both Neoclassicism and Surrealism. Lee-Smith left behind an idiosyncratic body of work, the summation of a lifelong effort to see beyond the real. Exhibition: Karma, New York, USA (03.08-17.09.2022); Karma, Los Angeles, (09.29-11.05.2022) Lee-Smith, Hughie 1915-1999 (DE-588)121807630 gnd rswk-swf Geschichte 1940-1996 gnd rswk-swf Malerei (DE-588)4037220-0 gnd rswk-swf Lee-Smith, Hughie exhibition catalogs Exhibition catalogs Catalogues d'exposition (DE-588)4135467-9 Ausstellungskatalog Karma 03.08.2022-17.09.2022 New York, NY gnd-content (DE-588)4135467-9 Ausstellungskatalog Karma 29.09.2022-05.11.2022 Los Angeles, Calif. gnd-content (DE-588)4145395-5 Bildband gnd-content Lee-Smith, Hughie 1915-1999 (DE-588)121807630 p Malerei (DE-588)4037220-0 s Geschichte 1940-1996 z DE-604 Als, Hilton 1960- (DE-588)174175248 wst Haynes, Lauren (DE-588)1045163619 wst King-Hammond, Leslie (DE-588)1056598239 wst Karma (Firma) (DE-588)1137232463 his isb |
| spellingShingle | Hughie Lee-Smith Lee-Smith, Hughie 1915-1999 (DE-588)121807630 gnd Malerei (DE-588)4037220-0 gnd |
| subject_GND | (DE-588)121807630 (DE-588)4037220-0 (DE-588)4135467-9 (DE-588)4145395-5 |
| title | Hughie Lee-Smith |
| title_auth | Hughie Lee-Smith |
| title_exact_search | Hughie Lee-Smith |
| title_exact_search_txtP | Hughie Lee-Smith |
| title_full | Hughie Lee-Smith with contributions by Hilton Als, Lauren Haynes, Leslie King-Hammond, and Steve Locke, and a conversation with Kellie Jones, LeRonn P. Brooks, and Reggie Burrows Hodges |
| title_fullStr | Hughie Lee-Smith with contributions by Hilton Als, Lauren Haynes, Leslie King-Hammond, and Steve Locke, and a conversation with Kellie Jones, LeRonn P. Brooks, and Reggie Burrows Hodges |
| title_full_unstemmed | Hughie Lee-Smith with contributions by Hilton Als, Lauren Haynes, Leslie King-Hammond, and Steve Locke, and a conversation with Kellie Jones, LeRonn P. Brooks, and Reggie Burrows Hodges |
| title_short | Hughie Lee-Smith |
| title_sort | hughie lee smith |
| topic | Lee-Smith, Hughie 1915-1999 (DE-588)121807630 gnd Malerei (DE-588)4037220-0 gnd |
| topic_facet | Lee-Smith, Hughie 1915-1999 Malerei Ausstellungskatalog Karma 03.08.2022-17.09.2022 New York, NY Ausstellungskatalog Karma 29.09.2022-05.11.2022 Los Angeles, Calif. Bildband |
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