Bøger af Yesomi Umolu

With a career spanning over seven decades, Chase-Riboud's innovation in sculptural technique and materiality is characterised by the interplay between folds of cast bronze or aluminium and coils of wool and silk which are knotted, braided, looped, and woven. Combining materials with different qualities such as hard and soft, light against heavy, and tactile versus rigid, the artist's monumental sculptures explore themes of memory, monuments and power.The catalogue also features an illustrated chronology as well as a selection of the artist's own poetry and writing.Text: Gus Casely Hayford, Erin L. Thompson, Joseph Manca, Hans Ulrich Obrist, Yesomi Umolu and Lynette Yiadom-Boakye.Interview: Hanus Ulrich Obrist with Barbara Chase-Riboud.

"In January of 2020, Logan Center Exhibitions presented a suite of newly commissioned works across photography, sculpture, and sound by visual artist Harold Mendez. Building on his process-based approach, Mendez uses Pre-Columbian ritual and memorial artifacts as a point of departure, evoking their function as both signifiers for and extensions of the human body. Transforming his material through a sequence of processes that include various imaging techniques such as digital scanning and three-dimensional printing, the artist's project speaks to the poetic connection between material matter, site, and memory. The accompanying publication for the exhibition-the first substantial monograph dedicated to his work-will be developed in close collaboration with the artist. Published by Logan Center Exhibitions, the publication features a foreword by director and curator Yesomi Umolu; a major contextualizing essay by scholar and curator Candice Hopkins; an interview with the artist; and a text by poet J. Michael Martinez. The resulting 124-page monograph will also include installation images from the exhibition at Logan Center Gallery"--

Published in conjunction with the third iteration of the Chicago Architecture Biennial, ...and other such stories extends the exhibition's core questions through a range of essays, interviews, and visual dossiers, along with a section introducing the Biennial's contributors.

This publication showcases A Hard White Body, an evolving project by Candice Lin presented at Bétonsalon--Centre d'art et de recherche, Paris; at Portikus, Frankfurt/Main; and at the Reva and David Logan Center for the Arts, University of Chicago. A Hard White Body weaves together material and nonhuman histories alongside the life and work of three historical figures: American writer James Baldwin (1924-1987); French explorer and global traveler Jeanne Baret (1740-1807); and artist and naturalist Maria Sibylla Merian (1647-1717). Lin uses porcelain, a material whose history includes nineteenth-century imperial and scientific uses, to highlight fantasies surrounding whiteness and purity, only to subject her porcelain assemblages to pungent organic materials. She thus stages processes of contamination between organic and inorganic materials, creating an unstable sculptural ecosystem. In addition to an essay by curator Lotte Arndt that discusses the various iterations of Lin's project, the publication features an essay by Rizvana Bradley; a conversation between Jih-Fei Cheng and Mel Y. Chen; and a conversation between the artist and C. Riley Snorton. These texts are accompanied by a visual essay by the artist and a selection of exhibition views.

Kapwani Kiwanga is a Canadian-born, Paris-based artist who creates installations, performances, and video art that bring together her training in anthropology and comparative religions, while also drawing on her interest in history, memory, and mythology. Kiwanga deliberately mixes truth and fiction in her work, confusing the two in order to create fantastical narratives that are nonetheless rooted in rigorous research. This book presents works by Kiwanga investigating disciplinary architectures that were presented at the Logan Center Gallery at the University of Chicago and the Power Plant Contemporary Art Gallery in Toronto. Opening with a compelling array of installation images, research documents, and film stills from a newly commissioned video, the book also includes a curatorial essay surveying Kiwanga's work to date, an essay that offers an unfinished cartography of the genealogy of disciplinary spaces, and an interview with Kiwanga that covers her research interests and methodology.