BGuthrie Photos: VA -- Richmond -- Virginia Museum of Fine Arts -- Modern and Decorative

VA -- Richmond -- Virginia Museum of Fine Arts -- Modern and Decorative:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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[1] VMFAMO_130209_002.JPG	[2] VMFAMO_130209_008.JPG	[3] VMFAMO_130209_015.JPG
[4] VMFAMO_130209_023.JPG	[5] VMFAMO_130209_043.JPG	[6] VMFAMO_130209_050.JPG
[7] VMFAMO_130209_057.JPG	[8] VMFAMO_130209_064.JPG	[9] VMFAMO_130209_071.JPG
[10] VMFAMO_130209_078.JPG	[11] VMFAMO_130209_088.JPG	[12] VMFAMO_130209_095.JPG
[13] VMFAMO_130209_102.JPG	[14] VMFAMO_130209_112.JPG	[15] VMFAMO_130209_124.JPG
[16] VMFAMO_130209_129.JPG	[17] VMFAMO_130209_142.JPG	[18] VMFAMO_130209_146.JPG
[19] VMFAMO_130209_157.JPG	[20] VMFAMO_130209_167.JPG	[21] VMFAMO_130209_172.JPG
[22] VMFAMO_130209_179.JPG	[23] VMFAMO_130209_183.JPG	[24] VMFAMO_130209_191.JPG
[25] VMFAMO_130209_204.JPG	[26] VMFAMO_130209_211.JPG	[27] VMFAMO_130209_216.JPG
[28] VMFAMO_130209_221.JPG	[29] VMFAMO_130209_226.JPG	[30] VMFAMO_130209_239.JPG
[31] VMFAMO_130209_257.JPG	[32] VMFAMO_130209_263.JPG	[33] VMFAMO_130209_270.JPG
[34] VMFAMO_130209_276.JPG	[35] VMFAMO_130922_08.JPG	[36] VMFAMO_130922_16.JPG
[37] VMFAMO_130922_20.JPG	[38] VMFAMO_130922_27.JPG	[39] VMFAMO_130922_32.JPG
[40] VMFAMO_130922_39.JPG

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. VMFAMO_130209_057.JPG: Dean Byington Two Harbors, 2012
2. VMFAMO_130209_102.JPG: Jack Whitten Port Au Prince: A Painting of Hope and Spirit for the Haitian People, 2010
3. VMFAMO_130209_112.JPG: Lalla Essaydi La Grande Odalisque, from the series Les Femmes du Maroc, 2008
4. VMFAMO_130209_124.JPG: Michelle Erickson Fossil Teapot, 2009
5. VMFAMO_130209_146.JPG: Kehinde Wiley Willem Van Heythuysen, 2006
6. VMFAMO_130209_157.JPG: Chuck Close Self-Portrait, 2007
7. VMFAMO_130209_167.JPG: Twenty-First Century Art: The new century ushered in an era of change in the form of expansion, fluidity, and diversity in the art world. With many more artists today holding academic degrees and teaching in universities, a new professionalism has emerged, and knowledge of art history and theory is often presumed of artists in general. Moreover, artists are more mobile than ever, and high-profile international art fairs have become common venues for showcasing their works. Museums and galleries, too, have become more global, as has the art market, which continues to grow despite economic ups and downs. VMFA's 21st-century collection reflects this expanded art world with the inclusion of art from South Africa, Ethiopia, India, Pakistan, Morocco, and Iraq, as well as the United States, South America, and Europe. (VMFA's broader collection offers a rare opportunity to compare the 21st-century works with traditional art from corresponding cultures.) Furthermore, the categories that defined identity politics in the 1980s and 1990s -- gender, race, nationality, sexual orientation -- have become more fluid, reflecting the dynamic nature of contemporary culture. Mobility and diversity have created a kaleidoscopic quality to contemporary art, with no dominating style, medium, or movement. Painting, sculpture, drawing, printmaking, and photography remain vital, while new technologies inflect work made in both new and traditional formats. Established problems -- like abstraction and figuration or image versus object -- are filtered through new concepts like virtual reality and global networks. Added to these concerns is a renewed interest in the ways that culture binds individuals and groups to one another and is, in turn, continually redefined by them.
8. VMFAMO_130209_172.JPG: Robert Morris The Astronomer (Burning Planet Series), 1984
9. VMFAMO_130209_226.JPG: Julian Schnabel Understanding Self-Hate, 1981
10. VMFAMO_130209_239.JPG: Robert Longo I Kill Your Darlings, 1983-84
11. VMFAMO_130209_257.JPG: Apocalypse Monumental Paintings of the 1980s
12. VMFAMO_130922_08.JPG: Nam June Paik Buddha Watching TV, 1974-1997
13. VMFAMO_130922_16.JPG: Art in the Nineties: The 1990s saw a maturing of many concerns carried over from the 1980s, not the least of which was the AIDS crisis that had taken a deadly toll in the art world. An interest in the vulnerability of the body was combined with a concern for the complex ways that race, gender, and sexuality inform private identities and public politics. National identity, too, played a role as the art world became more diverse and international. The work in the gallery also shares a renewed sobriety, a felling for the sacred (though not necessarily religious), and a returning appreciation for the role of sensuality in art and culture. By the 1990s, painting was only one of many viable forms of expression available to artists; sculpture, painting, and installation art were frequently displayed in conjunction with conceptual photography, performance, film, and video. A loose movement of artists in the 1980s (known as the Pictures Generation) had focused attention not only on the medium of the photography but also on the ways that images can shape reality. The 1990s, in many ways, culminated that line of thinking. Artists were acutely aware of how the choice of medium affects an idea's meaning. This understanding was accompanied by the belief that images, whether from art or popular culture, do more than represent individual and social consciousness -- they help form it.
14. VMFAMO_130922_20.JPG: David Salle Goodbye D, 1982
15. VMFAMO_130922_27.JPG: New Image and Post Minimalism: New Image painting in America pushed the expressionist impulse to the brink of hyperbole, while opening it out to popular and consumer culture. As with Pop Art, "low" subject matter -- bikini-clad girls, children's games, and trite landscapes -- continued to be represented in the hallowed medium of paint. There was a disregard for representational consistency within the image as well as a felling for space as a series of layered images. The results range from the spare, mediative images of Susan Rathenberg to the cartoonish abstraction of Elizabeth Murray. These painters were also more apt to treat expressionism as one of many historical styles that could be put on and taking off like a mask. Finding ways to acknowledge that images are constructed -- aesthetically, ideologically, and often quite literally out of Masonite, title, or roofing tar -- has been a concern of artists since the 1960s.
16. VMFAMO_130922_32.JPG: David Reed #341, 1993/1995/1999
17. VMFAMO_130922_39.JPG: Chuck Close John, 1998
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Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.) I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
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