BGuthrie Photos: DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: (Alper) Kenneth Victor Young: Continuum

DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: (Alper) Kenneth Victor Young: Continuum:

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Description of Pictures: Kenneth Victor Young: Continuum
April 6-May 26, 2019
Curated by Dexter Wimberly
Presented by the Alper Initiative for Washington Art
Born in Louisville, Kentucky, Kenneth Victor Young (1933-2017) moved to Washington, DC in 1964 where he began to paint abstract forms with washed acrylics on unprimed canvas. Young’s artistic philosophy was to bring order out of chaos. His studies in physics and the natural sciences at Indiana University informed a different imagery—a fusion of brilliant colors. Young's knowledge of form and matter gave his paintings a spatial intensity, and he infused this space with multiple orbs of color held together in molecular suspension. His love for jazz influenced the movement and vitality of his work. He is known for his floating colored orbs—imagery that attempts to bring order to chaos and that comments on the pandemonium of life.

Same Event: Wait! There's more! Because I took too many pictures, photos from this event were divided among the following pages: [Display ALL photos on one page]:

2019_DC_KatzenXT_Drag_190413: DC -- American University -- Katzen Arts Center -- 2019B Spring Event: Dragception Workshop (348 photos from 2019)
2019_DC_KatzenX_2019B_Carrillo: DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: Eduardo Carrillo, Las Tropicanas (140 photos from 2019)
2019_DC_KatzenX_2019B_Press: DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: Forward Press: 21st century printmaking (69 photos from 2019)
2019_DC_KatzenX_2019B_MFA_1Yr: DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: Peripheral Visions: Studio Art MFA First Year exhibition (39 photos from 2019)
2019_DC_KatzenX_2019B_Broel: DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: Squire Broel (31 photos from 2019)
2019_DC_KatzenX_2019B_MFA_Thesis: DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: Turbulence: Studio Art MFA Thesis Exhibition (78 photos from 2019)
2019_DC_KatzenX_2019B_Continuum: DC -- American University -- Katzen Arts Center -- 2019B Spring Exhibit: (Alper) Kenneth Victor Young: Continuum (19 photos from 2019)
2019_DC_KatzenXT_Peterson_190413: DC -- American University -- Katzen Arts Center -- 2019B Spring Gallery Talk: Richard Peterson (intro to Dragception) (40 photos from 2019)
2019_DC_KatzenXT_Carrillo_190405: DC -- American University -- Katzen Arts Center -- 2019B Spring Gallery Talk: The Work of Eduardo Carrillo (15 photos from 2019)
2019_DC_KatzenO_190405: DC -- American University -- Katzen Arts Center -- 2019B Spring Opening Reception (Member) (26 photos from 2019)
2019_DC_KatzenO_190504: DC -- American University -- Katzen Arts Center -- 2019B2 Spring II Opening Reception & Gallery Talk (87 photos from 2019)

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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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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. KATCON_190405_002.JPG: Kenneth Victor Young: Continuum Curated by Dexter Wimberly
2. KATCON_190405_006.JPG: The works in this retrospective are examples of Kenneth Victor Young's (1933-2017) prodigious output of more than 40 years. Young spent his life expressing independence, not submitting to the pressures of categorization and identity politics foisted upon him by society and the art world. Maintaining his individuality as an artist amidst the Civil Rights Era politics of the 1960s, when he began painting in earnest, was not easy. Particularly when the expectations of what black artists should create was so explicitly tied to a specific overt expression of blackness. The relationship between black abstraction and black activism was tenuous and philosophically fraught. White art audiences, including galleries, expected work that embodied the experiences and trauma of racism, often translating as didactic figuration. A certain tradition of black activism also considered abstract art too ingratiating to mainstream Euro-American tastes, too mute on the pressing realities of racism.1 Amid these racial and political headwinds, Young's artistic philosophy was to bring order to chaos. As such, he made sense of the ofttimes pandemonium that is life through art. His studies in physics and the natural sciences at Indiana University informed a different imagery-a fusion of brilliant colors. Young's knowledge of form and matter gave his paintings a spatial intensity, and he infused this space with multiple orbs of color held together in molecular suspension. The black orbs in Kenneth Young's untitled abstractions are deceptive. They seem alternately microscopic, like organisms floating in a fluid field, or cosmic, like bits of matter captured in a split second. Opaque at the center, the spheres are fluid at their edges, even translucent. The space, too is ambiguous. Deep reds seem distant; electric blues propel dark forms forward unfathomable depths.2 Many of Young's paintings were untitled. Sumptuous works such as Peacock (1972) and Fireball (c. 1968) pulsate with fluidity and movement, telling of Young's painting process that involved pouring paint onto unprimed canvas, which led to a stained, unbridled look. 1 Ben Davis, "Yes, Black Women Made Abstract Art Too, as a Resounding New Show Makes Clear," artnet News, October 20, 2017. 2 Richard J. Powell, Theresa Slowik, Richard J. Powell, African American Art: Harlem Renaissance, Civil Rights Era and Beyond. Skira Rizzoli, 2012, 231.
3. KATCON_190405_044.JPG: Kenneth Victor Young Morning Sun Rise, 1971
4. KATCON_190405_054.JPG: Kenneth Victor Young Fireball, c 1968
5. KATCON_190405_061.JPG: Kenneth Victor Young Untitled, 1971
6. KATCON_190405_099.JPG: Kenneth Victor Young Untitled, c 1970
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Same Subject: Click on this link to see coverage of items having the same subject: [Museums (Art)] [Katzen Arts Center (Everything)] [Katzen Arts Center (Non-Events)]
2019 photos: Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000. Trips this year: a four-day jaunt to Massachusetts (Boston, Stockbridge, and Springfield) to experience rain in another state, Asheville, NC to visit Dad and his wife Dixie, four trips to New York City (including the United Nations, Flushing, and the New York Comic-Con), and my 14th consecutive San Diego Comic-Con (including sites in Utah). Number of photos taken this year: about 582,000.
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