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Artwork (2015)

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Lyle-Ashton-Harris

Lyle-Ashton-Harris-Blow-Up-Verso

<p>In 2001, Lyle Ashton Harris encountered an Adidas ad bearing an uncanny resemblance to Édouard Manet’s painting Olympia (1863). Much like the 19th century masterpiece, the ad suggests racialized desire in its depiction of a young man of African descent giving a &#39;pedicure&#39; to the Algerian-French football star Zinedine Zidane. Harris noted how the image’s veiled erotism provoked ambivalent responses (&#39;critique as well as pleasure&#39;), and he included it as a recurrent element in several works produced from 2001 to 2008. Taking a distinctly conceptual approach in the most recent iteration, Blow Up (Verso), Harris collaborated with Ghanaian sign painter Nicholas Wayo to transform his 2006 collage titled Blow Up IV (Sevilla) into a mural-sized acrylic painting on found commercial wheat flour bags that had been stitched together for use as a sun shade by local fishermen working on Ghana’s coast. In concealing the painting’s original obverse behind an affixed muslin backing, Harris presents the image formed on its reverse by paint having bled through the porous cotton, giving preeminence to the aleatory quality of the painted inversion as a form of figurative abstraction.</p><p><strong>Lyle Ashton Harris</strong> (born 1965 in New York) has cultivated a diverse artistic practice ranging from photography and collage to installation and performance art. His work explores intersections between the personal and the political, examining the impact of ethnicity, gender, and desire on the contemporary social and cultural dynamic. Harris lives and works in Germantown, New York, and New York City.</p>

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Lyle Ashton Harris

Audio Guide

Blow-Up-Verso

Salon 94

OVR: Basel

Blow Up (Verso) | Events

Blow Up (Verso)

Mixed Media

<p>In 2001, Lyle Ashton Harris encountered an Adidas ad bearing an uncanny resemblance to Édouard Manet’s painting Olympia (1863). Much like the 19th century masterpiece, the ad suggests racialized desire in its depiction of a young man of African descent giving a 'pedicure' to the Algerian-French football star Zinedine Zidane. Harris noted how the image’s veiled erotism provoked ambivalent responses ('critique as well as pleasure'), and he included it as a recurrent element in several works produced from 2001 to 2008. Taking a distinctly conceptual approach in the most recent iteration, Blow Up (Verso), Harris collaborated with Ghanaian sign painter Nicholas Wayo to transform his 2006 collage titled Blow Up IV (Sevilla) into a mural-sized acrylic painting on found commercial wheat flour bags that had been stitched together for use as a sun shade by local fishermen working on Ghana’s coast. In concealing the painting’s original obverse behind an affixed muslin backing, Harris presents the image formed on its reverse by paint having bled through the porous cotton, giving preeminence to the aleatory quality of the painted inversion as a form of figurative abstraction.</p><p><strong>Lyle Ashton Harris</strong> (born 1965 in New York) has cultivated a diverse artistic practice ranging from photography and collage to installation and performance art. His work explores intersections between the personal and the political, examining the impact of ethnicity, gender, and desire on the contemporary social and cultural dynamic. Harris lives and works in Germantown, New York, and New York City.</p>