63
Ayana V. Jackson
Cimarron from The Becoming Subject
- Estimate
- £8,000 - 12,000‡
£10,000
Lot Details
Archival pigment print, mounted.
2015
108 x 76.9 cm (42 1/2 x 30 1/4 in.)
Signed in ink, printed title, date and number 2/6 on a Certificate of Authenticity accompanying the work.
Specialist
Full-Cataloguing
Catalogue Essay
‘And now I am having myself documented the way that I want to be seen so that made me think about becoming, the notion of becoming, and one of the questions around black people in Victorian dress, in Victorian times, is whether or not they are trying to be like the white people of the time. So my question is, what about the possibility that you simply want to wear the fashion of the times? Does it necessarily have to be in conversation with or in aspiration for?’
Ayana V. Jackson
Born in the United States and based between Johannesburg, New York and Paris, Jackson has received numerous grants and awards, including the National Black Arts Festival's Visual Arts Award in 2017. She has exhibited internationally and her work resides in prominent collections, including the Studio Museum in Harlem, New York; Princeton University Art Museum, New Jersey and the Bill and Melinda Gates Foundation, Seattle.
Ayana V. Jackson
Born in the United States and based between Johannesburg, New York and Paris, Jackson has received numerous grants and awards, including the National Black Arts Festival's Visual Arts Award in 2017. She has exhibited internationally and her work resides in prominent collections, including the Studio Museum in Harlem, New York; Princeton University Art Museum, New Jersey and the Bill and Melinda Gates Foundation, Seattle.
Provenance
Ayana V. Jackson
American | 1977Ayana V. Jackson is a photographer and performance artist based in South Africa, Paris and New York whose practice is deeply rooted in both her personal experience as a black woman, and in the history of black enslavement on a global scale. Jackson’s work is an interrogation of stereotypes surrounding both race and gender, with her photographs exploring how the tropes are rooted in the ongoing impact enslavement has on contemporary culture.
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