DECORDOVA AWARDS RAPPAPORT PRIZE TO TITUS KAPHAR
The deCordova Sculpture Park and Museum in Lincoln, Massachusetts, has named Titus Kaphar as the nineteenth recipient of its Rappaport Prize, an annual award of $25,000 that is given to a contemporary artist with “strong connections to New England and a proven record of achievement.”
New Haven artist wins Rappaport Prize
When artist Titus Kaphar left New York City for New Haven, his friends made sure he knew: “ ‘Your career is over,’ ” Kaphar remembers their saying. “ ‘What’re you doing? You’re leaving the mecca! ’”
How to Talk About Whiteness
The Racial Imaginary Institute wants to “make visible that which has been intentionally presented as inevitable,” to disrupt the “bloc” of whiteness.
History unseen: Smithsonian gallery examines overlooked victims of US lynchings
WASHINGTON — The Smithsonian’s National Portrait Gallery acknowledges that people of color have long been missing in the works it exhibits. Now the museum is tackling the issue in an unusual way.
Titus Kaphar and Ken Gonzales-Day Reveal the Fictions in Depictions
Although both artists in Unseen critique omissions in the art historical cannon and offer compelling counter narratives, it is not enough to place their work in neighboring museum galleries and call it a show. WASHINGTON, DC — Titus Kaphar’s art career was born from a bad art history class.
Two Artists in Search of Missing History
A new exhibition makes a powerful statement about the oversights of American history and America’s art history. Sometimes what’s absent from a museum says more about history than what’s included. Two contemporary artists—Titus Kaphar, who is African-American, and Ken Gonzales-Day, who is Mexican-American—have spent their careers addressing this issue.
National Portrait Gallery: Titus Kaphar and Ken Gonzales-Day Explore ‘UnSeen’ Narratives in Historic Portraiture
WASHINGTON, D.C. — Hanging half loose from its stretcher, a portrait of Thomas Jefferson reveals an image of a black woman behind it.
A Contemporary Artist Is Helping Princeton Confront Its Ugly Past
A new sculpture project thoughtfully grapples with the school’s participation in slavery. These days, public sculptures often seem intertwined with historical regret.
Titus Kaphar: ‘My subconscious mind had created a fiction that masqueraded as a memory’
For his current exhibition at Jack Shainman Gallery in New York, Titus Kaphar looks to historical portraiture, and imagery from the criminal justice system in his examination of how history is recorded.
‘The Legacy of Lynching,’ at the Brooklyn Museum, Documents Violent Racism
Some exhibitions are as much about life as about art. “The Legacy of Lynching: Confronting Racial Terror in America,” at the Brooklyn Museum, is a collaboration with the Equal Justice Initiative, founded by the lawyer and MacArthur fellow Bryan Stevenson to target racism in the criminal justice system.
Titus Kaphar on Art, Race and Justice
“A painting may inspire, but it’s people who make change.” The painter Titus Kaphar made his name as a portraitist of criminal justice with his 2014 show at the Studio Museum in Harlem, the “Jerome Project.”
From Classical Paintings To Mugshots: The History Of Documenting Women Of Color
Titus Kaphar’s latest body of work explores images’ ability to validate, celebrate, erase, convict and condemn.
In His New Work, Titus Kaphar Examines Racial Injustice In The Prison-Industrial Complex
Titus Kaphar began thinking about his latest series of paintings, Destiny, when he met a woman named Tina Reynolds, who had given birth to her first son in prison. They were brought together by the Studio Museum in Harlem, along with a group of scholars and other artists, to talk about issues of mass incarceration.
AMENDING AMERICAN HISTORY WITH TITUS KAPHAR
By bringing both recent and distant histories to the fore of his art, Titus Kaphar provides a captivating and informed take on our present reality.
Confronting America’s Shameful Mass Incarceration with Art
On October 25th, marking the anniversary of the opening of America’s first penitentiary, in 1829, a blue van drove to the Manhattan Detention Complex, in Lower Manhattan. The thirty-three-year-old performance artist Lech Szporer was in the back of the van, inside of a steel cage, handcuffed, and wearing an orange jumpsuit.
Galleries: One view of how people of color are portrayed in pre-modern art
A painting of an old sailing vessel, the canvas slipping from the frame and partly edged in tar. A musty, full-size cabin, its rickety walls and floor half-rotted and its rooms scattered with evocative artifacts.
Dismantling History: An Interview with Titus Kaphar
A canvas curtain slips from its place of prestige, revealing another that’s hidden beneath. The folds of a Thomas Jefferson portrait gracefully fall, and behind it we see an African woman bathing; her gaze at once determined, curious and solemn, as if she knows that she’s only just now being seen, but it’s already too late to matter.
Brynn Hatton on Titus Kaphar
CONTEMPORARY ARTS CENTER, CINCINNATI The story goes that, while looking at a portrait by Titus Kaphar hanging in the Yale University Art Gallery in New Haven, a man named Benjamin Vesper suffered a sudden psychotic break and attacked the painting.
Raging at Racism, From Streets to Galleries
On Dec. 3, a grand jury declined to indict a white New York City police officer for the chokehold death of an unarmed black Staten Island resident, Eric Garner.
Artist Titus Kaphar on His New Solo Show and Unarmed Black Men in America
“I feel very strongly that most of the history that we have been taught is at best incomplete, and at worse fiction.”
Titus Kaphar Talks Criminal Justice, His TIME Painting, and First Show at Jack Shainman
Titus Kaphar is having a big year. The artist, who splits his time between New York and Connecticut, has his first solo museum exhibition in the New York, titled “The Jerome Project,” currently on view at the Studio Museum in Harlem through March.
Behind Titus Kaphar’s Ferguson Protesters Painting
To capture the impact of the Ferguson protests, Kaphar created a 4-ft by 5-ft oil painting he titled, “Yet Another Fight for Remembrance.” Kaphar, who lives and works in New Haven, Conn., and New York, mixes the work of Classic and Renaissance painters.