![]() ![]() It is thoughtful and questioned, fretted over: Jones goes to sleep thinking monuments and wakes up thinking monuments. This is not a Banksy-like cleverness for clever’s sake. What it is not - and what Jones worries some think - is an art prank. And maybe a protest, in the sense it’s an insistent public questioning. Jones thinks of it as a “scar,” an untidy disruption. But here’s this provocative art, taking risks, seeking entry points into the conversation for everyone.” Some want them all down, some say it’s censorship. “And that’s good because Kelly has settled into this interesting middle ground that speaks to you no matter where you fall on the spectrum of what to do with problematic public memorials. She was asking these questions before a lot of us did, and she’ll do it after it falls out of the spotlight. “It’s important to know that she’s not just reacting to the arguments everyone else has had these past years about public monuments. Teresa Silva, former director of the Chicago Artists Coalition, has been following Jones’ career for years. But as debate over how to live with contested history grows calcified and intractable, the questions proposed in Jones’ work are some of most vulnerable, openhearted and necessary: What does it mean for a community to live with a menagerie of unrepresentative historic figures looming over its streets? Will removing a monument actually address the root issue behind its removal? If memorials have become public wallpaper that we overlook every day, are we complicit for not noticing? She is not alone, of course.Īrtists have been questioning the ways in which we publicly memorialize and honor our history for ages. But monuments and memorializing are always the raw meat. Other works are art installations and digital manipulations. ![]() Sometimes, though, she simply cuts out cardboard shapes that are roughly the shape of a memorial and holds them in front of the camera lens and, through forced perspective, erases a monument from the final photograph. The photos she makes of a fully wrapped memorial become the primary document of the piece. She thinks of her work as partly performative, and partly traditional visual art. ”īecause most of the time when someone asks why she is wrapping a statue in camouflage, “I’m an artist. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art (especially Dutch painting), although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres.As the man watches her, Jones says over her shoulder, “I’m an artist, so. Unlike most Dutch masters of the 17th century, Rembrandt's works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, biblical and mythological themes as well as animal studies. ![]() An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Rembrandt Harmenszoon van Rijn ( Dutch: ( listen) JOctober 4, 1669) was a Dutch draughtsman, painter, and printmaker. ![]()
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