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TITUS KAPHAR
behind a veil
of beauty
TITUS KAPHAR
1
5
TITUS KAPHAR: SHAPE SHIFTER
Diana McClure
THE METAMORPHOSES OF CANVAS
Stella Maria Baer
8
PLATES
33
DARKNESS RISES: A POEM
Stella Maria Baer
34
CURRICULUM VITAE
39
CHECKLIST
Confrontation with the self may begin
fearfully. The journey often peaks, crests and
stumbles over uncertain terrain that ultiimately
becomes navigable. Thus far, Titus Kaphar’s
oeuvre has moved along this path. Driven by his
inner transformation, Kaphar’s work has evolved
from an objectified relationship with his canvas to
a performative inhabiting of his work. Beholden to
no form in particular, Kaphar is able to shape-shift
between styles, materials, personas, inner doubts
and external critics. Whether mental, material or
spiritual, Kaphar wholeheartedly engages in the demasking of self, the peeling back of layers of culture,
and the playful deconstruction and reconstruction of
teachable moments.
TITUS KAPHAR: SHAPE SHIFTER
Diana McClure
Taking Kaphar’s works Study of Negro
Reparation (2006) and Making Space (2011)
as bookends, the transition surfaces from a
disempowered to an empowered self. In these
works, Kaphar represents both the individual and
the collective. Study of Negro Reparation is a
self-portrait created early in Kaphar’s career that
embodies the journey that has since unfolded.
Although a self-portrait, it speaks to a particular
aspect of the collective experience of Africans in
the Americas, while bringing to the foreground the
individual journey every human must take. Kaphar
paints himself from the shoulders up capturing a
magnetism in his own eyes that draws the viewer
into his emotional sanctum. There appears to be a
bit of sadness but more so a longing. Three sewn
up incisions on his face travel from chin to forehead,
neck to hairline and neck to the crown of his head.
Two lines of stitches pass the edge of the eyes, the
third the edge of his ear. Could this be the story
of the slashing of Kaphar’s left-brain? Dangerously
close incisions to his eyes and ears, with a profound
shift in perception being the implication of the
experience? (???)
In his 2011 piece Making Space, Kaphar
enacted a public intervention to his more familiar
and intimate processes of deconstructing classical
European paintings. Created for the Bermuda
National Gallery’s Reinterpreting the European
Collection, Kaphar created a replica of British artist
Thomas Gainsborough’s (1727 – 1788) Portrait of
Thomas John Medlycott (c.1763). Kaphar’s original
plan was to whitewash the Medlycott replica using
the traditional lime-based white paint that covers
the roofs of houses all over the island. But after
his first visit to Bermuda, Kaphar changed his mind
and decided the figure required a different manner
of deconstruction. The curators did not know the
details of how, when or where the altering of this
replica would take place. The night of the opening,
Kaphar entered the gallery dressed as a service
worker in a blue jumpsuit and baseball cap, carrying
a tool bag and a waste bin. He walked past confused
guests directly to his work which hung alongside the
original Gainsborough piece and proceeded to cut.
In conjunction with the removal of the figure from
the canvas’ scenic background, Kaphar removed
his blue jumpsuit and transformed into a dapper
gentleman. Revealing his charcoal grey suit and
bowtie, Kaphar continued to construct his altered
persona by adding a fedora hat, sunglasses, and
cigar whereby solidifying his role as the controller of
perception - both historically and in real-time. The
expelled body of John Medlycott was discarded in
the waste bin. Only Medlycott’s dog remained in the
painting, gazing at the absence of his master.
Kaphar’s performance was not simply a
metaphor for his own artistic process. It was a
commentary on the current state of socio-cultural
affairs in Bermuda. Once again, Kaphar’s powerful
insertion of his individual self into the work also
spoke for the collective. It revealed the embedded
role-playing of both historically disenfranchised and
privileged populations that, to this day infiltrate the
theater of life in Bermuda.
1
The combination of the performance, the original
Gainsborough piece, and Kaphar’s replica address
the fragility of facades as well as the opportunity for
reconciliation left in their demise.
Kaphar addresses the fragility of façades
from another angle in Modesty, Moonlight and On
the Beach (2011). With these works, Kaphar taps
into a gentle sensuality of the female form during
moments of leisure. Set against idyllic land and
seascapes, each image situates the figure within
traditional symbols of the divine feminine where
organic forms occur beyond the control of man. The
rhythmic relationship between the female figure and
the natural environment offers a noticeable contrast
to the stiffly structured all male group portraits in
Where Are You? (2011) and Sacrifice (2011). In Modesty,
Moonlight and On the Beach, Kaphar leaves a void
where the female from once exisited. While there is
little physical evidence of the nude form, the works
generate a powerful seductiveness that belies the
gentle fragility of each painting’s leisurely mood.
In all three paintings the woman’s garments are
removed and draped nearby. However, the absence
of their painted nudity suggests that the mystery of
who these women are is not to be found in removing
their clothes or conquering their sexuality. There is
a deeper perception that appears to be just out of
reach of the rational, impossible to contact.
Contact occurs in Push (2011), Rapture (2011) and
Susan and the Elders (2012). In Push, the viewer
sees a black woman massaging the hollow form of
a female figure. They appear to be in a Hammam
engaged in a server/master relationship. The classic
interior design of the bath with its stone fountain and
walls, tile and hues of turquoise are reminiscent of
sky and water, situating both women within a context
that echos the natural themes found in Modesty,
Moonlight and On the Beach. However, there is a
distinct difference.. One body has been removed,
2
her negative space is the only evidence of her
presence. Her absence and the stark white of the
wall behind her are in contrast to the servant’s dark
skin. The servant’s breasts, muscular arms, head
wrap and resigned but unpleased look are made
clear. Neither woman’s form is dominated by its
sensuality or seductiveness. Instead, the form of
each body suggests an uncomfortable, yet dutiful,
relationship. A relationship that delineates rigid
identities, façades that do not appear to be gentle,
yet seem so stiff that they are fragile enough to crack
at the slightest test.
A different energy from contact emerges
in Rapture and Susan and the Elders. Grounded in
aggression and resistance, the women are no longer
placed in a nature-centric environment but rather in
the domain of man’s will. The use of muted red and
warm tones in these pieces builds into this shift in
energy. In Rapture, the male figure in the painting
seems overcome by the allure and seductiveness
evidenced in Modesty, Moonlight and On the Beach.
Eyes closed and naked, the male hoists up the
female - his object of desire as she attempts to push
him away with all her strength. Unable to attain a
consensual exchange, the man seeks to possess the
woman’s physicality by any means necessary. This
is where Kaphar intervenes. By cutting her form
from the painting, Kaphar does not leave her in the
hands of her aggressor, but rather somewhere else,
in a place that remains a mystery, leaving only the
presence of her absence.
The motion of resistance and aggression
are evidenced in the pose of the woman in Kaphar’s
sculptural work, Susan and the Elders. The female
subject’s fear and test of physical power is brutally
present to the viewer through our access to her
physicality. She becomes real, her façade has lost
its composure. The weight of history symbolized by
the classical painting that she is pushing away is
crumbling around her as she struggles against being
swallowed by her complicit historical identity. In many
ways this sculptural assemblage distills the historical
relationship between man and woman around the
globe. A power struggle that at its core has been
defined by physical prowess and confrontation,
Kaphar’s dissolution of this dynamic leaves an empty
vacuum, where female identity must confront itself.
Kaphar’s Encroaching (2012) and Family
Flowers (2012), mark a return to one of his unique
choices of media – tar. The use of tar is not
necessarily about its material qualities, but rather
its pedigree as a method of torture. However in
this case, the torture of living under the tyranny of
fragile façades builds on perceptions of a particular
moment, fleeting in their durability. Encroaching
suggests a clashing of power and perception. An
innocent and leisurely stroll is confronted by the
torture of tar in a literal, material sense as well as
in its historical context. The clash framed in this
painting speaks to a shift or balancing of power in
the 21st century; a redistribution that dismembers
any idyllic illusions of genteel life built on the back
of torture and servitude.
as a commentary on global truths of fear, death and
rebirth. Family Flowers echoes the violence seen
in Study of Negro Reparation, the fear portrayed in
Rapture and Susan and the Elders, and the act of
annihilation carried out in the performance, Making
Space.
In many ways the work of Titus Kaphar is
more contemporary than contemporary. Through
it’s own façade of classical referencing, the work
digs deep into the historical construction of identity
canonized in halls of power and acts as a shapeshifter. By re-imagining the collective consciousness,
Kaphar makes space for hidden narratives to be told
and lost interpretations to surface. And, once this
sub-conscious of classical imagery is mined, the
yoke of history cut, contemporary audiences will
make one-step closer to the recovery of what has
been lost.
Tar appears to churn within Kaphar’s
impressionist-style landscape in Family Flowers.
Offering the viewer an alternate narrative on the
story of torture, the appearance of tar in Kaphar’s
bucolic setting marks a shift in the identity of pain.
While the device of pain exists in this setting, we
discover that torture has not overcome the organic
cycle of life found in nature. A peeled back swath
of painting exposes the presence of tar. Dotted
with yellow flowers that are in fact nails covered in
dollops of paint, the nailed down canvas expounds
regeneration at the feet of torture. This work is both
a symbolic gesture and a statement about the ability
of art to facilitate the shape-shifting potential of
human consciousness and therefore action, as well
3
A few weeks ago I dropped by Titus Kaphar’s
studio and found him working on a near replica of
Monet’s Woman with a Parasol. The painting was
giant, dwarfing everything else in his studio, and the
brushwork brought me back to my first face-to-face
encounter with impressionism at the D’Orsay many
years ago. After years of dismissing the genre as
sentimental and lacking in substance, I walked up to
a Monet for the first time and saw the brushstrokes
between the leaves doing what could not be done
in photography – mimicking the eye’s experience of
light, unmediated by a lens, undistorted by precision.
Standing before Kaphar’s painting, I was struck by
the greens and yellows in the fabric of the parasol –
how such a spectrum of color in what read as white
gave the illusion of actual moving, shining light.
THE METAMORPHOSES OF CANVAS
Stella Maria Baer
The history of art giving the illusion of
movement is far older than impressionism, and has
long been the subject of philosophical and existential
speculation. In Ovid’s Metamorphoses, we find the
story of Arachne, a weaver of such skill that her
tapestries appear to move. Athena, goddess of war,
grows jealous of her powers, and challenges Arachne
to a weaving duel. Athena spins a tapestry exalting
gods who humbled hubristic mortals. Arachne uses
the same blue and gold threads of Athena, but on
her loom the injustices committed by gods against
mortals are chronicled – Zeus’ rape of Leda while
disguised as a swan, Neptune’s rape of Canace
while pretending to be a bull. Arachne’s tapestries
expose the gods using their powers on behalf of
deceit, greed, and lust, and call into question all that
Athena has woven, all art that protects and exalts
those who rule.
One week after my first encounter with
Kaphar’s Woman with a Parasol I came by the
studio again, and found the sky behind the woman
– formerly a luminous blue and white that evoked
wind, sky, and clouds – now covered in tar.
The tar was seeping into the ground, mysteriously
sparing the grasses, leaving them frozen windblown
in relief against darkness. But even more jarring was
the underside of the parasol – it no longer appeared
full of light, but looked like a can of spray paint had
been taken to it. I had a reaction I resist having, but
often have to Kaphar’s work when I see it before
and after it’s finished – namely, “Titus, did you really
have to ruin the underside of that parasol? Was that
really necessary?” I later asked him about it, and it
turns out he didn’t touch the parasol. “Luminosity
comes from its surroundings,” he said. It seemed so
obvious once he said it. The tarred sky completely
changed how the whiteness of the parasol appeared.
The sky was sacrificed, and with that movement the
whole painting moved – or at least appeared to
move.
After Arachne unveils her tapestry, exposing
the corruption of the gods, Athena tears it apart,
shatters her loom, and turns Arachne into a spider,
leaving her forever to spin her thread. Athena’s
actions prove Arachne’s point, and Ovid chronicles
the story of yet another mortal’s metamorphosis by
a goddess at his own risk.
In the work of Kaphar we find a hand
moving with the audacity of Arachne, the violence
of Athena, and the fearlessness of Ovid – a
dialectic of imitation and revelation, retribution and
reconstruction. Paintings undergo metamorphoses,
taking on other dimensions, and we encounter
them in between what they were and what they are
becoming. Using Athena’s violence, Kaphar returns
to Arachne’s purpose, unveiling hidden injustice. If
Kaphar’s canvases can be read as representatives
from worlds immortalized in the canon of art, then
his use of knives, tar, and suchers can be understood
as ruptures in the fabric of those worlds – a rewriting
of history whose gestures enact what they signify,
revealing what resisted being chronicled.
5
In Kaphar’s Rapture we encounter a man
abducting a woman from bed, his will against hers, a
struggle of brute force with violence immanent. The
blankets suggest the woman has been torn from
sleep, the wine glass shattered on the floor indicates
this has been by surprise, and the red curtain behind
them reminiscent of theatre, as if it were unfolding
on stage, being watched, and we, as part of the
audience, are not free from culpability. And yet
the most overwhelming presence in the painting is
the woman’s absence: her entire body is missing.
She has been removed, leaving onlookers only with
the whiteness of the wall filling the contours of her
fingers, toes, and hair. We don’t know where her
body is – we only know that she has been placed
in an unknown realm, a different kind of ether,
where no remnants of her former life remain. In an
inversion of the story of Arachne, Kaphar transforms
his own canvas into an act of deliverance, rewriting
the scene, giving a woman whose body was about
to be taken from her another fate.
But while figures cut out of canvas are
nothing new for Kaphar – something he has been
practicing in his work for years – his use of tar in this
impressionist series marks movement into previously
uncharted waters. Kaphar started using tar in his
work almost decade ago, and paints with tar, covers
oil paintings with tar, and uncovers oil paintings
covered in tar. But in this series the tar assumes
a different form, a fresh presence as it enters into
dialogue with impressionist renderings of gardens,
fields, beaches, and Parisian cityscapes. In Black
Garden the tar echoes the role of the cut-out in
Rapture – although the reason for the obscuring of
the body sitting on the bench is far less clear. With
inexplicable gestures, the black waves seem to be
undulating within their folds, almost resembling a
mushroom or pastry, or the hem of a garment. The
woman’s figure is consumed by these creases of tar,
but not violently or forcefully – the obscuring has
6
been done carefully, delicately, as if to protect or
conceal something or someone who ought not to be
seen, who preferred not to be exposed, who is still
living and breathing beneath this protective, almost
cocoon-like covering, becoming something else.
In As She Waits the tar assumes yet another
character, refusing to rest on the surface of the
painting, impetuously pushing down the canvas
from behind. The black rivulets bubble up out of
some unseen spring in the corner of the gilded
frame, again giving the appearance of movement,
this time not in compressed folds, but rather rivulets
reminiscent of water running over rocks in a stream.
The crumpled canvas stops short of the umbrella of
the woman waiting at the waters edge, unaware that
her world is caving in above her. The tar appears to
be falling but is of course still – leaving the viewer to
interpret if this darkness is threatening or protective,
impending or petrified.
somehow both disruptive and natural, tearing
the canvas apart and yet organic in it’s own way,
suggesting, as Flannery O’Connor once wrote,
“everything that rises must converge.”
As is often the case in Kaphar’s work, what
is unseen, unspoken, and not understood is given
greater weight, emphasis, and voice than what was
revealed, depicted, or captured in the original genre.
With Ovidian deft he enacts Athena’s violence upon
her own exalted tapestries, giving voice to the
Arachnes history has left to spin. Each piece in some
way embodies both liminality, that place betwixt and
between, and metamorphosis, whether it is from the
second to third dimension, painting to sculpture,
or figure to abstraction. His work enacts what is
signified, participating in the reconstruction of the
canon of art he draws from, even as he envelops it
in ribbons of tar.
In Encroaching, the tar again pushes back
the canvas, this time like the folds of an accordion,
left to right, the stone walkway beneath the ladies’
feet uprooted and cast aside just as easily as the
clouds and sky. In each of these pieces, the tar could
be read as either menacing or gentle, unstoppable
or merciful, as if it stands for some unnamable force
of retributive justice, disrupting the glorification of
leisure, beauty, and frivolity so commonplace to
the impressionist genre, but not without regard for
those who dwell in these spaces. Like the loose
brushwork commonplace to impressionism, the
creases of tar give the appearance of movement
– but one illusion is overtaking another. In Family
Flowers, the tar assumes an nearly organic structure,
as if it is growing out from behind the canvas, three
dimensionality overcoming two dimensions. The
dollops of yellow paint seem to be growing out of
the tops of the nails, and can easily be mistaken for
poppies until examined up close. The tar is
7
8
T: Family Flowers
B: Encroaching
9
Picnic
13
Error of Repetition (Where Are You?)
15
L-R: Moonlight - Modesty - On the Beach
17
Push
19
Venus
21
Sacrifice
23
Susan and the Elders
27
Rapture
28
Performance images: 29
Making Space artist intervention during the opening of Re-Interpreting the European Collection, September 1/2011 at the Bermuda National Gallery
30
Tax Collector installed with Gainsborough
Re-Interpreting the European Collection
Bermuda National Gallery, September 1/2011 - May 31/2012
Darkness Rises
Beyond boughs of birches
Behind sands of nameless beac hes
Beneath golden grasses
Between shadowed waters
The sky is torn
Hills unfolded
Waters uprooted
Fields of poppies divided
Darkness hidden
Gives way
to unceasing darkness
DARKNESS RISES
Stella Maria Baer
Marbled paper mushrooms
Rippled waters
Pastry cut from coal
Petrified hems of garments
Fall from corners
Forge paths of silence
Forgive flights of sailboats
Freeze paths of parasols
Stop at feet of children
Spare women’s bodies
Oceans of tar blown winds
Rise from under reality
Wrinkle memory
Crumple consciousness
Collect caverns of ink
Exorcise beauty.
Born
Resides 2006 2001 TITUS KAPHAR
SOLO EXHIBITIONS
2012
2011
2009
2008 2005 2004 2000
Titus Kaphar: Behind a Veil of Beauty SEM Art Gallery, Monaco
Titus Kaphar: Classical Disruption Friedman Benda, New York, NY
Reconstruction Roberts & Tilton, Culver City, CA
History in the Making Seattle Art Museum, Seattle, WA
Painting Undone Red Gallery Savannah College of Art and Design, Savannah, GA
New Revolution Yale Art Gallery, Trumbull Gallery, New Haven, CT
Erace-ing Art History Provisions Library, Washington, D.C.
Visual Quotations Anno Domini Gallery, San Jose, CA
The House That Crack Built San Jose State University Gallery 2, San Jose, CA
GROUP EXHIBITIONS
2011
2010
2009
2008
2007
2006 2004 2003 2002 Re-Interpreting the European Collection Bermuda National Gallery, Hamilton, Bermuda
Round About Tel Aviv Museum of Art, Tel Aviv, Israel
Stitches Armory Center for the Arts, Pasadena, CA
The Gleaners: Contemporary Art from the Collection of Sarah and Jim Taylor. Victoria H. Myhren Gallery, Denver, CO
Roundabout The City Gallery, Wellington, New Zealand
Other Than Beauty, Friedman Benda, New York, NY
Your Gold Teeth II Marianne Boesky Gallery, New York, NY
Macrocosm Roberts & Tilton, Culver City, CA
Cancelled: Erased & Removed Sean Kelly Gallery, New York, NY; Kalamazoo Institute of Arts Museum, Kalamazoo, MI
Blur Arndt & Partner Gallery, Berlin, Germany
Sweet Sweetbacks Baadasssss Song Von Lintel Gallery, New York, NY
Midnight’s Daydream The Studio Museum in Harlem, New York, NY
My Love Is a 187 The Luggage Store Gallery, San Francisco, CA
Salon Nouveau Galerie Engholm Engelhorn, Vienna, Austria
Lag-Time Line-up Mumbo Jumbo Gallery, New York, NY
Materiality Kravets Wheby Gallery, New York, NY
School Days Jack Tilton Gallery, New York, NY
Edges Euphrat Museum of Art, Cupertino, CA
Stop Art Gallery, San Jose, CA
Studio 110: Re-Presenting Ourselves San Jose Museum of Art, San Jose, CA; Mountain View City Hall, Mountain View, CA
34
2001
2000 The African-American Spirit in Contemporary Art Mexican Heritage Plaza, San Jose, CA; San Jose State University, Africana Center, San Jose, CA
Black Artists: Creations San Francisco African American Historical & Cultural Society, Fort Mason Center, San Francisco, CA; Lockheed Martin, Sunnyvale, CA
“...of Subversion and Dominance” San Jose Art League, San Jose, CA
2009
2006
2004
2001
Gwendolyn Knight and Jacob Lawrence Fellowship Recipient Seattle Art Museum, February
Artist in Residence The Studio Museum In Harlem, October
Belle Arts Foundation Grantee January
California Arts Council Grantee December
LECTURES
2012
Yale University Art Gallery in conjunction with Arts and Ideas Annual International Arts Festival, New Haven, CT
New Britain Museum of American Art, New Britain, CT
COLLECTIONS
AWARDS
1976, Kalamazoo, MI
New Haven, CT
MFA, Yale University, School of Art, New Haven, CT
BFA, San Jose State University, San Jose, CA
New Britain Museum of American Art, New Britain, CT
Studio Museum in Harlem, New York, NY
Seattle Museum of Art, Seattle, WA
35
BIBLIOGRAPHY
2011
2010
2009
2008
36
DC Crushes on… Titus Kaphar Dear Chelsea, October 20, 2011
Donoghue, Katy Titus Kaphar Whitewall, Issue 23, Fall 2011
Moniz, Jessie Reinventing the Classics The Royal Gazette. September 2011
Artist Attacks Painting Bermuda National Gallery, September 2011
Dale, Amanda Bermuda National Gallery Unveils Autumn Exhibition Bermuda Sun, August 2011
Cirincione, Janine Around the World in 80 Days: The Peripatetic Collectors Monique
and Max Burger The Art Economist, Volume 1 Issue 2, 2011
Fourneaux, Marie-Emilie Artist File: Titus Kaphar Luxe-Immo, April 2011
Lagan, Sarah Shock Artist Takes a Scalpel to His Painting BDA Sun, September 14, 2011
Laster, Paul Review: Titus Kaphar, ‘Classical Disruption’ Time Out New York, March 15, 2011
Moniz, Jessie Re-interpreting Art The Royal Gazette, September 2011
McClure, Diana Paintrly Power Plays DaWire. February 2011
Mizota, Sharon Art Review: ‘Stitches’ at Armory Center for the Arts Los Angeles Times, May 21, 2010
Jenkins, Rupert The Gleaners. Contemporary Art from the Collection of Sarah and Jim Taylor Victoria H. Myhren Gallery, Denver, CO, 2010
Cheng, Scarlet Unconventional ‘Stitches’ at the Armory Center for the Arts Los Angeles Times, May 2010
Fall Preview Art Ltd: Fall Preview Issue. September/October, 2009
Palazzoli, Daniela Post-Black Wo.Men: Return to History Inside 21, Autumn, 2009
Douglas, Sarah Summer in the City: Group Shows Art Info, July 24, 2009
Carlson, Michele History in the Making: Titus Kaphar Cuts Up to Rebuild Art in America, May 20, 2009
Psyllos, Steven Creative Time GIANT, May, 2009
Miller, Brian Titus Kaphar Seattle Weekly, April 22, 2009
Seattle Museum Honors Titus Kaphar Huliq News, April 21, 2009
Hamilton, Kerry Campbell Titus Kaphar: A Fresh View of American History Seattle Art Museum Examiner, April 15, 2009
Graves, Jen Titus Kaphar, Pushing His Own Damn Boat The Stranger Slog, Monday, April 13, 2009
Seattle Art Museum Honors Titus Kaphar, Inaugural Fellowship Recipient, With a Solo
Exhibition Artdaily.org, April 12, 2009
Jarry Large Painter challenges history with Seattle Art Museum exhibit The Seattle Times, April 6, 2009
Shiloh, Ramon Seattle Art Museum Honors Titus Kaphar Colors, March 30, 2009
Goldin, Thelma Elsewhere: Art Beyond the Studio Museum The Studio Museum in Harlem Magazine, Spring 2009
Harvey, Phillip The View From Now Trends In the Idiom of Young African American
Artists The International Review of African American Art, Volume 22, No 2, 2008
Titus Kaphar: Painting Undone Savannah: SCAD Exhibitions, 2008
Hersh, Allison Cut and Paste Savannah Morning News, March 15, 2008
2007
2006
2005
2004
2003
Wall, Katie Kaphar Challenges Traditional Perspectives The SCAD Chronicle, March 7, 2008
Schwendener, Martha Three Contemporaries, Each With a Different Way to View the Past The New York Times, August 11, 2007
Kim, Christine Y Artists-in-Residence 2006-07 Midnight’s Daydream, 2007
Blur: Titus Kaphar, Wardell Milan II, Demetrius Oliver Checkpoint, September/December 2007
Psyllos, Steven Midnight’s Daydream Trace, January 2007
Vogel, Carol Warhols of Tomorrow Are Dealers’ Quarry Today New York Times, April 15, 2006
Kim, Christine Y. Artists in Residence 200-2007, Midnight’s Daydream The Studio Museum in Harlem, 2007
The Art of Cut-and-Paste The Yale Bulletin & Calendar, December 16, 2005
Erace-ing Art History Provisions Library Spring, 2004
From the Margins of Art History, a Painters Minority Report Washington Post, April 11, 2004
KPFA Radio Interview Berkeley and Washington, D.C., February/April, 2004
Artist Repaints History’s Blackout.” San Jose Mercury News, December 7, 2003
37
Inset + 15: Right
On the Beach
2011
Oil on canvas
96x46.5 inches
243.8x118.1 cm
Adam Reich Photography
15: Left
Moonlight
2011
Oil on canvas
96x46.5 inches
243.8x118.1 cm
Adam Reich Photography
23
Susan and the Elders
2012
Mixed media
80x40x63 inches
203.2x101.6x160 cm
Jon Lam Photography
8: Top
Family Flowers
2012
Oil and tar on canvas
23x27 inches
58.4x68.6 cm
Adam Reich Photography
15: Middle
Modesty
2011
Oil on canvas
96x46x2.75 inches
243.8x116.8x7 cm
Adam Reich Photography
27 + 24-25
Rapture
2011
Oil on canvas
96x72 inches
243.8x182.9 cm
Adam Reich Photography
8: Bottom + 10-11
Encroaching
2012
Oil and tar on canvas
27.5x32 inches
69.9x81.3 cm
Adam Reich Photography
17
Push
2011
Oil on canvas
45.5x77.75 inches
115.6x197.5 cm
Jon Lam Photography
28-31
Tax Collector
2011
Oil on canvas
87.25x57.25 inches
221.6x145.4 cm
Antoine Hunt
9
Picnic
Oil and tar on canvas
35.375 x 49.25 inches
89.9 x 125.1 cm
Adam Reich Photography
19
Venus
2010
Oil on cut canvas on Sintra
53x84 inches
134.6x213.4 cm
Private Collection, Switzerland
Jon Lam Photography
13
Error of Repetition (Where Are
You?)
2011
Oil on cut canvas on Sintra
85.5x74.75x2.5 inches
217.2x190x6.4 cm
Adam Reich Photography
21
Sacrifice (Diptych)
2011
Oil on canvas with exposed
wooden frame
2 parts, each:
73x52x2.5 inches
185.4x132.1x6.4 cm
Adam Reich Photography
39
This catalog was published on the occasion of the exhibition
Titus Kaphar: Behind a Veil of Beauty at the SEM Art Gallery, Monaco
July 26/2012 - September 13/2012