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Sarah Urist Green

Reviser Julia Detchon

(b Santiago, Chile, Feb 5, 1956).

Chilean architect, public interventionist, installation artist, photographer, and filmmaker, active in the USA. He first studied architecture at the Universidad de Chile in Santiago, then filmmaking at the Instituto Chileno-Norteamericano de Cultura, Santiago, concluding in 1981. Throughout his career, Jaar’s works have taken many forms in order to address global themes of injustice and illuminate structures of power. In over fifty projects he termed “public interventions,” Jaar conducted extensive research around the world to create site-specific works that reflect political and social realities near and far from his sites of exhibition. He created works—in gallery spaces and in public, often engaging spectator involvement—that present images critically and confront the social and political interests they serve.

Jaar’s first public intervention was Studies on Happiness (1979–1981), a three-year series of performances and exhibitions in which he asked the question, “Are you happy?” of people in the streets of Santiago. Inspired by ...

Article

Veerle Poupeye

[Wilkins, Ricardo ]

(b Kingston, Dec 1943).

Jamaican painter and teacher. He studied at the Jamaica School of Art, Kingston, and the Royal College of Art, London, and started exhibiting in the 1960s. In the early 1970s he lectured at Makerere University, Kampala, Uganda. He headed the painting department at the Jamaica School of Art from 1973 to 1981, subsequently moving to Boston, MA, where he lectured at the Massachusetts College of Art. His work showed an emotional and spiritual response to his experience as a black man in a post-colonial New World environment and his allegiance to Africa as his ancestral homeland. Most of his paintings and works on paper are abstract or semi-abstract with a strong emphasis on colour, pattern and rhythm, for example Untitled (Apartheid) (1978; Kingston, N.G.). They represent a synthesis of North American Abstract Expressionism and the artist’s African–American cultural and philosophical heritage. His paintings have a spontaneous, discordant and moody quality reminiscent of jazz music, another New World art form....

Article

Christine Robinson

(b London, Sept 27, 1974).

British photographer of Ghanaian and Dominican descent. Perrier’s work primarily explores portraiture and its historical traditions in Africa. Her photographic projects address her own multicultural identity by questioning themes of diversity, cultural belonging, and identity.

Perrier graduated with a BA from the Surrey Institute of Art and Design in Farnham in 1996. That same year she travelled with her mother to Ghana for the first time and made Ghana, a series of documentary photographs of people, interiors, and details of life both foreign and familiar. In the series she depicted quiet moments such as a small arrangement of photographs and books in an otherwise empty corner of a room, and made individual and group portraits of family members she had just met. Upon her return she completed the series Red, Gold and Green (1995–7): photographs of her extended family members in their London homes. The photographs documented her relatives—all first, second, and third generations from Ghana—seated or standing before the Ghanaian national flag in their own chosen clothing, ranging from sequins to Kente cloth (...

Article

Nelly Perazzo

(b Buenos Aires, July 18, 1943).

Argentine sculptor. She studied painting under Horacio Butler and sculpture under the Argentine sculptor Leo Vinci. She travelled to Africa, where she became closely involved with sculpture workshops in Zimbabwe, Tanzania and among the Dogon people in Mali, and to India, where she visited the workshop at Mahabalipuram. Using thin metal wires to define form and creating an animated dialogue from the contrast between positive and negative spaces, she created sculptures suspended in the air, fixed to a wall or placed upright without base, in each case combining a directness of method with conceptual complexity. In spite of the severe limitations of her chosen material, which enabled her to create apparently weightless sculptures with subtle outlines, the very rigour imposed by the wire allowed her to give free rein to fantasy and gracefulness without falling into mere decorativeness.

Rybak constantly explored new ideas, adding to her initial repertory of themes of maternity and human couples works based on mythical forms rooted in the unconscious and others concerning the individual’s integration in society, as in ...