Laylah Ali | |
|---|---|
| Born | 1968 (age 56–57) Buffalo, New York, U.S. |
| Education | Williams College (BA) Washington University in St. Louis (MFA) |
| Known for | Painting |
| Notable work | The Greenheads Series |
| Style | Gouache |
| Awards | 2008 Joan Mitchell Foundation Painters and Sculptors Grant 2007 United States Artists Fellowship 2002 William H. Johnson Prize 2001 Premio Regione Piemonte (Fondazione Sandretto Re Rebaudengo Per L’Arte, Turin, Italy) 2000 ICA Artist Prize (Institute of Contemporary Art, Boston, Massachusetts) |
Laylah Ali (born 1968) [1] is an American contemporary visual artist. She is known for paintings in which ambiguous race relations are depicted with a graphic clarity and cartoon strip format. [2] She lives in Williamstown, Massachusetts, [1] and is a professor at Williams College. [3]
In her youth, Ali originally intended to be a lawyer or a doctor. [4]
Ali received her B.A. degree (English and studio art) from Williams College, Williamstown, MA in 1991. [5] She participated in the Whitney Independent Study Program at the Whitney Museum of American Art, New York City in 1992, and completed a residency at the Skowhegan School of Painting and Sculpture, Skowhegan, ME in 1993. Ali received her M.F.A. degree in 1994 from the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.
In Ali's earlier work, she would draw or paint something violent. She focused more on the action than the violence itself. In her current work, there is not a lot of focus on the act; she is more attentive to what happens before and after. [6] Laylah's work had a unique feature of including a level of emotion. She uses bright colors and cartoons to portray current events and socio-political ideas. She uses this unique approach of not using a specific event, so the audience can think through the art and have their own perception. [7]
The works are small scale gouache paintings and drawings on paper. She is known to prepare for many months, planning out every detail so there is no room for mistakes. Ali's work is based on life experiences. Although one may not be able to tell, she says all of her work holds meaning and that what's in her mind transcends from her hands on paper. [8] About the performative nature of her work, Ali says, "The paintings can be like crude stages or sets, the figures like characters in a play. I think of them equally as characters and figures." [9]
Ali's work included an artistic lens of caricature. According to Charlotte Seaman, "Ali’s work is not grounded in the academic tradition, however it is informed by the rich history of caricature, especially as humorous or mocking social commentary". Ali used a unique idea of caricature, Seaman states "Ali uses the visual language of cartoons, comics, and to some extent caricatures. Notably, though, her work is opposed to racial caricature in that it does not exaggerate features of an individual – rather the opposite: it turns individuals into signs or ciphers of generalized (though still racialized) human experience" [10]
The subject of Ali's most well-known gouache paintings are Greenheads– characters designed to minimize, eliminate and interrogate categorical differences of gender, height, age, and in some ways race. [11] [12] Ali created more than 80 of these paintings between 1996 and 2005. Ali drew on imagery and topics from newspapers, such as images of protest signs or world leaders hugging, but tweaked the stories in order to create something distant and new. Ali designed the characters and images to be specific and yet vague. They have meaning from Ali herself but the viewer brings their own references to interpret the image as well. Ali designed the characters to look human-like but not quite human so that they would be removed from our world and social context. They have a socio-political meaning yet they exist outside of our world. [13]
Since 2015, Ali has been working on paintings she calls The Acephalous Series, featuring figures described as gender conscious, potentially sexual or sexualized, some of which have racial characteristics and some of which do not have heads. "They are on an endless, determined trek, a multi-part journey," she says, "It has elements of a forced migration." [9]
In 2002, the Museum of Modern Art, New York, commissioned Ali to create a wordless graphic novelette. [14] The artist collaborated with dancer and choreographer Dean Moss at The Kitchen in 2005 and at MASS MoCA in 2006 with figures on a field. [15] They later premiered a performance at Some sweet day at MoMA, New York in 2012. John Brown Song! was an online project launched by the Dia Art Foundation in 2013. [16] Ali's outdoor billboard project for Walker without Walls at the Walker Art Center was documented on season 3 of the PBS series Art21: Art in the Twenty-First Century. [17]
Ali's works are included in the permanent collection of numerous public institutions, including the Buffalo AKG Art Museum, Buffalo, NY; the Museum of Contemporary Art Chicago; RISD Museum, Providence, RI; the Walker Art Center, Minneapolis, MN; and the Whitney Museum in New York City. [18]
Laylah Ali has exhibited in both the Venice Biennale (2003) and the Whitney Biennial (2004). [8] Other exhibitions include:
Laylah Ali has been awarded a number of grants, residencies and awards, including the Joan Mitchell Foundation Painters and Sculptors Grant in 2008, [23] the Joan Mitchell Foundation Residency in 2018, [24] the United States Artists Fellowship, [25] as well as being honored as an artist-in-residence at Dartmouth College, Yaddo, Headlands Center for the Arts, and Skowhegan School of Painting and Sculpture.
{{cite book}}: CS1 maint: location missing publisher (link){{cite AV media}}: CS1 maint: numeric names: authors list (link)Selected artist books, exhibition catalogs, print editions and press:
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