PaperCity Magazine

PaperCity Dallas July:August 2022

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J U LY 1 9 – O C TO B E R 9, 2 0 2 2 T H R O U G H J U LY 3 1, 2 0 2 2 The Language of Beauty in African Art was organized by The Art Institute of Chicago. Slay: Artemisia Gentileschi and Kehinde Wiley is organized by the Museo e Real Bosco di Capodimonte, the North Carolina Museum of Art, the Kimbell Art Museum, and The Museum Box. The Kimbell Art Museum is supported in part by Arts Fort Worth, the Texas Commission on the Arts, and the National Endowment for the Arts. Promotional support provided by: Female Face Mask (detail), Chokwe, Angola, 19th–early 20th century, wood, pigment, metal, and fiber. Private collection. Courtesy of Schweizer Premodern, New York; Female Face Mask (Kambanda) (detail), Eastern Pende, Democratic Republic of the Congo, 20th century, wood, pigment, fiber, and metal. Museum Rietberg, Zurich, gift of Barbara and Eberhard Fischer, HH 21a; Face Mask (Agbogho Mmuo) (detail), Igbo, Nigeria, 20th century, wood and pigment. Detroit Institute of Arts, Bequest of Robert H. Tannahill, 70.99; Artemisia Gentileschi (Rome 1593–Naples c. 1653), Judith and Holofernes (detail), c. 1612–1617. Oil on canvas, 159 x 126 cm, inv. Q 378, Napoli, Museo e Real Bosco di Capodimonte; Kehinde Wiley (American, born 1977), Judith and Holofernes (detail), 2012. Oil on linen, framed: 130 1/2 x 99 7/8 in. (331.5 x 253.7 cm), purchased with funds from Mr. and Mrs. Gordon Hanes in honor of Dr. Emily Farnham, by exchange, and from the North Carolina State Art Society (Robert F. Phifer Bequest), 2012, 2012.6. Kehinde Wiley, Judith and Holofernes, 2012. © Kehinde Wiley. Courtesy of the North Carolina Museum of Art and Sean Kelly, New York

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