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  • Lyle Ashton Harris, Zamble at Land's End #2, 2018
    Lyle Ashton Harris, Zamble at Land's End #2, 2018
    Lyle Ashton Harris, Zamble at Land's End #2, 2018

    Lyle Ashton Harris American, b. 1965

    Zamble at Land's End #2, 2018
    Dye sublimation print on aluminum
    24 x 18 inches
    (61 x 45.7 cm)
    Edition 2 of 3, 2 APs

    Also available in 48 x 36 inches (121.9 x 91.4 cm), Edition of 3 with 2 APs, $30,000

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    Further images

    • (View a larger image of thumbnail 1) Lyle Ashton Harris, Zamble at Land's End #2, 2018
    • (View a larger image of thumbnail 2) Lyle Ashton Harris, Zamble at Land's End #2, 2018
    • (View a larger image of thumbnail 3) Lyle Ashton Harris, Zamble at Land's End #2, 2018
    In his Flash of the Spirit series Harris returns to self-portraiture, unabashedly claiming his place as an artist for whom sexuality, race, gender, ethnicity, class — and now aging —continue...
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    In his Flash of the Spirit series Harris returns to self-portraiture, unabashedly claiming his place as an artist for whom sexuality, race, gender, ethnicity, class — and now aging —continue as core engagements.  To enact this series, Harris sought a plurality of masks, several borrowed from his family's collection of African masks belonging to his uncle, Harold Epps, who traveled throughout West Africa in the 1960s.  In their reanimation, his mythopoetic portraits aim to recharge and reclaim these familial objects.  This use of masks echoes expressive gestures found in Harris's early iconic works.

     

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