• “Landlord Colors” at Cranbrook Art Museum 3

    A massive wall-mounted carpet by Reynier Leyva Novo, hanging in the background, is comprised of strips of fabric cut from clothes that Cuban immigrants had worn when immigrating to the United States. The multicolored rug acts as backdrop for Giulio Paolini’s 1984 sculpture L’altra figura (The Other Figure), which consists of two white plaster busts looking down at the remains of a smashed third.

    View of the exhibition Landlord Colors: On Art, Economy, and Materiality, 2019, at Cranbrook Art Museum. Foreground, Giulio Paolini: L’altra figura (The Other Figure), 1984, plaster and two plinths, 24 3/4 by 16 1/2 by 12 inches each. Background, Reynier Leyva Novo: Untitled (Immigrants), 2019, collected clothing, 192 by 192 inches.

  • “Landlord Colors” at Cranbrook Art Museum 2

    A painting which features rows of drippy, blue rectangular daubs—was inspired by Dansaekhwa, but also evokes Detroit’s auto industry. The artist employed a fabric composed of rubber, cloth, and leather that is used in car interiors.

    Addie Langford: Verso Phthalo Series: BR Blue / #1 / LU, 2018, acrylic on industrial composite hide, 79 by 54 1/2 inches. Courtesy Hill Gallery.

  • Landlord-Colors-Lolis-in-Gallery

    View of the exhibition Landlord Colors: On Art, Economy, and Materiality at Cranbrook Art Museum.

    View of the exhibition Landlord Colors: On Art, Economy, and Materiality, 2019, at Cranbrook Art Museum.

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