Blow Up II Armory, 2005

Lyle Ashton Harris's photographs challenge generally accepted assumptions about gender and race, forcing viewers to confront the faulty nature of those rigid preconceptions. His work also explores the anthropology of images in recalling the past uses of collage as a form of social commentary.

Blow-Up II (Armory) is an example of Ashton Harris's most recent work, which utilizes collage to connect the disparate elements of a person's concept of self—a construct that Ashton Harris believes has been fragmented by our globalized, contemporary world.

Lyle Ashton Harris explores gender and identity politics—often using his own body as the subject. He has a pedigree most artists can only dream about: he has been a core critic at Yale University School of Art, he received a Rome Prize Fellowship in Visual Arts at the American Academy in Rome, he taught at New York University and California Institute of the Arts, and he has been reviewed by Flash Art, Artforum, Frieze, Art in America, and Artnews. In 2010, Gregory R. Miller & Co published Lyle Ashton Harris: Excessive Exposure, a monograph of his Polaroid prints that features an introduction by Henry Louis Gates, Jr., an essay by Okwui Enwezor and an interview by Chuck Close. His work has appeared in exhibitions at the Guggenheim Museum, the Whitney Museum of American Art, and the Corcoran Gallery, as well as in publications including The New York Times Magazine, Newsweek, and Vibe.

All our frames are manufactured in the USA, using eco-friendly and sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

For images up to 30" x 40"

• 1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.
• We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

For sheet sizes larger than 30” x 40" please contact an Artspace advisor for a custom quote.

Our art editions ship in 7 to 10 business days from New York.

Our framed art editions ship in 11 to 14 business days from New York.

This work is eligible for return within 30 days of receipt of delivery.

Questions about this work?

Interested in other works by this artist or other artists? We will source them for you.

Contact an Artspace Advisor at advisor@artspace.com