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Black Hills

Black Hills

Artist: Karsten Creightney (born 1976 Albuquerque, New Mexico; lives Albuquerque, New Mexico)

Department: Art
Date: 2018
Medium: collage, watercolor, acrylic, oil and wax on wood
Dimensions:
64 × 78 in. (162.6 × 198.1 cm)
Classification: Painting
Credit Line: Albuquerque Museum, museum purchase
Object number: PC2020.18.1
DescriptionCollaged and painted imagery of mountain landscape surrounding a central lake that extends out of the foreground of the painting.
On view
Text Entries

Karsten Creightney

born 1976 Albuquerque; lives Albuquerque

Black Hills

2018

collage, watercolor, acrylic, oil, and wax on wood

museum purchase

PC2020.18.1

 

Black Hills asks challenging questions about the problematic history of not only the Black Hills in South Dakota, but the issue of Native American sovereignty, land rights, and the foundations of the United States. Black Hills does include a tiny image of Mt. Rushmore, but it is swallowed in collaged imagery depicting nature from all corners of the United States, suggesting that the challenges central to the dialogue in the Black Hills region are ones that the entire country has inherited. Printmaker and painter Karsten Creightney uses different techniques to construct his images such as collaging or the dot pattern that references the process of printmaking. This disjunction invites thoughtful looking and thinking about the work in order to process it as a whole and to reconsider the process of landscape painting.

Black Hills

2018

collage, acuarela, pintura acrílica, óleo y cera sobre madera

adquisición del museo

PC2020.18.1

 

Black Hills plantea cuestiones difíciles no solo sobre la historia conflictiva de Black Hills en Dakota del Sur, sino sobre el problema de la soberanía de los pueblos indígenas, sus derechos sobre la tierra y la fundación de los Estados Unidos. Black Hills incluye una pequeña imagen del Monte Rushmore, pero queda aglutinada en el conjunto de imágenes del collage que ilustra la naturaleza de todos los rincones de Estados Unidos y sugiere que los desafíos que ocupan el centro del diálogo en la región de Black Hills están presentes en el legado de todo el país. El grabador y pintor Karsten Creightney utiliza diferentes técnicas para construir sus imágenes, por ejemplo juntándolas en un collage o formando patrones de puntos que aluden al proceso de grabado. Esta disyunción invita a una observación reflexiva y a pensar en la obra a fin de procesarla como un todo.