Mycah Braxton
Biographic Data
| ID | 3867108 |
|---|---|
| NAME | Mycah Braxton |
| GIVEN NAMES | Mycah |
| FAMILY NAME | Braxton |
| SIGNATURE | BRAXTON M |
| AFFILIATIONS | Museum of Modern Art |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
A Weapon to Change Modern Reality
In the context of 1950s Japanese aesthetic theory, On Kawara's Death Masks can be seen a tool of agitation and provocation. Through these drawings, Kawara resisted the destruction of individual thought and action in the harsh social conditions of postwar Japan, seeking to return agency to the viewer in two ways. First, by warping his human figures in a metaphor of "material" objectification, Kawara aimed to provoke anxiety and thus spur the audie…
What We Knew of Power
What We Knew of Power M. Alexis Braxton (bio) What We Knew of Power Turrell, Arkansas Grandmamma called planes— her palms spoke like engines; fingers, wings. White dust parted air and followed hands like a voice lingering still, always gripping for a field sign: the edge of a broken fingernail, cracked knuckle mound. Woman played the signs of Mason men she knew she shouldn’t have known, remembering, Big Daddy taught me, and Not a sign for little …
A Weapon to Change Modern Reality
In the context of 1950s Japanese aesthetic theory, On Kawara's Death Masks can be seen a tool of agitation and provocation. Through these drawings, Kawara resisted the destruction of individual thought and action in the harsh social conditions of postwar Japan, seeking to return agency to the viewer in two ways. First, by warping his human figures in a metaphor of "material" objectification, Kawara aimed to provoke anxiety and thus spur the audie…
What We Knew of Power
What We Knew of Power M. Alexis Braxton (bio) What We Knew of Power Turrell, Arkansas Grandmamma called planes— her palms spoke like engines; fingers, wings. White dust parted air and followed hands like a voice lingering still, always gripping for a field sign: the edge of a broken fingernail, cracked knuckle mound. Woman played the signs of Mason men she knew she shouldn’t have known, remembering, Big Daddy taught me, and Not a sign for little …
A Weapon to Change Modern Reality
In the context of 1950s Japanese aesthetic theory, On Kawara's Death Masks can be seen a tool of agitation and provocation. Through these drawings, Kawara resisted the destruction of individual thought and action in the harsh social conditions of postwar Japan, seeking to return agency to the viewer in two ways. First, by warping his human figures in a metaphor of "material" objectification, Kawara aimed to provoke anxiety and thus spur the audie…
Art (2 works) · History (2 works) · Philosophy (2 works) · Visual arts (2 works) · Action (physics (1 work) · Aesthetics (1 work) · Agency (philosophy (1 work) · Art history (1 work) · Audience response (1 work) · Chinese history and philosophy (1 work)