Hank Willis Thomas
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Grief and Grievance: Art and Mourning in America,” an Intergenerational Exhibition of Works from Thirty-Seven Artists, Conceived by Curator Okwui Enwezor
NEW MUSEUM PRESENTS “GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA,” AN INTERGENERATIONAL EXHIBITION OF WORKS FROM THIRTY-SEVEN ARTISTS, CONCEIVED BY CURATOR OKWUI ENWEZOR Exhibition Brings Together Works that Address Black Grief as a National Emergency in the Face of a Politically Orchestrated White Grievance New York, NY...The New Museum is proud to present “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. On view from February 17 to June 6, 2021, “Grief and Grievance” is an intergenerational exhibition bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition further considers the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. Included in “Grief and Grievance” are works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition. The artists on view will include: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark -
AN EXHIBITION ABOUT the ECONOMY, TRUST and VALUE in TODAY’S SOCIETY from the Director Palladian Windows Give Natural Light for Old Buildings Have Ghosts
ARTSWESTCHESTER AN EXHIBITION ABOUT THE ECONOMY, TRUST AND VALUE IN TODAY’S SOCIETY From the Director Palladian windows give natural light for Old buildings have ghosts. While I know of no empirical data art exhibitions or hide behind blackout supporting this theory, I have heard much anecdotal evidence shades for musical performances. The from theater managers who swear they have heard the painting of the bare-breasted lady who spirit of Al Jolson or Laurence Olivier in their old theaters. was sheet-rocked over in the forties Personally, I myself have heard, perhaps in dreams, but due to convention, is now uncovered maybe not, the hushed voices of transactions taking place in and presiding over the activities in the the old People’s National Bank & Trust building, which is now Grand Banking Room as in the past. home to ArtsWestchester. The tellers are all behind ornate metal enclosures In the spirit of authenticity, gold leaf as they dole out change, deposit hard earned paychecks, sum up Christmas rosettes have replaced the massive Club balances and take both late and timely payments from mortgagees. I can florescent light fixtures that covered hear the ladies bringing in their treasured furs for summer storage in the vast them on the ceiling. fur vault, and the perfect diction of those who pore over their jewels and stock certificates in safe deposit boxes. On a raised carpeted platform, the very proper Some of the old customers can be bank officers review credit and approve and deny loans in utmost impersonal heard complaining that banks aren’t tones. -
For Immediate Release
FOR IMMEDIATE RELEASE Contact: Lisa A. Batitto, Public Relations Manager, Newark Museum Phone: 973.596.6638, e-mail: [email protected] Newark Museum Showcases New Media Installation By Kambui Olujimi Skywriters & Constellations: Full Dome Film and Related Exhibition NEWARK, NJ – Highlighting the Museum’s longtime mission of aligning visual art and science, on November 4th the Newark Museum will launch Skywriters & Constellations, a new exhibition installed in the Alice and Leonard Dreyfuss Planetarium and the Garden Passage. This visually layered, interdisciplinary exhibition will feature a new full dome video commissioned for the Planetarium, as well as a series of 12 lithographic prints that bring to life key characters and scenes from Olujimi’s narrative. The Museum will be screening the film Skywriters on a daily basis through the summer of 2019, along with its regular offering of Planetarium programs. Immersive and unique in its form and process, Skywriters (2018) is an animated collage of time and space projected onto the night sky of the Planetarium’s dome. With the full range of the 360 degree dome, Olujimi achieves dramatic shifts of scale and stunning visual effects that animate Wayward North. Using the latest in animation and full dome technology, Olujimi creates his figural imagery by stitching together an encyclopedic range of film clips—earth, sky, street scenes, and microscopic views of natural and manmade materials. On view nearby in the Garden Passage, Constellations (2013) is a series of 12 lithographs that allows visitors a close-up look at the characters, creatures, and key scenes from Olujimi’s contemporary mythology. Both the film and the prints are drawn from Olujimi's novella, Wayward North (2010). -
New Editions 2012
January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. -
Hank Willis Thomas
Goodman Gallery Hank Willis Thomas Biography Hank Willis Thomas (b. 1976, New Jersey, United States) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. Thomas has exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands. Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which in 2017 was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the Gordon Parks Foundation Fellowship (2019), the Guggenheim Foundation Fellowship (2018), Art for Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas holds a B.F.A. from New York University (1998) and an M.A./M.F.A. from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts. Artist Statement Hank Willis Thomas is an American visual photographer whose primary interested are in race, advertising and popular culture. -
African Collection
calendar African Art from the Permanent Collection Collections of the RMCA: January 1, 2005–December 31, 2008 Headdresses Neuberger Museum of Art, SUNY Purchase December 20, 2006–September 30, 2007 Purchase, NY Royal Museum for Central Africa Tervuren, Belgium African Vision: Highlights from the The Walt Disney-Tishman African Art Collection Continuity and Change: February 15, 2007–September 7, 2008 Three Generations of Ethiopian Artists AFRICAN National Museum of African Art May 25–December 8, 2007 Washington, DC Diggs Gallery, Winston-Salem State University Winston-Salem, NC COLLECTION Afrique Noire: Fotografien von Didier Ruef Eternal Ancestors: Made possible by SunTrust Bank April 25– August 19, 2007 The Art of the Central African Reliquary Völkerkunemuseum der Universität Zürich October 2, 2007–March 2, 2008 Downloaded from http://direct.mit.edu/afar/article-pdf/40/3/95/1816128/afar.2007.40.3.95.pdf by guest on 26 September 2021 Zürich, Switzerland Metropolitan Museum of Art New York, NY Anxious Objects: Willie Cole’s Favorite Brands Inscribing Meaning: June 15–September 2, 2007 Writing and Graphic Systems in African Art Frye Art Museum May 9–September 3, 2007 Seattle, WA National Museum of African Art Washington, DC September 26, 2007–January 7, 2008 Cantor Arts Center at Stanford University October 14, 2007–February 17, 2008 Stanford, CA Fowler Museum at UCLA Los Angeles, CA Art of Being Tuareg: Saharan Nomads in a Modern World Meditations on African Art: May 9–August 19, 2007 Color Cantor Arts Center at Stanford University April 18–August 19, 2007 Stanford, CA Baltimore Museum of Art Baltimore, MD Bamako: African Photographers Meditations on African Art: May 18–September 25, 2007 Pattern Museum of the African Diaspora August 29, 2007–January 13, 2008 San Francisco, CA Baltimore Museum of Art Baltimore, MD Benin—Könige und Rituale. -
Alper Initiative for Washington Art It Takes a Nation
ALPER INITIATIVE FOR WASHINGTON ART IT TAKES A NATION IT TAKES A NATION: ART FOR SOCIAL JUSTICE WITH EMORY DOUGLAS AND THE BLACK PANTHER PARTY, AFRICOBRA, AND CONTEMPORARY WASHINGTON ARTISTS September 6 – October 23, 2016 American University Museum at the Katzen Arts Center Washington, DC ALPER INITIATIVE FOR WASHINGTON ART FOREWORD This exhibition presents the American important work gave visual form to I am grateful to Sandy Bellamy for University Museum’s best efforts to the 10 points of the Black Panther undertaking the formidable and timely accomplish artistic objectives rarely ideology that, unfortunately, continue task of organizing this exhibition and found in the same space and time: to have relevance fifty years later: writing the catalog, and Asantewa the exhibition is a program of the freedom, employment, opposition Boakyewa for her curatorial assistance. Alper Initiative for Washington Art, so against economic exploitation and Most importantly, I am thankful for our charge is to offer the community marginalization, affordable housing, the artists in the exhibition who have a venue for the examination and quality education, free health care, raised their voices so powerfully and promotion of the accomplishments opposition to police brutality, eloquently: Akili Ron Anderson, Holly of artists in the greater Washington, opposition to wars of aggression, Bass, Graham Boyle, Wesley Clark, Jay DC region. And, as a grantee of the opposition to the prison industrial Coleman, Larry Cook, Tim Davis, Jeff CrossCurrents Foundation, we are also complex, and access to the necessities Donaldson, Emory Douglas, Shaunté committed to presenting an exhibition of life. Gates, Jennifer Gray, Jae Jarrell, with strong relevance to the issues Wadsworth Jarrell, Njena Surae Jarvis, facing voters in the 2016 national The exhibition title is taken from an Simmie Knox, James Phillips, Beverly elections. -
JEFF SONHOUSE B
JEFF SONHOUSE b. 1968 New York; lives and works in New York, NY Education 2001 MFA, Hunter College, New York, NY 1998 BFA, School oF Visual Arts, New York, NY Solo Exhibitions 2018 Entrapment, moniquemeloche, Chicago, IL 2017 Masked Reduction, Tilton Gallery, New York, NY 2016 PARTICULAARS, Zidoun-Bossuyt Gallery, Luxembourg 2014 Opener 26 Jeff Sonhouse: Slow Motion, Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY 2010 ‘Better Off Dead,’ Said The Landlord, Martha Otero Gallery, Los Angeles, CA 2008 Pawnography, Tilton Gallery, New York, NY 2005 The Panoptic Con, Kustera Tilton Gallery, New York, NY 2003 Probable Cause, Atlanta Contemporary Art Center, Atlanta, GA 2002 Tailored Larceny, Kustera Tilton Gallery, New York, NY Selected Group Exhibitions 2017 Face to Face: Los Angeles Collects Portraiture, California African American Museum, Los Angeles, CA 2016 Us is Them, PiZZuti Collection, Columbus, OH 2015 Reality of My Surroundings: The Contemporary Collection, Nasher Museum of Art at Duke University, Durham, NC 2014 Point of View: Contemporary African American Art from the Elliot and Kimberly Perry Collection, Flint Institute of Arts, Flint, MI; travelled to Charles H. Wright Museum of AFrican American History, Detroit, MI 2013 FLAG’s 5th Anniversary Group Exhibition, The FLAG Art Foundation, New York, NY In God We Trust, Zacheta Narodowa Galerie SZtuki, Warsaw, Poland 2012 The Bearden Project, The Studio Museum in Harlem, New York Under The Influence, Zidoun-Bossuyt Gallery, Luxembourg 2011 -
Bric Biennial: Volume Ii, Bed-Stuy / Crown Heights Edition,” November 10 – January 15
For Immediate Release November 2, 2016 BRIC PRESENTS “BRIC BIENNIAL: VOLUME II, BED-STUY / CROWN HEIGHTS EDITION,” NOVEMBER 10 – JANUARY 15 Second Brooklyn Biennial Features Work Of Over 40 Artists Across Four Brooklyn Cultural Institutions Including BRIC, Brooklyn Public Library, FiveMyles and Weeksville Heritage Center BRIC is pleased to present the BRIC Biennial: Volume II, Bed-Stuy/Crown Heights Edition, the largest and most ambitious exhibition organized by BRIC to date. This second edition of this initiative will be centered at BRIC House, with portions of the show also on view at important cultural institutions and art spaces in the neighborhoods covered by the show: the main branch of the Brooklyn Public Library, FiveMyles, and Weeksville Heritage Center. For the second edition of the BRIC Biennial, the focus is on artists based in the rapidly changing neighborhoods of Bedford-Stuyvesant and Crown Heights. Curated by Elizabeth Ferrer, Vice President of Contemporary Art, BRIC; and Jenny Gerow, Assistant Curator, the work of hundreds of artists based in Bedford-Stuyvesant and Crown Heights were reviewed in order to select the approximately 40 included in this exhibition. The bulk of the BRIC Biennial will be exhibited at BRIC House and will focus on the theme “Affective Bodies,” drawing from affect theory, which places emphasis on bodily experience rather than on learned knowledge. Artists exhibited at Weeksville Heritage Center will be grouped under the theme “The Lived City,” considering how people’s lives and experiences endow urban spaces with emotional resonance. The exhibition at the main branch of the Brooklyn Public Library, “Translations and Annotations,” will include the work of artists who use existing texts and documents as source material. -
Finding Aid to the Historymakers ® Video Oral History with Willie Cole
Finding Aid to The HistoryMakers ® Video Oral History with Willie Cole Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Cole, Willie, 1955- Title: The HistoryMakers® Video Oral History Interview with Willie Cole, Dates: February 3, 2017 Bulk Dates: 2017 Physical 6 uncompressed MOV digital video files (2:50:03). Description: Abstract: Sculptor Willie Cole (1955 - ) was most known for his found object assemblages, which featured steam irons, high heeled shoes and plastic water bottles. His work addressed themes of domesticity, femininity and racial identity. Cole was interviewed by The HistoryMakers® on February 3, 2017, in Mine Hill, New Jersey. This collection is comprised of the original video footage of the interview. Identification: A2017_053 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Sculptor Willie Cole was born on January 3, 1955 in Somerville, New Jersey. In 1958, he moved to Newark, New Jersey, where he took art classes at the Newark Museum, and later attended the Arts High School of Newark. Cole went on to receive his B.F.A degree from the School of Visual Arts in New York City, New York. He continued his art education by attending classes at the Art Students League of New York. After graduation, Cole worked as a freelance artist and graphic designer. In 1988, he completed his first major art installation, Ten Thousand Mandellas. The installation led to his first major gallery show, which took place at Franklin Furnace Gallery in New York City, New York in 1989. -
Studio in Your House?
BEGIN. Willie Cole, a well-known and leading American sculptor and visual artist, discusses abstract creativity and the spiritual relationship between art and artist. Can you explain your first experiences with African art? My first experience was at the Newark Museum. They had a huge piece there, as soon as you walked through the front door. I think it was called ‘the Nimba.’ Although at the time, I was feeling the whole museum so that piece didn’t jump out to me in any special way. It was my first time in a museum. More than when I was a little kid, I think my greatest reception of African art came when I was in college, when I studied African art. OK MR. COLE. AND LELAN YUNG TOBIAS JON HITTEL, NATALIE BY INTERVIEW AND ALEX BOARDWINE SHANICE AGA BY PHOTOGRAPHS How did your college experience inspire what you create now? I went to the School of Visual Arts in New York, and at that time, even though it was a hippy school, it was the best art school in the country. I had Chuck Close for painting, and Jonathan Borofsky for sculpture. They were all professionals working as freelancers. And the school had a motto, two mottos really. One was, ‘What good is a talent if you don’t know what to do with it?’ The other one was, ‘Our times call for multiple careers,’ which meant that if you have a talent, your talent is not just the physical thing you create; it’s the way that you think about things. -
Anne Klein with a Baby in Transit Willie Cole, 2009 2009.57 Sculpture
Anne Klein with a Baby in Transit Willie Cole, 2009 2009.57 Sculpture: shoes, washers, wires, screws Not on view, on loan. Biography Willie Cole was born in 1955 in Newark, NJ. He received his BA in Fine Arts from the NY School of Visual Arts and continued his studies at the Art Students League of New York. Cole was the first winner of the David C. Driskell Prize established by the High Museum of Atlanta to honor and celebrate African American art and art history. Cole's work is found in private collections and major museums. Says Cole, “I think that when one culture is dominated by another culture, the energy or powers or gods of the previous culture hide in the vehicles of the new cultures. I think the spirit of Shango (Yoruba god of thunder and lightning) is a force hidden in the iron because of the fire, and the power of Ogun--his element is iron--is also hidden in these metal objects.” Cole lives and works near Newark, NJ. Artist's inspiration and place in contemporary art "Willie Cole’s art is best known for assembling and transforming ordinary domestic and used objects such as irons, ironing boards, high-heeled shoes, hair dryers, bicycle parts, wooden matches, lawn jockeys, and other discarded appliances and hardware, into imaginative and powerful works of art and installations. Through the repetitive use of single objects in multiples, Cole’s assembled sculptures acquire a transcending and renewed metaphorical meaning, or become a critique of our consumer culture. Cole’s work is generally discussed in the context of postmodern eclecticism, combining references and appropriation ranging from African and African American imagery, to Dada’s readymades and Surrealism’s transformed objects, and icons of American pop culture or African and Asian masks, into highly original and witty assemblages.".