DOCSLIB.ORG

The Studio Museum in Harlem Magazine Winter/Spring 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Studio Museum in Harlem Magazine Winter/Spring 2013 Studio Magazine Board Of Trustees This issue of Studio is underwritten, Editor-in-Chief Raymond J. McGuire, Chairman in part, with support from Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Creative Director Winter/Spring 2013 Rodney M. Miller, Treasurer The Studio Museum in Harlem is Thelma Golden supported, in part, with public funds Teri Trotter, Secretary Managing Editor provided by the following government agencies and elected representatives: Dominic Hackley Jacqueline L. Bradley Valentino D. Carlotti Copy Editor The New York City Department of Kathryn C. Chenault Samir Patel Cultural Affairs; New York State Council Joan S. Davidson on the Arts, a state agency; National Design Gordon J. Davis Endowment for the Arts; Council Member Pentagram Reginald E. Davis Inez E. Dickens, 9th Council District, Susan Fales-Hill Printing Speaker Christine Quinn and the New Dr. Henry Louis Gates, Jr. Allied Printing Services York City Council; Manhattan Borough Sandra Grymes President Scott M. Stringer; and New York Original Design Concept Joyce K. Haupt Council on the Humanities. 2X4, Inc. Arthur J. Humphrey, Jr. George L. Knox The Studio Museum in Harlem is deeply Studio is published two times a year Nancy L. Lane grateful to the following institutional by The Studio Museum in Harlem, Dr. Michael L. Lomax donors for their leadership support: 144 W. 125th St., New York, NY 10027. Tracy Maitland Dr. Amelia Ogunlesi Copyright ©2013 Studio Magazine. Bloomberg Philanthropies Corine Pettey Booth Ferris Foundation All rights, including translation into other Ann Tenenbaum Ed Bradley Family Foundation languages, are reserved by the publisher. John T. Thompson Ford Foundation Nothing in this publication may be Reginald Van Lee Jacques and Natasha Gelman Trust reproduced without the permission The Horace W. Goldsmith Foundation of the publisher. Hon. Kate D. Levin, ex-officio Lambent Foundation Karen A. Phillips, ex-officio Margaret A. Cargill Foundation (detail), 2011 Pierre and Tana Matisse Foundation Courtesy of the artist and Corbett vs. Dempsey, Chicago The Andrew W. Mellon Foundation MetLife Foundation Rockefeller Brothers Fund Surdna Foundation Target The Andy Warhol Foundation for the Visual Arts Joyce and George Wein Foundation Wells Fargo The Winston Foundation Letter From the Director recent exhibition in this series, Fore, of our permanent collection— the Studio Museum presents the Fred Wilson’s installation, Local work of twenty-nine emerging artists Color—will be reinstalled in a of African descent, each of whom presentation curated by Lauren provides challenging insight into Haynes. Also, the work of an artist contemporary art-making. I’m interested in cultural legacy and looking forward to seeing how this African-American print culture, group of artists, like our previous “F” David Hartt, will be presented in an show alums, will continue to shape exhibition curated by Thomas J. Lax an important dialogue about the entitled David Hartt: Stray Light. work of artists of African descent in And finally, I look forward to the years to come. another exciting year of original and I’m also incredibly proud that inspiring programs. As always, I’ll see another of our signature programs, you around and definitely uptown! Harlem Postcards, is celebrating its tenth anniversary with an exhibition Photo: Timothy Greenfield-Sanders that brings together an astonishing collection of postcards created by contemporary artists that reflects the One of the many amazing things rich visual landscape and photograph- Thelma Golden about life at The Studio Museum in ic legacy of the Harlem community. Director and Chief Curator Harlem is the opportunity my work I’ve been personally inspired provides to engage with our because, in addition to showcasing contemporary moment while being artists of African descent on my reminded, on an almost daily basis, Instagram account (instagram.com/ of the wonderful legacy of so many thelmagolden), I’ve been compelled of the Museum’s signature programs. to post my own photos from in and I’ve been thinking quite a bit about around Harlem! “legacy” recently—about the strange And one artist whose photo- and unexpected after-lives so many graphic work continues to have an of our projects assume after we think impact on how we view and discuss they’ve made their final marks: and Harlem’s past, present and future is about the ways in which projects can Gordon Parks. It was my extreme evolve, take on new meanings and pleasure to co-curate our exhibition gain new audiences long after we in celebration of Parks’s centennial, consider them realized. Gordon Parks: A Harlem Family 1967. The Studio Museum’s series of “F” This exhibition features an iconic shows—a series that began early in collection of images, originally my curatorial career at the Museum published in LIFE magazine, and has been taken up by our alongside some previously unpub- talented team of Assistant Curators— lished images by Parks. is just one example of a program that Looking ahead to this spring, has grown in ways I could have I’m thrilled that a work that was first scarcely expected. With the most presented in 1993 and is now a part Winter/Spring 2013 2 What’s New Recent Acquisition Derrick Adams Head #4, 2011 Museum purchase with funds provided by the Acquisition Committee 12.21.1 Museum Features What’s Up: Exhibition Schedule 05 Fore: Made in 2012 42 Gordon Parks: A Harlem Family 1967 06 dOCUMENTA (13) 52 A Similar Existence This time and place for art Introducing the 2012–13 Artists 10 Harlem Then & Now 58 in Residence Robert S. Duncanson and the 62 Harlem Postcards Fall/Winter 2012–13 14 Landscape Tradition Spring 2013: David Hartt in 16 144 West 125th Street 64 conversation with Thomas J. Lax and Dancing Visual Art: An Interview With 68 Thelma Golden Dianne McIntyre Spring 2013: Fred Wilson: Local Color 21 Beyond Studio Jr. Coloring Page by Michelle C. Kane 71 Remembering Richard V. Clarke 25 DIY: Postcard Remix/Journey 76 Elsewhere 26 Journals Book Picks 32 Lesson Plan: Image as Me/Layered 78 Collage Project The Next Generation: Hugo McCloud, 34 Kambui Olujimi and E.J. Hill The Next Generation: Checking in 38 with Senetchut Floyd, Ivan Forde and Friends Kareen Dillon A Beautiful Thing: 40 Fall/Winter 2012–13 81 Shinique Smith Shopper Opening Reception 2012 Joyce Alexander Wein 82 Artist Prize Gala 2012 84 Supporters List 86 Member Spotlight: 89 Ryann Galloway Members List 90 Membership Info and Form 94 Visitor Info 96 Winter/Spring 2013 4 Museum Museum 5 What’s Up? Exhibition Schedule Winter/Spring 2013 Check studiomuseum.org for the latest on our exhibitions and programs November 11, 2012–March 10, 2013 Fore Harlem Postcards: Tenth Anniversary November 11, 2012–June 30, 2013 Gordon Parks: A Harlem Family 1967 March 28–June 30, 2013 David Hartt: Stray Light Fred Wilson: Local Color Assembly Required Brothers and Sisters Always on View Harlem Postcards Glenn Ligon: Give Us a Poem Adam Pendleton: Collected (Flamingo George) Winter/Spring 2013 6 Museum 7 Gordon Parks: A Harlem Family 1967 A Similar Existence by Lauren Haynes, Assistant Curator Like LIFE, I have received hundreds In addition to photographs of actors, of letters and questions asking actresses and sports stars for LIFE, “what can I do?” The answer is far Parks accessed a side of America too big and complex for me to that many of the magazine’s other attempt: society must give its photographers did not. Some of his conclusions. I can only speak best known stories for the magazine through personal experience. were about social issues facing the —Gordon Parks1 country at the time, including poverty, racism and the burgeoning Gordon Parks’s interest in photogra- civil rights movement. phy was sparked by seeing the work When “A Harlem Family,” Gordon of documentary photographers Parks’s story about race and poverty working for the Farm Security in America featuring the Fontenelle Administration (FSA) in the late family of Harlem was published in 1930s. Soon after purchasing his LIFE in March 1968, the response Catalogue excerpt first camera in 1938, Parks gained was overwhelming. Many people, acclaim for his portraits of African- touched and moved by Parks’s Published in honor of Gordon American women while launching a images and text about the Fontenel- Parks’s centenary, the Gordon Parks: career in fashion photography, les, wanted to help. The editors of A Harlem Family 1967 catalogue shooting advertisements for a LIFE received letters and donations features beautiful reproductions department store in St. Paul, on behalf of the family from large from Parks's original 1968 photo Minnesota. In 1940, at the sugges- cities and small towns across the essay for LIFE magazine, as well as tion of Marva Louis—wife of country. Not all of the responses additional rarely seen images renowned boxer Joe Louis—Parks were positive; many echoed much included in the Studio Museum's moved to Chicago to continue this of the debate and turmoil that was exhibition Gordon Parks: A Harlem career. While working commercially, boiling in this country in the late Family 1967. Also published by Parks used his spare time to explore 1960s and early 1970s. Steidl in association with The Studio and photograph the South Side of One could imagine the Fontenel- Museum in Harlem and The Gordon Chicago, experimenting with the les’ story, in the hands of some Parks Foundation, a division of the narrative documentary style that first other journalists, inspiring a range Meserve-Kunhardt Foundation, the drew him to the medium. Parks’s of reactions. But the breadth and catalogue also features contribu- experiences on the South Side would depth of the responses to the story tions by Thelma Golden, Raymond eventually lead to a 1942 fellowship may have been so great in large part J.
Recommended publications
  • Southeast Museum of Photography Preservation Assessment Project

    Southeast Museum of Photography Preservation Assessment Project

    PG-266669-19 Southeast Museum of Photography Preservation Assessment Project A. What activity or activities would the grant support? Support will fund three primary activities for the Southeast Museum of Photography Preservation Assessment Project: • A formal assessment of the photographs and photographic objects from the museum’s 4,500 piece collection, by a professional conservator of photographs. • In consultation with a professional conservator of photographs, the creation of a long-term preservation strategy for existing materials and future accessions. • In consultation with a professional conservator of photographs, the creation of a list of appropriate archival collections materials to reinforce existing collection materials and to support the care of future acquisitions. Through these activities, the Southeast Museum of Photography (SMP) aims to become better stewards of its cultural artifacts, ensuring the photographs and photographic materials in the museum’s care can be preserved and maintained in accordance with the highest of collections standards for future generations of researchers, educators, and museum visitors. B. What are the content and size of the humanities collections that are the focus of the project? The Museum houses 4,500 photographs dating from the mid-19th century to the present, 1,500 objects representing photographic processes such as photo transfer screen prints, photogravure prints, glass lantern slides, and 372 vintage or antique cameras. The photographic collection of SMP includes representatives from every major photographic process and the developments within those processes, including: tintypes, daguerreotypes, albumen prints, cyanotypes, gelatin silver prints, and C-prints. Highlights of the collection include: • Vintage and authorized edition prints from modern photography masters including: o Edward Weston: one of the foremost champions of highly detailed photographic images and the first American to receive a Guggenheim Fellowship.
  • Cooper Square Committee Chrono

    Cooper Square Committee Chrono

    Cooper Square Committee Chrono A listing of Cooper Square events and activities - including victories and defeats - from March 1959 through March 2005. Prepared by: Walter Thabit, March, 2005 Planners Network Cooper Square Committee Municipal Art Society 61 East 4thStreet Planning Center New York, NY 10003 212 228-8210 COOPER SQUARE CHRONOLOGY The Cooper Square Chronology was initiated by Thelma Burdick in March, 1959, and recorded significant events up to March, 1968. For years, it was the bible of the organization, allowing us to keep the important dates straight. Unfortunately, it has never been updated till now, and it might still be waiting to happen if there hadn't been a renewed interest in the Cooper Square story. Writers and advocate planners have interviewed old timers like myself and Frances Goldin, and after hearing of an interesting incident, then ask, "And what year was that?" Too often I didn't have a clue. So I finally decided to bring the chronology up-to-date. It has been hard work, but worth every minute. I'm not the only contributor to a chronology of events. Marci Reaven, doing a PhD. dissertation on Cooper Square has also put one together for her personal use, and I have used it to fill out some uncertain items as well as a few whose significance I missed. Also, Valerio Orselli, Cooper Square's Director for over 20 years prepared a specialized chronology of 40 membership meetings held around the issue of the rehabilitation program, the Mutual Housing Association, and the revised Cooper Square Plan. It is included here, starting in November, 1984, running through April, 1993.
  • Reportfrom the Capital

    Reportfrom the Capital

    REPORTfrom the Capital BJC weighs in on proposed faith-based regulations, affirms progress On October 5, the BJC, working with a government funding of “inherently religious broad coalition of dozens of organizations, activities” to prevent government funding of submitted comments on proposed regula- religion, a violation of the First Amendment. tions that would govern partnerships be- This phrase has proved confusing for some tween the government and faith-based social faith-based providers because the services service providers. These regulations from provided (such as operating a food pantry) nine federal agencies demonstrate a move were motivated by religious directives (for toward sound resolution of a church-state example, Matthew 25:35). The proposed reg- conflict that has been bitterly contested for ulations change the terminology to prohibit Magazine of the more than two decades. government funding of “expressly religious Baptist Joint Committee In early August, the Obama administration activities.” Faith-based providers may not took a significant step to strengthen part- use government funding to pay for overtly nerships between the federal government religious activities such as worship, religious Vol. 70 No. 8 and religious organizations that provide instruction or proselytization. The proposed services for those in need. The issuance of the regulatory changes clarify that activities must September/October proposed rule changes is part of a complex be offered at a different time or in a different administrative process that will continue location from any federally funded program- 2015 over the next few months. The breadth of this ming. development, and its potential to provide A second — and arguably the most import- consistency and protect government benefi- ant — improvement is the requirement that INSIDE: ciaries, is welcome news for religious liberty.
  • Download the Contributor's Manual

    Download the Contributor's Manual

    Oxford University Press Hutchins Center for African &African American Research at Harvard University CONTRIBUTOR’S MANUAL African American National Biography Henry Louis Gates, Jr. Evelyn Brooks Higginbotham Editors in Chief http://hutchinscenter.fas.harvard.edu/aanb CONTENTS 1 INTRODUCTION 2 PLANNING YOUR ARTICLE 2.1 Readership 2.2 Scope Description 2.3 Word Allotment 2.4 Consensus of Interpretation 3 WRITING YOUR ARTICLE 3.1 Opening Paragraph 3.2 Body of Text 3.3 Marriages 3.4 Death and Summation 3.5 Living People 3.6 Identifying People, Places and Things 3.7 Dates 3.8 Quotations and Permissions 3.9 Citations 3.10 Plagiarism 4 SOME NOTES ON STYLE 4.1 Style, Grammar, spelling 4.2 Spelling 4.3 Punctuation 4.4 Capitalization 4.5 Dates 4.6 Racial Terminology 4.7 Explicit Racial Identification 4.8 Gendered Terms 5 COMPILING YOUR “FURTHER READING” BIBLIOGRAPHY 5.1 Purpose 5.2 Number of Items 5.3 Availability of Works 5.4 Format 5.5 Verification of Sources 6 KEYBOARDING AND SUBMITTING YOUR MANUSCRIPT 1 1 INTRODUCTION We very much appreciate your willingness to contribute to the African American National Biography (AANB). More than a decade in the making, the AANB is now in its second edition, bringing the total number of lives profiled to nearly 5,000 entries online and in print. Our approximately 2,000 authors include Darlene Clark Hine on First Lady Barack Obama, John Swed on Miles Davis; Thomas Holt on W.E.B. Du Bois and the late John Hope Franklin on the pioneering black historian George Washington Williams.
  • POLITICO, John Harris and Carrie Budoff Brown

    POLITICO, John Harris and Carrie Budoff Brown

    STATEMENTS FROM NEWS ORGS EXCLUDED – POLITICO, John Harris and Carrie Budoff Brown: “We’ve reached out to the White House, and rest assured that we plan to very vigorously assert and defend an independent media’s right to cover the institution of the Presidency. Selectively excluding news organizations from White House briefings is misguided and our expectation is that this action will not be repeated. We have one of the largest teams in Washington covering this White House—a major editorial and financial commitment on behalf of our audience. This commitment is an enduring one, and our coverage of the Trump Administration will of course continue without interruption.” --WASHPOST, Marty Baron: “It’s appalling that the White House would exclude news outlets like the New York Times, CNN, Politico, the Los Angeles Times, and BuzzFeed from its publicly announced briefings. This is an undemocratic path that the administration is traveling. There is nothing to be gained from the White House restricting the public’s access to information. We are currently evaluating what our response will be if this sort of thing happens again." – Marty Baron, Washington Post. --NYT, Dean Baquet: “Nothing like this has ever happened at the White House in our long history of covering multiple administrations of different parties. We strongly protest the exclusion of The New York Times and the other news organizations. Free media access to a transparent government is obviously of crucial national interest.” --BUZZFEED: “While we strongly object to the White House’s apparent attempt to punish news outlets whose coverage it does not like, we won’t let these latest antics distract us from continuing to cover this administration fairly and aggressively.” --CNN: “This is an unacceptable development by the Trump White House.
  • What Art Defined the Civil Rights Era? We Asked 7 Museum Curators to Pick One Work That Crystallized the Moment

    What Art Defined the Civil Rights Era? We Asked 7 Museum Curators to Pick One Work That Crystallized the Moment

    Art World What Art Defined the Civil Rights Era? We Asked 7 Museum Curators to Pick One Work That Crystallized the Moment Curators from across the country share the works that capture the ethos of the era. Katie White (https://news.artnet.com/about/katie-white-1066), January 20, 2020 Gordon Parks, Department Store (1956). Courtesy of and copyright The Gordon Parks Foundation. In honor of Martin Luther King Jr. Day, we tasked curators across the country with the difficult task of choosing a single work of art that they feel defines the ethos of the Civil Rights Era. Their choices present a kaleidoscopic and occasionally surprising group of works that span continents and centuries—from iconic photographs to ritual sculptural objects. See the works and read the curators’ insights below. Joe Minter’s Children In Jail (2013) Joe Minter, Children In Jail (2013). Courtesy of Souls Grown Deep. This contemporary work by Joe Minter reflects back on Birmingham, Alabama’s Children’s Crusade: On May 2, 1963, more than 1,000 students skipped school and took to the streets from the doors of the 16th Street Baptist Church, and for days faced police violence and dog attacks, brutal sprays of fire hoses, and mass arrests. Ultimately, more than 3,000 children took part in the direct actions. More than 500 children were jailed by Alabama Public Safety Commissioner Bull Connor, including 75 kids crammed into a cell meant for eight adults, and still others locked into animal pens at the fairgrounds for days on end. Thanks to their sacrifices and the widespread media images of brutalized black children, President Kennedy took notice, the city negotiated with Martin Luther King Jr., jailed demonstrators were freed, and Connor lost his job.
  • What Gordon Parks Witnessed

    What Gordon Parks Witnessed

    What Gordon Parks Witnessed The injustices of Jim Crow and the evolution of a great American photographer Tenement residents in Chicago in 1950. (Courtesy of and © the Gordon Parks Foundation) Story by David Rowell DECEMBER 3, 2018 Photos by Gordon Parks When 29-year-old Gordon Parks arrived in Washington, in 1942, to begin his prestigious job as a photographer at the Farm Security Administration, his first assignment was to shoot: nothing. The government agency, which was born of President Franklin D. Roosevelt’s New Deal, had originally intended to highlight rural suffering and the plight of farmers, but that mission quickly expanded to producing a vast visual record of American life. Overseen by Roy Stryker, chief of the photography unit within the agency’s historical section, the collection was a stunning, often sobering artistic vehicle for depicting the ways the government was both serving and failing its citizens. Parks had come to the FSA on a fellowship after being a staff photographer for the St. Paul Recorder newspaper and doing commercial freelance work, but he also hadn’t bought his first camera until 1937, and Stryker knew the photographer still had much to learn. First, as Parks recounted in his 1966 memoir “A Choice of Weapons,” Stryker had Parks show him his cameras — a Speed Graphic and a Rolleiflex — and promptly locked them in a cabinet. “You won’t be needing those for a few days,” the boss said. Instead, he asked his new photographer — who was raised in Kansas but also lived in Minnesota and later in Chicago — to eat in some restaurants, shop in stores, take in a movie.
  • Anonymous Sources: More Or Less and Why and Where?

    Anonymous Sources: More Or Less and Why and Where?

    Southwestern Mass Communication Journal A journal of the Southwest Education Council for Journalism & Mass Communication ISSN 0891-9186 | Vol. 30, No. 2 | Spring 2015 Anonymous Sources: More or less and why and where? Hoyt Purvis University of Arkansas Anonymous sources have been important factors in some of the major news stories of our time. But does this reliance on unnamed sources to too far? The use and possible abuse of anonymous sources is a matter of continuing controversy in the media and can have a direct bearing on the credibility of the media. Questions related to the use of such sources are examined in a study of the use of anonymous sources in 14 daily editions of three daily newspapers, focusing on the quantity of articles using anonymous sources, their subject matter, location, and rationale for using unnamed sources. This is done within the context of the ongoing controversy about the reliance on such sources in major news organizations. Results of this study are reported and analyzed and provide some clear indications about the extent and nature of the use of anonymous sources, and point to a possible over-dependence and problematic trend. Suggested citation: Purvis, H. (2015). Anonymous sources: More or less and why and where?. Southwestern Mass Communication Journal, 30(2). Retrieved from http://swecjmc.wp.txstate.edu. The Southwestern Mass Communication Journal Spring 2015 V. 30, No. 2 The Southwestern Mass Communication Journal (ISSN 0891-9186) is published semi-annually by the Southwest Education Council for Journalism and Mass Communication. http://swmcjournal.com Also In This Issue: Anonymous Sources: More or less and why and where? Hoyt Purvis, University of Arkansas Are You Talking To Me? The Social-Political Visual Rhetoric of the Syrian Presidency’s Instagram Account Steven Holiday & Matthew J.
  • Race in the Age of Obama Making America More Competitive

    Race in the Age of Obama Making America More Competitive

    american academy of arts & sciences summer 2011 www.amacad.org Bulletin vol. lxiv, no. 4 Race in the Age of Obama Gerald Early, Jeffrey B. Ferguson, Korina Jocson, and David A. Hollinger Making America More Competitive, Innovative, and Healthy Harvey V. Fineberg, Cherry A. Murray, and Charles M. Vest ALSO: Social Science and the Alternative Energy Future Philanthropy in Public Education Commission on the Humanities and Social Sciences Reflections: John Lithgow Breaking the Code Around the Country Upcoming Events Induction Weekend–Cambridge September 30– Welcome Reception for New Members October 1–Induction Ceremony October 2– Symposium: American Institutions and a Civil Society Partial List of Speakers: David Souter (Supreme Court of the United States), Maj. Gen. Gregg Martin (United States Army War College), and David M. Kennedy (Stanford University) OCTOBER NOVEMBER 25th 12th Stated Meeting–Stanford Stated Meeting–Chicago in collaboration with the Chicago Humanities Perspectives on the Future of Nuclear Power Festival after Fukushima WikiLeaks and the First Amendment Introduction: Scott D. Sagan (Stanford Introduction: John A. Katzenellenbogen University) (University of Illinois at Urbana-Champaign) Speakers: Wael Al Assad (League of Arab Speakers: Geoffrey R. Stone (University of States) and Jayantha Dhanapala (Pugwash Chicago Law School), Richard A. Posner (U.S. Conferences on Science and World Affairs) Court of Appeals for the Seventh Circuit), 27th Judith Miller (formerly of The New York Times), Stated Meeting–Berkeley and Gabriel Schoenfeld (Hudson Institute; Healing the Troubled American Economy Witherspoon Institute) Introduction: Robert J. Birgeneau (Univer- DECEMBER sity of California, Berkeley) 7th Speakers: Christina Romer (University of Stated Meeting–Stanford California, Berkeley) and David H.
  • Approved, ~~~AM~Lf~~J.6~ MICHAEL S

    Approved, ~~~AM~Lf~~J.6~ MICHAEL S

    Approved, ~~~AM~lf~~J.6~ MICHAEL S. BOSWORTH Assistant United States Attorneys Before: HONORABLE DEBRA FREEMAN United States Magistrate Judge Southern District of New York 10 ----------------- x SEALED COMPLAINT UNITED STATES OF AMERICA 18 U.S.C. §§ 1001, - v. - 1343 & 1956; 15 U.S.C. §§ 80b-6 & KENNETH STARR, and 80b-17; 26 U.S.C. -ANDREW STEIN, §7206(1) Defendants. COUNTY OF OFFENSE: NEW YORK x SOUTHERN DISTRICT OF NEW YORK, ss.: ROBERT BERANGER, being duly sworn, deposes and says that he is a Special Agent with the Internal Revenue Service­ Criminal Investigative Division (the "IRS-CID") and charges as follows: COUNT ONE (Wire Fraud Scheme To Obtain Property) 1. From at least in or about January 2008, through and including in or about April 2010, in the Southern District of New York and elsewhere, KENNETH STARR, the defendant, and others known and unknown, unlawfully, willfully, and knowingly, having devised and intending to devise a scheme and artifice to defraud, and for obtaining money and property by means of false and fraudulent pretenses, representations, and promises, did transmit and cause to be transmitted by means of wire, radio, and television communication in interstate and foreign commerce, any writings, signs, signals, pictures, and sounds for the purpose of executing such scheme and artifice, to wit, STARR marketed his services as an accountant and financial adviser to clients, gained control over millions of dollars belonging to his clients, and then misappropriated millions of dollars of his clients' assets for his own personal use, including to purchase himself a new, multi-million dollar residence.
  • The Studio Museum in Harlem Magazine Summer/Fall 2012 Studio Magazine Board of Trustees This Issue of Studio Is Underwritten, Editor-In-Chief Raymond J

    The Studio Museum in Harlem Magazine Summer/Fall 2012 Studio Magazine Board of Trustees This Issue of Studio Is Underwritten, Editor-In-Chief Raymond J

    The Studio Museum in Harlem Magazine Summer/Fall 2012 Studio Magazine Board Of Trustees This issue of Studio is underwritten, Editor-in-Chief Raymond J. McGuire, Chairman in part, with support from Bloomberg Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Creative Director Rodney M. Miller, Treasurer The Studio Museum in Harlem is supported, Thelma Golden in part, with public funds provided by Teri Trotter, Secretary Managing Editor the following government agencies and elected representatives: Dominic Hackley Jacqueline L. Bradley Valentino D. Carlotti Contributing Editors The New York City Department of Kathryn C. Chenault Lauren Haynes, Thomas J. Lax, Cultural A"airs; New York State Council Joan Davidson Naima J. Keith on the Arts, a state agency; National Gordon J. Davis Endowment for the Arts; Assemblyman Copy Editor Reginald E. Davis Keith L. T. Wright, 70th A.D. ; The City Samir Patel Susan Fales-Hill of New York; Council Member Inez E. Dr. Henry Louis Gates, Jr. Dickens, 9th Council District, Speaker Design Sandra Grymes Christine Quinn and the New York City Pentagram Joyce K. Haupt Council; and Manhattan Borough Printing Arthur J. Humphrey, Jr. President Scott M. Stringer. Finlay Printing George L. Knox !inlay.com Nancy L. Lane Dr. Michael L. Lomax The Studio Museum in Harlem is deeply Original Design Concept Tracy Maitland grateful to the following institutional 2X4, Inc. Dr. Amelia Ogunlesi donors for their leadership support: Corine Pettey Studio is published two times a year Bloomberg Philanthropies Ann Tenenbaum by The Studio Museum in Harlem, Doris Duke Charitable Foundation John T. Thompson 144 W. 125th St., New York, NY 10027.
  • African American Modernist: the Exhibition, the Artist, and His Legacy

    African American Modernist: the Exhibition, the Artist, and His Legacy

    Aaron Douglas: African American Modernist 121 Aaron Douglas: African American Modernist: The Exhibition, the Artist, and His Legacy Stephanie Fox Knappe On September 8, 2007, the Spencer Museum of Art at the University of Kansas, Lawrence, opened the first nationally traveling retrospective to com- memorate the art and legacy of Aaron Douglas (1899–1979), the preeminent visual artist of the Harlem Renaissance. Aaron Douglas: African American Modernist reaffirmed his position in the annals of what remains the largely white epic of American modernism and focused new attention on lesser-known facets of the lengthy career of the indefatigable artist. The retrospective of nearly one hundred works in a variety of media from thirty-seven lenders, as well as its accompanying catalogue, conference, and myriad complementary programs, declared the power of Douglas’s distinctive imagery and argued for the lasting potency of his message. This essay provides an opportunity to extend the experience presented by Aaron Douglas: African American Modernist during its fifteen-month tour. Beginning at the Spencer Museum of Art and continuing on to the Frist Center for the Visual Arts in Nashville, and Washington D.C.’s Smithsonian American Art Museum, the exhibition closed on November 30, 2008, at the Schomburg Center for Research in Black Culture in New York. Many of the works that were gathered together for the traveling retrospective with the purpose of showcasing Douglas, his role in American modernism, and his enduring legacy are discussed in this essay. Additionally, to acknowledge that rare is the artist whose work may truly be understood when divorced from the context in which it took root, the 0026-3079/2008/4901/2-121$2.50/0 American Studies, 49:1/2 (Spring/Summer 2008): 121-130 121 122 Stephanie Fox Knappe art that composed Aaron Douglas: African American Modernist is presented here in tandem with key biographical elements.