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The Studio Museum in Harlem Magazine Winter/Spring 2013 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.
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