The Studio Museum in Harlem Magazine Spring/Summer 2019 Studio Magazine Board of Trustees Contributors Editor-In-Chief Raymond J

Home , Delphine Fawundu, Genevieve Gaignard, Harriette Cole, Holly Peterson, Jeffery (mixtape), Kim Hamilton

The Studio Museum in Harlem Magazine Spring/Summer 2019 Studio magazine Board of Trustees Contributors Editor-in-Chief Raymond J. McGuire, Chairman Joshua Bell Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Major Gifts Officer Communications Director Rodney M. Miller, Sr., Treasurer Jacqueline L. Bradley, Secretary Eric Booker Managing Editor Exhibition Coordinator Sofía Benitez Laura Day Baker Communications Assistant Dr. Anita Blanchard Connie H. Choi Kathryn C. Chenault Associate Curator, Permanent Collection Photo Editor Joan S. Davidson SaVonne Anderson Gordon J. Davis, Esq. Stacie Crawford Designer and Digital Coordinator Damien R. Dwin Special Events Manager Dr. Henry Louis Gates, Jr. Digital Editor Sandra Grymes Isaac Diggs Dana Liss Arthur J. Humphrey Jr. Photographer, Artist, and Educator Assistant Director, George L. Knox Digital Communications Nancy L. Lane Emily Dunkel Dr. Michael L. Lomax Assistant to the Director’s Office Editorial Assistant Bernard I. Lumpkin Kima Hibbert Dr. Amelia Ogunlesi Yohannah Franco Communications Intern Holly Peterson Education Intern Ann G. Tenenbaum Copy Editor Reginald Van Lee Hanna Girma Samir S. Patel Lise Wilks Curatorial Fellow

Design Ex-Officio Jennifer Harley The Original Champions of Design Hon. Bill de Blasio, Mayor of New York City School and Educator Programs Coordinator Roxanne John, Mayoral Designee Printing Hon. Tom Finkelpearl, Commissioner Chloe Hayward Allied Printing Services of the Department of Cultural Affairs Manager, Education Programs Thelma Golden, Director and Chief Curator Studio is published two times a year Ginny Huo by The Studio Museum in Harlem, Expanding the Walls/Youth Programs 144 W. 125th St., New York, NY 10027 Coordinator

Copyright © 2019 Studio magazine Paloma Hutton Membership & Annual Fund Associate All rights, including translation into other languages, are reserved by the publisher. Mimi Lester Nothing in this publication may be Museum Archivist reproduced without the permission of the publisher. Devin Malone Public Programs and Community Cover image Engagement Fellow Andre D. Wagner Crown Heights, Brooklyn, 2015 Chayanne Marcano Courtesy the artist Assistant, Public Programs and Community Engagement

Mia Matthias Curatorial Fellow

Hallie Ringle Hugh Kaul Curator of Contemporary Art at Birmingham Museum of Art

Legacy Russell Associate Curator, Exhibitions

Ilk Yasha Studio Museum Institute Coordinator

Studio Museum Moving Day by Isaac Diggs

My artistic practice is dedicated to capturing dynamic photographs of the built environment. For over twenty years I have documented the construction and renovation of historic and contemporary struc- tures and urban environments, including Harlem’s 125th Street. You can imagine how thrilled I was when The Studio Museum in Harlem commissioned me to photograph its building on July 26, 2018: the Museum’s last day of occupancy in the building it has called home since 1982. I was offered unrestricted access to areas of the Museum rarely open to the public, at a time when its contents were literally on the floor. In exploring areas of the building mostly unchanged since it was occupied by the New York Bank for Savings, I was able to see the spatial imprint left by generations of staff, curators, and artists laboring to reimagine black culture day in and day out. Moving is an uncomfortable process and it rarely looks good. Aside from the general stress of packing and the disruption of daily routines, moving forces us to confront history and reveals the fragility of our best-laid plans. It is a rare case study when a black institution has the space and resources to reimagine itself so completely; certainly the moment demands self-reflection from the Museum. That this posture is accompanied by openness bodes well for what is to come.

All Photos: Isaac Diggs

Letter from the Director

2019 finds The Studio Museum in Harlem in the midst of Hanna Girma, Andre D. Wagner, Thelma an exciting and dynamic celebration of our 50th anniver- Golden, Kambui sary. We kicked off the celebration on October 18 with our Olujimi, and Legacy Russell at the opening Gala, a fantastic event that brought together longtime of Future Continuous, supporters and new friends. We’ve continued the momen- April 1, 2019 Photo: Liz Ligon tum with exciting exhibitions, engaging programs, and the commencement of the first major phase of our building project. For thirty-five years, the Studio Museum has called 144 Thelma Golden (center) with past West 125th Street home. As Isaac Diggs’s photographs on Studio Museum the preceding pages show, we fully moved out last year. directors Kinshasha Holman Conwill and We are now carefully dismantling the building in advance Edward S. Spriggs of construction on our new home, designed by Adjaye at Gala 2018. Photo: Julie Skarratt Associates in collaboration with Cooper Robertson, which will rise on the same site. While we build, our programs continue in Harlem, around the city, and beyond. In this issue you will read Thelma Golden (right) with past about Future Continuous: Kambui Olujimi and Andre D. Studio Museum Wagner at the historic George Bruce Library, Harlem directors Dr. Mary Schmidt Campbell Postcards on view at Studio Museum 127, our Find Art Here (left) and Dr. Lowery initiative, and so much more. Since our founding in 1968, Stokes Sims (center), October 16, 2018. the Artist-in-Residence program has been central to our mission. An exciting new partnership with the Museum of Modern Art means that this year the residents’ annual exhibition will, for the first time, be held outside the Studio Museum’s space—at MoMA PS1 in Queens. We can’t wait to welcome our audience and greet new visitors in Long Island City this summer. fundamentally changed the narrative of art history, and Farther afield, Black Refractions: Highlights from The inspired and championed a generation of scholars, critics, Studio Museum in Harlem continues its national tour, curators, and artists. He will be deeply missed, but his leg- opening at the Gibbes Museum of Art in Charleston, South acy informs and inspires me every day. Carolina, in May and at the Kalamazoo Institute of Arts in I hope each and every one of you have the opportunity Michigan in September. Black Refractions presents an to be inspired by the incredible artists and cultural pro- amazing group of works from our collection, including ducers the Studio Museum is proud to know and support. selections from the recent Peggy Cooper Cafritz bequest. Thank you for being part of our community—and part Peggy’s landmark gift of more than 400 pieces has signifi- of our future. cantly expanded and transformed our collection. We will have the privilege of honoring her unparalleled support of artists by presenting these works for many years to come, and are deeply grateful to her and her family. Finally, as we were going to print with this issue, I learned of the passing of my dear friend Okwui Enwezor. Thelma Golden Okwui created exhibitions, publications, and projects that Director and Chief Curator page 48

page 44

page 62

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page 68 page 72 Visitor Information 19 Harlem Postcards 26 Exhibition Schedule 20 Elsewhere 32 MOOD: Studio Museum 22 Maker's Mixtape: 42 Artists in Residence 2018–19 “A Place of Hands” with Allison Janae Hamilton Future Continuous: 24 Kambui Olujimi and Andre D. Wagner

Black Refractions 44

ZOMA: A Museum Is Born 48

Archive Spotlight 54

Practice in Print: Theresa Chromati 62

Ntozake Shange: She Who Walks Like a Lion 68

Collecting a Legacy: New Acquisitions 72

Perspectives on Teen Leadership 80 Celebrating 50 Years! 90 from Hawa Building Dispatch: Aissatou 96 How to Talk to Grown-Ups 82 Bey-Grecia of McKissack about Art & McKissack DIY: Create a Picture Pendant 84 Membership, Donor & 98 Supporter Lists Five Tips for Arts Educators 87 Membership Information 111 Member Spotlight: Sergio Lora 88 Radical Reading Room Radical Reading Room is a site of collective practice where visitors can explore and exchange texts, participate in discussions, and reexamine how we engage in, and make, history.

Opening May 3, 2019 at Studio Museum 127 Visitor Information

The Studio Museum’s building at 144 West 125th Street is closed for construction of our new museum.

Studio Museum 127, our temporary programming space, is located at 429 West 127th Street between Amsterdam and Convent Avenues. Opening hours are Thursday through Sunday, 12 to 6 pm.

Our inHarlem initiative also presents exhibitions and events at a variety of partner and satellite locations in Harlem. Other programs take place at additional partner locations throughout the city and beyond. Visit studiomuseum.org for full details on specific programming.

General Info T 212.864.4500 F 212.864.4800

Media Contact studiomuseum.org/press

Public Programs Info 212.864.4500 x282 [email protected]

Membership Info 212.864.4500 x221 [email protected]

E xhibition Schedule

Maren Hassinger: Monuments June 16, 2018–June 10, 2019 Marcus Garvey Park Madison Ave., Between 120th St. and 124th St.

Harlem Postcards: Spring 2019 February 21–May 19, 2019 Studio Museum 127 429 W. 127th St.

Future Continuous: Kambui Olujimi and Andre D. Wagner March 25–June 15, 2019 NYPL George Bruce Library 518 W. 125th St. Radical Reading Room May 3–October 27, 2019 Studio Museum 127 429 W. 127th St.

MOOD: Studio Museum Artists in Residence 2018–19 June 9–September 8, 2019 MoMA PS1 22-25 Jackson Ave. Long Island City, NY

Expanding the Walls 2019 July 19–August 30, 2019 The Metropolitan Museum of Art, Ruth and Harold D. Uris Center for Education Entrance at 5th Ave. and 81st St.

Check studiomuseum.org for the latest on our exhibitions and programs. MOOD: Studio Museum Artists in Residence 2018–19 by Legacy Russell and Hallie Ringle The Studio Museum in Harlem is pleased to present MOOD, featuring the work of 2018–19 artists in residence Allison Janae Hamilton, Tschabalala Self, and Sable Elyse Smith. This exhibition marks a historical turning point for the Museum as it celebrates its 50th anniversary and begins the construction of its new home in Harlem.

For the first time in the Museum’s history, the annual Artist-in-Residence exhibition will take place beyond the Museum’s walls, at MoMA PS1, where it will be on view from June 9 to September 8, 2019. Curated by Legacy Russell, Associate Curator, Exhibitions, and Hallie Ringle, former Assistant Curator at the Studio Museum (now Hugh Kaul Curator of Contemporary Art at Birmingham Museum of Art), the artists of MOOD will explore site, place, and time as maps to American identity and popular culture. As part of this presentation, each artist will take over a room at MoMA PS1 to create an immersive environment: passage- ways to new worlds, worlds that interrogate both the art- Sable Elyse Smith will exhibit a series of conceptual ists’ and the visitors’ relationship to past and present sculptures and two-dimensional works that together inter- in this urgent moment in American history. Upon entering rogate violence, economies, language, and social histo- a space, visitors will inhabit an artist’s psychic topography, ries. Smith’s use of language and everyday materials a snapshot of a global moment and mood that travels evokes new associations, and issues of labor, class, through and beyond the fabric of digital culture. trauma, and memory. Allison Janae Hamilton’s site-specific installation will This chapter of the Artist-in-Residence program at the explore spirituality and mysticism through the landscapes Museum brings with it an interstitial take on visual culture of the American South. Hamilton’s multimedia work will in the juxtaposition of style, form, and approach. To punc- be composed of video, corporeal sculptures in surrealist tuate the exhibition the artists will co-present works in a form, and imagery that explores matrilineal lines of heri- fourth room, heightening the contrast of their techniques tage and an enduring connection to the land. and methodologies while amplifying opportunities for Tschabalala Self will present a series of print, paint, connections across their respective practices. and collage works based on her experience of Harlem. Growing up nearby and inspired by her return through the residency, Self creates fictional figures rooted in daily rhythms and routines in and around the neighborhood. This new series pays homage to the energy of the city, from the frenetic visual culture of bodegas to the communal experience of waiting at a bus stop. Photos: Madeleine Hunt-Ehrlich

MOOD 23 Future Continuous: Kambui Olujimi and Andre D. Wagner by Legacy Russell and Hanna Girma Future Continuous brings together multidisciplinary artist Kambui Olujimi and street photographer Andre D. Wagner in Harlem’s historic George Bruce Library. Working together for the first time, Olujimi and Wagner have created a new, collaborative installation as a part of the Studio Museum’s inHarlem initiative.

Olujimi presents drawings of his own dreams and those Olujimi and Wagner’s dialogue illuminates the of his community collected over the past decade. Inspired relationship between past, present, and future, mixing by global traditions of dream analysis and interpretive real with surreal to ask: “How did we get here—and dream books sold in bodegas in Harlem and the artist’s where are we going?” native Bedford-Stuyvesant, Brooklyn, Olujimi’s drawings Future Continuous is organized by Legacy Russell, unfold above the library’s first-floor bookshelves. Associate Curator, Exhibitions, and Hanna Girma, Reference copies of Olujimi’s personal dream journal Curatorial Fellow, and is an inHarlem project presented by are available in zine form at the library’s front desk, The Studio Museum in Harlem in partnership with George inviting visitors to further explore the depths of a Bruce Library, where it is on view through June 15, 2019. collective unconscious. Against Olujimi’s dreamscape, Wagner presents a con- stellation of silver gelatin prints that celebrate the quotid- ian—the extraordinary in the everyday. Fleeting, public, yet intimate, Wagner’s photographs capture the vibrant streetscapes and residents of Harlem, Bushwick, and greater New York. Developed in the artist’s private dark- room, each image reveals a vignette of life in New York: implicit exchanges, summertime adolescence, and Kambui Olujimi Andre D. Wagner And Sometimes Why (detail), 2019 Bed-Stuy, Brooklyn, 2014 Halloween in Harlem. Courtesy the artist Courtesy the artist

Future Continuous 25 Harlem Postcards Fall 2018

Elliott Jerome Laura Alston Brown Jr. Born 1995, Tampa, FL Lives and works in New York, NY Born 1993, Baldwin, NY Made for Now, 2018 Lives and works in Brooklyn, NY Chromogenic color print The tire grits its teeth along the gravel and brakes to silence - a pause for effect. Have you ever siphoned rupture through a narrow opening? (Do you know the control it takes to slingshot a sound?), 2018 Chromogenic color print

26 Studio Spring/Summer 2019 E. Jane Born 1990, Bethesda, MD Lives and works in Philadelphia, PA Patti LaBelle (Live in New York!), 2018 Chromogenic color print

Adama Delphine Fawundu Born 1971, Brooklyn, NY Lives and works in Brooklyn, NY SEE One Twenty-Fifth, 2018 Chromogenic color print

Studio Spring/Summer 2019 Harlem Postcards 27 Harlem Postcards Spring 2019

Judith Bernstein Born 1942, Newark, NJ Lives and works in New York, NY Dream, 2019 Chromogenic color print

Teresita Fernández Born 1968, Miami, FL Lives and works in Brooklyn, NY Corona, 2019 Chromogenic color print

28 Studio Spring/Summer 2019 Scherezade García Born 1966, Santo Domingo, Dominican Republic Lives and works in Brooklyn, NY Thinking of Harlem: Memories Afloat, 2019 Chromogenic color print

Baseera Khan Born 1980, Denton, TX Lives and works in New York, NY Masjid Malcolm Shabazz, 2019 Chromogenic color print

Studio Spring/Summer 2019 Harlem Postcards 29 Harlem Postcards Fall 2018 who acts as a vessel for the Black diva. She performs in videos for “Lavendra,” in which I recreate the videos from Elliott Jerome Brown Jr. my archive using domestic footage and material from Typically when a barbershop or salon has the gate down, Google Images (often referred to as “fanstyle” videos). so that only slivers of people are visible from the outside, MHYSA also has a music career of her own, and recently it means they are closed to the public but available to toured Europe and North America to promote her debut those who know. To make a photograph is often to make album fantasii. something visible. Yet my goal as a photographer, and with the image produced for this series, is to capture pri- Adama Delphine Fawundu vate moments and discourse. “I’m going up to One-Twenty-Fifth,” that’s where I first experienced the familiar in an unfamiliar setting. It was Laura Alston back, back then, I was way, way younger, and Mart One- The rain had cleared, the roads were open, and the day Twenty-Five was alive and functioning, and the Mende in was filled with unforgettable memories. What better way me felt embraced miles and a whole Atlantic Ocean away. to celebrate life than to dance unapologetically on the In hair tightly coiled and locked to fros, braids, and streets. With Harlem as a backdrop, this photograph is an high-top fades, I saw myself. Hand-dyed dashikis extension of my interest in visualizing what self-love and reminded me of the Garra cloth made by my Grandma’s care can look like and the many forms it can take. I aim to hands in Pujehun, Sierra Leone. capture authentic emotions that are too unique to be rep- And today, I, we experience the unfamiliar in the famil- licated, but include a level of confidence and serenity that iar of Harlem. A spirit that remembers when we all were is relatable to all. home moves through brownstones, projects, walk-ups, train stations, concrete spaces and places—a place E. Jane that I once knew and know. What will Harlem become? Walking past the historic Apollo Theater, toward Frederick What will it be, in this diaspora of Africa affectionately Douglass Boulevard, I found a clear box in the doorway of known as Mecca? a music shop containing old DVDs, barely visible behind scratched plexiglass—a relic. Through the fogged pane, I saw Patti LaBelle holding a microphone, mid-performance, and “Patti LaBelle - Live in New York” on a DVD case. Like the music videos I work with, I wanted to look past the faded cover and the scratched box to see Patti LaBelle in all her Black diva glory, and to find out more about the recording. I found out the DVD was released in 2000 and documents a concert she did live at the Apollo in 1991. I chose the Apollo, and the area around it, as the central site to photograph because of the theater’s relationship to Black American diva-dom or Black American women R&B singers (including Whitney Houston, Mary J. Blige, Toni Braxton, Kelly Price, and several others). I’ve been researching, archiving, and making art regarding Black American divas since around 2015. Specifically I have an archive of R&B music videos (both in video and as stills) from the 1990s that I use to make collages and video art, which I display in a multimedia installation called “Lavendra.” I think about the Black diva as a powerful Black woman figure; often she is a woman who takes care of her community through her job while dealing with misogynoir on a celebrity scale. The Black diva is also a figure Black women dream through; she is a source of beauty and a source of healing through song. I think it is important that we remember her as a figure/archetype, and I consider it a part of my practice to ensure the future of the Black diva. I have a performance persona, MHYSA,

30 Studio Spring/Summer 2019 Harlem Postcards Spring 2019 and Spanish-speaking Indigenous people in the United States, Latin America, and the Caribbean. Judith Bernstein As an abstract image, I was mesmerized by that very My Dream postcard unites my 1995 drawing with the his- poetic, elevated, hovering shape, literally crowning the toric Apollo Theater. Dream evokes and transforms the neighborhood with light. It reminded me that, in colonial most iconic speech of the civil rights movement and of times in Cuba (where my family is from), Día de Reyes also American history itself: “I Have a Dream,” by Martin Luther marked the only day enslaved Afro-Cubans could legally King Jr. Dream also expresses reverence for the dreams of celebrate their religious music and dance in public the many who have performed at the Apollo, as well as spaces, which were highly regulated by their Spanish those who aspire to. oppressors. In many ways, it’s ironic that Spanish Harlem, Every year, 1.3 million people visit the Apollo Theater, as a defining name for this area, alludes to the language of and thousands have performed there over the years, the colonizers. This crown image has an added signifi- including Aretha Franklin, Ella Fitzgerald, Nina Simone, cance to me within that Afro-Cuban and Afro-Latinx dia- Billie Holiday, Stevie Wonder, Prince, Pearl Bailey, Charlie sporic context. Parker, Thelonious Monk, Sarah Vaughan, Duke Ellington, Ultimately, I chose this image because it is uplifting Bill “Bojangles” Robinson, Cab Calloway, Josephine Baker, and radiant, and because it celebrates the important pres- Etta James, Sammy Davis Jr., Bessie Smith, Louis ence of Latinx people in Harlem, in both the African and Armstrong, Otis Redding, Lester Young, Dizzy Gillespie, Latin American diasporas, and in black culture. Dionne Warwick, Charles Mingus, Gladys Knight, Smokey Robinson, Mahalia Jackson, James Brown, Michael Scherezade García Jackson, Jimi Hendrix, Lena Horne, Little Richard, Bob When I think about Harlem, I see a layered and constantly Marley, Buddy Holly, Count Basie, Richard Pryor, Dinah evolving landscape, a landscape informed by the history Washington, B.B. King, John Coltrane, Diana Ross, Nat of the island of Manhattan, from its rocky ecology, to the King Cole, Chuck Berry, Fats Waller, Sidney Poitier, Sister battles of the American Revolution, to the African- Rosetta Tharpe, Ray Charles, and Miles Davis. Those are American experience of migration, voice, renaissance, just a few of the EXTRAORDINARY geniuses who have and struggle. The way I composed and juxtaposed the graced that stage and achieved international stardom. images in this composition alludes to the complex, ever- I have lived in New York for over fifty years! The city changing landscape of the neighborhood. changes constantly but the landmarks that stay are inte- These aspects of the African-American experience in gral to our collective identity as New Yorkers. Harlem collectively create a portrait of resilience and The Apollo is HARLEM! The Apollo is NEW YORK CITY! resistance. I created a central figure with a brown-cinna- mon skin tone as an expression of my politics of inclusion Teresita Fernández and the many colors that live in my skin. It is, to me, a I was thinking about how the boundaries of what we call reflection of us. I take ownership of all those colors. Harlem have historically been manipulated, redrawn, The figure is wearing a headdress reflecting the African and renamed. In this ever-shifting construct, artificially diaspora that reaches out in every direction, across the created boundaries have served to control not only land, neighborhood’s landscape. Its expanding fabric repre- real estate, ownership, and agency, but also perception, sents expanding geography, a place that has grown and how Harlem has come to exist in the beyond the frame placed on it by colonial history, beyond collective imagination. its own physical borders, beyond time itself. I’ve always been especially interested in how Harlem and East or Spanish Harlem are perceived as distinct and Baseera Khan separate areas. What, and where, exactly, is that imagi- My contribution for Harlem Postcards project relates to my nary, subtle dividing line? Is it a real, demarcated bound- desire to show the interiors of sacred spaces in Harlem— ary or an invented idea that is constantly changing? And interiors that are familiar to me due to my background. when did it shift from being called Spanish Harlem to the Upon entering these familiar spaces time and again, somehow more sanitized East Harlem? no matter where I am in the world, one particular image Traveling east on 125th Street, it feels like East Harlem sticks with me. Feet resting on a vast stretch of carpeting. starts after you pass under the overpass at Park Avenue. Bodies at ease within a protected space. Feet are the On a rainy January afternoon, a couple of blocks in, I saw feat of Harlem. the gray sky punctuated by the suspended, crown- shaped lights overhead to celebrate Día de Reyes, (feast day of the Epiphany), celebrated by Latinx, Afro-Latinx,

Studio Spring/Summer 2019 Harlem Postcards 31 Elsewhere Solidary & Solitary: The Joyner/Giuffrida Collection January 29–May 19, 2019 Smart Museum of Art Chicago, Illinois smartmuseum.uchicago.edu

Solidary & Solitary explores the political significance of abstraction from the 1940s to the present. The exhibition recognizes black artists who have historically pushed abstraction beyond the status of a stylistic prefer- ence to question socially dictated representation, as well as artists who have resisted the pressure to create positive imagery. Drawn from the Pamela J. Joyner and Alfred J. Giuffrida Collection, Solidary & Solitary includes Kevin Beasley, Lynette Yiadom-Boakye, and Sam Gilliam. From the Smart Museum, the exhibition will travel to the Baltimore Museum of Art, the Berkeley Art Museum and Pacific Film Archive at the University of California, Berkeley, and the Pérez Art Museum Miami.

Left: Sam Gilliam Stand, 1973 The Joyner/Giuffrida Collection Courtesy the artist

Opposite: Lynette Yiadom-Boakye Places to Love For, 2013 The Joyner/Giuffrida Collection Courtesy the artist, Jack Shainman Gallery, New York, and Corvi-Mora, London

Elsewhere 33 In his first New York solo exhibition, Eric N. Mack Eric N. Mack: Studio Museum artist in residence Eric N. Mack: Lemme walk across the room (installation view) Lemme walk across (2014–15) Eric N. Mack creates Photo: Jonathan Dorado dynamic, movement-oriented work the room using multi-textured and hand- January 11–August 4, 2019 stained textiles, pegboard, photo- Brooklyn Museum graphs, and magazine clippings. Brooklyn, New York Mack drapes, elevates, and fastens brooklynmuseum.org his paintings, constructing an intimate space that reflects the rich visual experience of the everyday. Viewers move between and under the work, thereby connecting their bodies with the artwork. Tying in fashion and music, Mack cultivates a multi- sensory environment for visitors to explore.

34 Studio Spring/Summer 2019 … while the dew is still on the roses … Ebony G. Patterson Ebony G. Patterson: Dead Tree in a Forest ..., 2013 is an installation environment pro- Collection of Monique Meloche … while the dew is still duced in the last five years, marking and Evan Boris, Chicago Courtesy the artist and Monique on the roses … Patterson’s most significant exhibition Meloche Gallery, Chicago November 9, 2018–May 5, 2019 to date. The works reference a night Pérez Art Museum Miami garden, a space of beauty and burial, Miami, Florida and address embellishment’s relation- pamm.org ship to youth culture in disenfran- chised communities. Filled with trance-like colors, glittery tassels, beads, and appliques, the neo- Baroque space investigates violence, masculinity, and invisibility in the con- texts of postcolonial Jamaica and black youth globally.

Studio Spring/Summer 2019 Elsewhere 35 Plumb Line places contemporary art- Ariel Dannielle Plumb Line: Family Sized, 2018 ists in conversation with Charles Charles White White’s influential portrayals of black and the Contemporary subjects, life, and history. The exhibi- March 6–August 25, 2019 tion invites consideration of White’s California African legacy as an artistic plumb line build- American Museum ing black artistic opportunity toward Los Angeles, California new possibilities, and positions artists caamuseum.org as architects of change. Studio Museum artist in residence (2014–15) Sadie Barnette, Toyin Ojih Odutola, Diedrick Brackens, Greg Breda, and more will expand upon White’s stud- ies of blackness in individual and collective ways.

36 Studio Spring/Summer 2019 La Biennale di Venezia Martin Puryear will represent the The Biennale’s main exhibition, May May 11–November 24, 2019 United States in the 58th Venice You Live In Interesting Times, also Venice, Italy Biennale. The pavilion, commissioned presents Artist-in-Residence alumnae labiennale.org and curated with the Madison Square Julie Mehretu and Njideka Akunyili Park Conservancy, will feature the Crosby, as well as Alex Da Corte, Stan sculptor’s new, monumental works, Douglas, Arthur Jafa, Kahlil Joseph, as well as an outdoor installation Zanele Muholi, Otobong Nkanga, in the site’s forecourt. Tavares Strachan, Henry Taylor, and Sir David Adjaye OBE designed the more! inaugural Ghanaian pavilion, Ghana Freedom, curated by writer, film- maker, and art historian Nana

Oforiatta Ayim. The Ghanaian pavil- Martin Puryear ion’s lineup includes John Akomfrah, Question, 2010 El Anatsui, and Lynette Courtesy Madison Square Park Conservancy Yiadom-Boakye. Photo: Ron Amstutz

Studio Spring/Summer 2019 Elsewhere 37 Chicago-born Nina Chanel Abney’s Nina Chanel Abney (installation Nina Chanel Abney view), the Institute of January 17, 2019–March 15, 2020 mural is on view at the ICA Boston’s Contemporary Art/Boston, 2019. Sandra and Gerald Fineberg Art Wall. Courtesy Nina Chanel Abney Studio Institute of Contemporary Art Photo: Ernesto Galan Boston, Massachusetts Abney’s colorful, animated work © Nina Chanel Abney icaboston.org grapples with tensions of racial and social inequality in the digital sphere. Inspired by hip-hop and celebrity culture, as well as magazines, Abney’s satirical commentary on race, con- sumerism, and politics foregrounds profound social issues.

38 Studio Spring/Summer 2019 Jordan Casteel: Returning the Gaze February 2–August 18, 2019 Denver Art Museum Denver, Colorado denverartmuseum.org

Returning the Gaze is Jordan Casteel’s first solo museum show. Denver-born and a Studio Museum artist in residence (2015–16), Casteel presents nearly thirty larger-than-life paintings made in the last five years, depicting her immediate community. An accompanying 150-page catalogue features a lead essay by Denver Art Museum curator Rebecca R. Hart and new scholarship addressing por- traiture, brotherhood, visibility, and place by scholars Isolde Brielmaier and Greg Tate.

Jordan Casteel Timothy, 2017 Private collection Image courtesy the artist and Casey Kaplan, New York ©Jordan Casteel

Studio Spring/Summer 2019 Elsewhere 39 Virgil Abloh: “Figures of Speech” June 10–September 22, 2019 Museum of Contemporary Art Chicago Chicago, Illinois mcachicago.org

Abloh’s interest in music and design, largely inspired by Chicago’s urban culture, has gained him wide recognition in the past decade. The exhibition “Figures of Speech” highlights Abloh’s interdisciplinary practice and is set in an immersive space designed by Samir Bantal, where visitors will experience highlights of Abloh’s career and his influence on today’s fashion, music, architecture, and design. Programming for “Figures of Speech” will feature cross-disci- plinary offerings mirroring the artist’s genre-bending work.

Off-White™ c/o Virgil Abloh, Spring/Summer 2018, Look 11; Courtesy Off-White™ c/o Virgil Abloh Photo: Fabien Montique

40 Studio Spring/Summer 2019 Fahamu Pecou’s DO or DIE: Affect, Fahamu Pecou Fahamu Pecou, DO Ritual, Resistance explores the inter- Untitled 3, 2016 Courtesy the artist or DIE: Affect, Ritual, sections of African-based spiritual traditions and the political and soci- Resistance etal violence against black males May 25–August 25, 2019 in the United States. The exhibition African American Museum emphasizes the importance of the in Philadelphia black community’s healing and resto- Philadelphia, Pennsylvania ration through paintings, drawings, aampmuseum.org and video that reckon with life and death. Pecou thus turns to Yoruba/Ifa diasporic religion, hip-hop, and Négritude to guide the spirit’s journey toward hope and healing.

Studio Spring/Summer 2019 Elsewhere 41 Maker’s Mixtape: “A Place of Hands”1 with Allison Janae Hamilton by Devin Malone

Maker’s Mixtape highlights artists for whom music and is rushed, so things become very short,” she says. “In the sound are crucial to their practices. Layering forms and South, you slow down to listen to people speak. There’s narratives to produce multidimensional visuals, these art- space in the speech.” Sound is a constant presence ists’ processes resemble the way one might layer sounds in both environments: In New York, sirens and traffic to build a groove. This edition focuses on an artist with the turn ambient, much like the vibrational murmurs of the ability to destabilize the familiar and illuminate hidden nar- South, and in both places direct encounters can feel fre- ratives while offering a sense of place: Allison Janae netic or startling. Hamilton, current artist in residence at The Studio An attention to cadence extends to the artist’s musical Museum in Harlem. preferences. High-energy songs set the mood for drawing New York–based Hamilton incorporates painting, sculp- and editing, while rote, repetitive tasks require more medi- ture, photography, video, and taxidermy to generate tative listening. When working with video, she is interested tableaux of rural black life in the American South. in sonic surprises. For Hamilton, the inability to perfectly Referencing her roots in Kentucky, Florida, and Tennessee, capture sound as it occurs in nature provides an opportu- Hamilton’s world-building takes cues from the environ- nity to experiment with distortion. She allows her music ment to amplify the hum of rivers, cicadas, crickets, selections to transport her to the site of an image. Blues, and owls. Through images that incorporate natural land- gospel, and jazz—the foundational genres of the American scapes, masks, and animal skin and feathers, as well as musical landscape—can be traced to the South’s particu- her relatives, Hamilton insists on the carnivalesque lar social context. It is no surprise that these genres and the mundane. would make their way into this mixtape and Hamilton’s Her work operates at the intersections of genealogy, artistic process. social history, and climate change, producing several entry points into the contested American South while 1. “The South,” Alex Haley, track 56 on Voices of Mississippi: Artists and Musicians Documented by William Ferris, Dust to Digital, 2018. unfurling a tapestry of complex social relations. “New York

42 Studio Spring/Summer 2019 New York is rushed, so things become very short. In the South, you slow down to listen to people speak. There’s space in the speech. —Allison Janae Hamilton

“The South,” Alex Haley “In the Upper Room” William Ferris Mahalia Jackson Voices of Mississippi: Artists In the Upper Room and Musicians Documented with Mahalia Jackson

“God Moves on the Water” “Change of the Guard” Blind Willie Johnson Kamasi Washington The Very Best of Blind Willie Johnson The Epic

“In My Girlish Days” “Good Thoughts, Bad Thoughts” Memphis Minnie Funkadelic The Best of Memphis Minnie: Standing on the Verge of Getting It On In My Girlish Days

“Workin’ Woman Blues” “Git in There” Valerie June Betty Davis Pushin' Against a Stone They Say I’m Different

“Elevators (Me & You)” “Happy Feelin’s” Outkast Maze ATLiens Maze Featuring Frankie Beverly

Photo: Madeleine Hunt-Ehrlich

Studio Spring/Summer 2019 Maker’s Mixtape 43 Black Refractions by Mia Matthias with Connie H. Choi

Black Refractions: Highlights from The Studio Museum in Harlem began its two-year journey on January 15 at the Museum of the African Diaspora in San Francisco, the first of six venues it will travel to across the country. The exhibition celebrates the Studio Museum’s role as the nexus for artists of African descent locally, nationally, and internationally, and for work inspired and influenced by black culture. Surveying a century of black artistic production by artists working in Harlem and around the world, the exhibition includes works acquired by the Studio Museum over the44 course of almost fiftyStudio Spring/Summeryears. 2019 Tom Lloyd Moussakoo, c. 1968 The Studio Museum in Harlem; gift of The Lloyd Family and Jamilah Wilson 1996.11 Courtesy American Federation of Arts

Studio Spring/Summer 2019 Black Refractions 45 The Studio Museum was founded in 1968 amidst an atmo- than twenty of these artists are represented sphere of national and global activism. The year brought in Black Refractions. the collective shock over the assassinations of Martin Along with the key moments of institutional devel- Luther King Jr. and Robert F. Kennedy, as well public out- opment are the rich narratives that emerge from the rage and demonstrations against the Vietnam War. Black Museum’s permanent collection, which consists of liberation took center stage at the Summer Olympics in more than 2,500 works by close to 800 artists work- Mexico City when Tommie Smith and John Carlos raised ing in a variety of media, including painting, sculpture, their fists in the Black Power salute in solidarity with photography, video, and installation. The artworks ongoing struggles against institutional oppression. At the in Black Refractions have never before been exhibited same time, black artists were questioning the art world’s together, allowing new conversations to emerge across status quo. The founders of the Studio Museum were a time periods and geographic locations. Photographs diverse group of artists, activists, and philanthropists, by Seydou Keïta featuring carefully posed and deca- all committed to creating an institution in Harlem dently attired sitters show the visual vocabulary of West that foregrounds the role of black artists and educa- African studio photography of the 1950s, while Dawoud tion. Several of these founders are represented in the Bey’s 1970s photographs depict people going about exhibition, including Betty Blayton-Taylor, who served their everyday lives against a backdrop of Harlem. Both on the Museum’s founding Board, and members of the artists do more than simply document; they capture collective Spiral—Charles Alston, Romare Bearden, personalities and atmospheres while working with their Norman Lewis, and Hale Woodruff—who met regularly distinct individual styles. Both Otobong Nkanga and to discuss pressing social issues. Fred Wilson contend with distributions of labor and The artworks in the exhibition show the develop- interconnected cartographies. In Nkanga’s watercolor, ment of the Museum from 1968 to the present moment, House Boy (2004), a multitasking and faceless figure is particularly the Studio Museum’s longstanding com- depicted as bound together by a web of labor obliga- mitment to emerging artists of African descent. Over the tions, while in Wilson’s sculpture Atlas (1995), a black years, the Museum has earned recognition for its catalytic ceramic figurine of domestic servitude bends under the role in advancing the work of visual artists through the weight of a globe on which the artist has traced diasporic Artist-in-Residence program. One of its founding initia- pathways. Kerry James Marshall turned his attention to tives, the program was established to provide studio space for artists to work and engage with a larger community. To date, more than a hundred Installation of Black Refractions at the Museum of the African Diaspora artists have participated in the program, and more Photo: Studio Phocasso

46 Studio Spring/Summer 2019 Dates Venues

January 15–April 14, 2019 Museum of the African Diaspora, San Francisco, California

May 24–August 18, 2019 Gibbes Museum of Art, Charleston, South Carolina

September 13–December 8, 2019 Kalamazoo Institute of Arts, Kalamazoo, Michigan

January 17–April 12, 2020 Smith College Museum of Art, Northampton, Massachusetts

May 9–August 2, 2020 Frye Art Museum, Seattle, Washington

August 28–December 13, 2020 Utah Museum of Fine Arts, Salt Lake City, Utah

the black figure during his residency at the Museum. His Black Refractions comes at a moment of reflection and work Silence is Golden (1986) shows a black figure nearly expansion for the Studio Museum. The exhibition reveals invisible against a dark background, alongside the colors the strength and depth of the Studio Museum’s col- of pan-African ideology. In Juliana Huxtable’s Untitled lection, which grew out of the needs of the immediate (Psychosocial Stuntin’) (2015), the artist wears symbols community during a tumultuous artistic and political alluding to black militancy and is posed between moun- moment in U.S. history. As the exhibition continues its tains of black panther fur, referencing black nationalism. journey, it is important to reflect on the moments that led Both Marshall and Huxtable establish themselves as a to the founding of the Museum, the climate in which it is part of a similar lineage of inspiration. now being presented, and how these lessons can be chan- These works, along with many others in the show, neled as we look toward the next fifty years and beyond. offer visitors different perspectives on blackness and how it has been, and could be, framed within an institu- 1. “In Conversation: Thelma Golden, Connie H. Choi, and Kellie Jones,” in Black Refractions: Highlights from The Studio Museum in Harlem (exhibition tion and beyond the museum setting. The open frame- catalogue) (New York: Rizzoli Electa in association with American Federation work of the show allows for new connections to emerge of Arts, 2019), 24. continuously as the exhibition travels to new locations and is contextualized by new audiences. In the words of Studio Museum Director and Chief Curator Thelma Golden: There is no single narrative—art historically, territori- ally—that can be applied to the work of black artists … that insight has been one of the most significant products of deep intellectual thinking: how important it is to have multiple narratives and how they can play out. For example, a chronological approach can be an effective Lynette Yiadom-Boakye Nous étions, 2007 way to organize, but a false means to understand the The Studio Museum in Harlem; history.... To me it was important to offer the idea that Museum purchase made possible by a gift from Pippa Cohen. there was no single narrative and that the exhibition 2008.17.1 could have different forms. Many shows privilege a © Lynette Yiadom-Boakye Photo Credit: Adam Reich thematic approach across media to allow an intergenera- Courtesy the artist, tional way of seeing and also acknowledge that when we Jack Shainman Gallery, New York, Corvi-Mora, London, and American write these art histories, they are not closed. 1 Federation of Arts

Studio Spring/Summer 2019 Black Refractions 47 ZOMA: A Museum Is Born by Jennifer Harley

ZOMA Museum is a contemporary art museum in Addis Ababa, Ethiopia. In August 2018 I had the opportunity to visit the museum while it was still under construction and speak with curator, cultural anthropologist, and cofounder Meskerem Assegued, and artist, architect, and cofounder Elias Sime, as well as law student and assistant Anatoli Bulti. I reconnected with Meskerem just before the March 24 opening of the museum to learn more about how and why ZOMA came to be, and the central role education plays48 at ZOMA. Studio Spring/Summer 2019 Jennifer Harley: Can you start by interested in incorporating them looking for more, and once your telling me, briefly, what is ZOMA? into the museum? eyes start catching them you see them everywhere. Since then it has Meskerem Assegued: ZOMA is MA: I traveled many years ago with been my dream to build a museum a museum. It is a museum with a my kids, and what impressed me using vernacular architecture, school and an artist-in-residence the most were vernacular buildings even though I had nothing to build program where artists and archi- where people were still living adja- it with, neither land nor money. tects from around the world will cent to the historic sites in Ethiopia. When we finally got a piece of land be invited to design and construct Stone buildings with flat roofs, in Addis Ababa we started buying more than forty bridges that will stone with earth roofs, and others any land that came adjacent to it, stretch above the irrigation chan- built with a whole range of different piece by piece. Elias, who sculpted nels in the gardens that surround techniques. They were still stand- the walls of the museum buildings, the museum. ing after so many years, I thought, learned about structural engineer- something was right about these ing from his late father, a foreman of JH: The museum’s buildings, construction techniques! I started the Ethiopian road authority. He is a designed and built by artist Elias photographing them and talked to central reason why we were able to Sime and yourself, are all so striking. the people inside who always told build the museum with vernacular I know it was important to you to me that they were built by their architecture. use vernacular Ethiopian building great-great-great grandfathers. It techniques. How did you become became very addictive and I started

Studio Spring/Summer 2019 ZOMA 49 50 Studio Spring/Summer 2019 JH: What role does the museum JH: ZOMA not only has education play in preserving those building spaces as part of the museum’s techniques? building, but it also has a full school! That is really unique. Why did you MA: Mud is the most environ- decide that having a school as part of mentally sound, healthy, long- ZOMA was important? lasting, and thoughtful building material in every way. The question MA: It is so important to start is how do we modernize it, how fresh from the base with little kids do we bring it into the twenty-first because they need guidance. When century? they come to our school, they will The knowledge is here and I want learn how to plant, cook, paint, milk to encourage that. We have a lot of cows—and think. They will also young people who have worked on learn patience, by seeing a seed from the construction, which is quite the time it is put into the ground surprising. They come from the until the green grows out of the countryside, many of them started ground. school for the first time after they This year we only have kinder- worked with us. I want them to get gartners. It is amazing to see their paid more, to become specialists personalities transform because who can teach more people to do it. they can’t wait to come to school, It is very, very important knowledge they can’t wait to explore and dig and it should not die. The museum into the ground. is really the one place where it can be kept alive. It is a creative center JH: There is nothing like the energy and people come to see not only the of kindergartners to keep things artwork but the building as well. exciting! The curriculum for your We also have the training center for school is rooted in the pioneering vernacular architecture that will work of Alice Waters and her Edible hopefully attract young architects to Schoolyard Project. Why was food this knowledge. access and knowledge so important to your mission for the museum and JH: Last time I saw you were headed school? to Eritrea for a trip to celebrate the United Nations peace agreement MA: Absolutely, absolutely, this and the newly opened borders. woman is magic. It is an ancient sys- What do you think your new Prime tem that she brought to life and to Minister Abiy Ahmed’s influence this modern world. By really bring- will be on the arts and art spaces ing food into the school and having such as ZOMA? children cook, she transformed their whole behavior and turned MA: Oh, we are already feeling kids into lovers. its effect. Our permits are going The museum is in Mekanisa, smoother and we are getting more which is located in the city of Addis recognition. This change is coming Ababa but at the same time it is from the government. For the first kind of hidden, because it mostly time, the Addis Ababa City Culture consists of city farmland. Nobody and Tourism Bureau gave us an thought that anything could happen award for our accomplishments with that land but Elias and I really and also for being the first private liked the idea of building a museum museum in the city. It has been very on land that was already a farm positive for us, it makes us feel like and emphasizing the connection a we can do more. between the museum, the school,

Studio Spring/Summer 2019 ZOMA 51 art, and the environment. The JH: As you know The Studio it has been a great surprise to have a museum is adjacent to the Akaki Museum in Harlem has its own museum and library in the neigh- River, which feeds our gardens and building project and we are all borhood. Having your neighbors all the farms nearby via a channeling thinking very deeply about our on your side is always important. system. We clean the water using connection and collaboration with Neighbors are closer than family natural purification techniques our neighbors in Harlem. How have because they are the first ones to like reefs and sand purification you collaborated with the people respond when you need them, they systems. Elias and I worked hard on who live immediately around you in are next door to you, which is the making the landscape both visu- Mekanisa? way it should be. ally attractive and functional at the same time. The dream from the start MA: Once people in our neighbor- For more information visit was to incorporate the indigenous, hood saw what was happening, their zomamuseum.org and follow endemic plants, and the medicinal support was overwhelming. We have their Instagram @zoma.museum plants you saw. so many of the neighborhood kids at the school, and for our community

All Photos: Jennifer Harley

52 Studio Spring/Summer 2019 Studio Spring/Summer 2019 Archive Spotlight by Mimi Lester

The Studio Museum in Harlem is in the midst of a major project, generously funded by the Luce Foundation, to organize, catalog, and make the Museum archives accessible. My colleague Mo Romney and I have the privilege of being the first to approach this collection methodically and prepare it for what will surely be a deluge of research when it is made54 available. Studio Spring/Summer 2019 Arranging and describing an archival collection is called he or she will tell you their version of this story. The processing, and processing is ruled by a foundational particularities of what we learn by thumbing through principle called respect des fonds. The French phrase the detritus of a person’s life, cataloging it, and facilitat- fuses two ideas: that where the material comes from ing research, makes us feel as though we are unlocking should inform where it ends up going and how it is clas- secrets—not just about the creator’s humanity, but sified, and that the original order of the material should about humanity in general. One clipping at a time. be maintained as it is cataloged. Fundamentally, respect When I started my position as Museum Archivist des fonds encourages the archivist to respect how at The Studio Museum in Harlem, it was immediately creators documented their own experience. In other evident that from the Museum’s founding, the staff words, the where, how, and who of the archival material knew they were making history, and were determined hints that the very essence of the records—why and how to document it. What most impressed this upon me they exist—can tell us something about the creators. was the uniformity with which much of the archives For communities and people that have had to collect, were created. In personal collections, the archivist first construct, and narrate their own stories outside of hege- surveys the material to understand or unlock some monic culture, the process of self-documentation meaning in the original order, and then processes the is particularly powerful. collection based on her findings. Institutional archives This concept manifests most strikingly in the per- are different than personal ones, since institutions have sonal papers of an individual. When I worked on the an inherent order that is reflected in the collection. The archives of an artist who used photographic reproduc- trick is that individuals make up institutions, and every tion and manipulation to create grand-scale collages, I found that he used the same image dozens of times, Records of the office of the Director from the 1980s to the 1990s on the except for one clipping among hundreds, which was fifth floor of 144 West 125th Street marked, “Use once, only once!” Ask any archivist, and Photo: Mimi Lester

Studio Spring/Summer 2019 Archive Spotlight 55 person organizes their desks, their memos, and their Entire sections of the archives of the Studio Museum own boxes of stuff they deemed important enough to have almost no trace of an individual creator. The best keep, differently. The archivist must balance the order example is the curatorial red binders, which contain of the individual with the order of the institution. close to a full run of the Museum’s exhibition history. The creation of institutional archives, I have found, Binders date back from 1970 all the way to current and is often accidental. Institutions that were in operation upcoming exhibitions. In an institutional archive, each through the mid-1980s almost always have impec- person tends to leave a mark on the organization of cable documentation thanks to the work of secretaries. the material he or she creates: some idea about how it Indeed, the files from the Studio Museum’s Director’s should be stored and described. An archivist can mark Office, until the early 1990s, are all bound in ledger the passage of time and staffing changes through evi- books, organized by month, and have tables of contents dence of how storage and descriptive standards evolved. that catalog each incoming piece of mail. But this is Shockingly, each red binder at the Studio Museum is often produced by institutional recordkeeping practices uniformly organized across the last forty-eight years. rather than intentional historicizing. When this type They contain loan forms; installation photography; of secretarial work became less common, the building correspondence with artists, lenders, and other institu- blocks of an institutional archive were often composed tions; checklists; and printed matter. Each category of what was left in someone’s desk when they retired and binder is labeled, and each curator through the or moved offices. While there is evidence of this in the Museum’s history has upheld this order. Perhaps this Studio Museum’s archive, most of the records have seems unremarkable, but archivally speaking, it most intentionality. They seem to be less of an individual’s certainly is not. record and more of a collective’s work through time. In In addition to red binders, the Museum created blue, other words, the Museum’s records exude a conscious- black, and green binders. Blue binders tend to hold reg- ness of history-making. istration material, such as loan forms, condition reports,

56 Studio Spring/Summer 2019 material related to crating and framing, and travel- lished order of the binders. Because this is so unusual related documentation. Black binders are similar to red for institutional records, the intentionality is unmistak- ones, but are for exhibitions held off-site. My favorite, able. Honoring the previously established order indi- the green binders, are for inHarlem exhibitions, many of cates a selflessness among the individuals working at which have been held in public parks (hence the green). the Museum. Rather than trying to reinvent how order At this point it seems wrong not to admit that, like most is approached, the institution’s work through the years archivists, I dislike binders. The plastic they are made has demonstrated respect for history and lineage. Along of degrades over time, rings put strain on paper and with the many monumental cultural shifts that occurred eventually rust—not to mention the damage three-hole in 1968, the founding of the Studio Museum radically punches inflict on original documents. When binders changed the notion of what an art museum could be, and are overstuffed, the rings no longer match up and the what it could mean for a community. The individuals paper falls out of order and is damaged. As an archivist, who worked to create this change knew that they were the binders themselves are a challenge. But I have a deep rewriting how history happens and, equally important, appreciation for the devotion and commitment the who owns that history and who has the right to tell it. Studio Museum staff has to using the binders as tools of The evidence of their work, the Studio Museum archive, self-documentation. Throughout the collection, sticky is a historical narrative created by those who wanted to notes—also terrible for preservation—abound with be sure that they were the ones to tell their own story. quick memos: “To be filed in the red binder.” It has been easy to practice respect des fonds while

processing the red binders of the Museum. Provenance Opposite: Above: has of course been clear, and there can be no mistaking The Studio Museum in Harlem Ledger files from the office of the archive on the fifth floor Director, organized by month the original order of the records. What has been striking, of 144 West 125th Street Photo: Mimi Lester though, is the systematic commitment to the estab- Photo: Mimi Lester

Studio Spring/Summer 2019 Archive Spotlight 57

Maren Hassinger: Monuments On view in Marcus Garvey Park through June 10, 2019 “Hassinger’s forms cultivate a space of introspection and reflection: the natural world is informed by our actions even as we are informed by changes in its architecture.”

Jessica Lynne, “Fertile Ground: Huma Bhabha, Joan Jonas, Maren Hassinger, and Naima Green in Parks and Art Spaces Around New York,” ArtNews, October 18, 2018, http:// www.artnews.com/2018/10/18/ fertile-ground-huma-bhabha-joan- jonas-maren-hassinger-naima-green- new-yorks-parks-art-spaces/, Accessed April 11, 2019. “Transforming sites in Marcus Garvey Park both physically and psychologically, Monuments is a testament to community and to the human interaction with the natural world around us.” “Maren Hassinger: Monuments,” C&, https://www.contemporaryand.com/ exhibition/maren-hassinger-monuments/, Accessed March 14, 2019. Practice in Print: Theresa Chromati by Eric Booker

Continuing The Studio Museum in Harlem’s commitment to new and emerging artistic voices, Practice in Print creates a space for artists to experiment within Studio magazine. For the second iteration, I asked Brooklyn-based artist Theresa Chromati (b. 1992) to consider how the feminine worlds she creates—exuberant realms for black women—might occupy the printed page. Through painting, digital collage, sculpture, and installation, Chromati has developed a bold visual language of refusal. Her bodacious characters engage in acts both routine and riotous, affirming their presence by way of apparent ambivalence.

Through portraying the beautiful and the mundane, of the digital print, in which she occasionally inserts the tender and the armored, Chromati's work affords her own image. an opportunity to see black women. Unfolding across four pages, Stepping Out to Step To inform her characters, Chromati draws from the in (2019) reflects an evolution from Chromati’s icono- various body types and physical gestures of women she graphic visual language to her more recent gestural first observed growing up in Baltimore. Her experience painting practice. The artist’s signature vibrant checker- there, as a black woman in a community of other black board pattern appears in the foreground, while post- women, helped her form a notion of black femininity modern archways anchor the first two frames, providing more nuanced than anything she saw represented in passage into dimensions beyond. Her tile floors suggest the media. Her female protagonists appear in a panoply generative spaces of self-care and community, recalling of forms, a mashup of colorful limbs, buttocks, breasts, the kitchens, dancehalls, and salons of Baltimore. In the and genitalia. They recall the hybridized bodies of artist first scene we see a graphic figure, green and clown-like Wangechi Mutu (b.1972), whose collage work renders in her appearance; her fingers and toes, nipple, and the black female form as a capacious site. Sourcing phallic legs slide across the plane toward the next frame. material such as pornography and glamour magazines, A single hand snakes its way into the following page, its Mutu reconfigures and dismembers her subjects, invok- fingers flick another reality. ing the beauty and violence inextricably linked to black The graphic bleeds into two cacophonous paintings. women’s bodies. Chromati builds her figures with a Through one archway we see I already Let that shit go similar sensibility, and locates agency and beauty (Moving On) (2019). Perhaps the same green woman is in cultural stereotypes to radically reframe black now looking back at us, overlaid with numerous limbs women’s lives. and faces that swirl around her. She expels whatever Chromati further addresses the complexity of black affront she’s just faced through cartoonish flatulence. femininity by appropriating conventions of racial and Hey! I'll be there in 5. Can I bring a few guests? (Me and sexual exploitation to assert dignity. Often wearing Me's) (2019) sees the figure deconstructed even further; masks and what the artist calls “pussy lips,” her figures a tangle of bodies fills the frame. Here, Chromati brings don these accessories as femme armor. Chromati states the multiplicity of identity to the forefront. The menac- that these symbols “represent something you have to ing masks in each work, previously armor, now exist as put on before you walk outside,” a necessary protec- free agents and extensions of a single persona. They col- tive layer for all black women. The artist’s 2016 series, lectively portray Chromati’s extraordinary woman, “BBW,” repurposed the acronym for “big beautiful her beautiful and undesirable aspects rendered women,” a subgenre of porn, to imagine scenes inspired with equal conviction. by an array of other “B” words, such as “bruised,” “baes,” Through her genre-bending practice, Chromati’s pro- and “brains.” The comic-like treatment and overt tagonists refuse to be one-dimensional. Their potential innuendo of these subjects bring to mind the paintings is too vibrant to be traditionally understood. Her work is of another artist, Robert Colescott (1925–2009), who an act of love and defiance. used humor and caricature to confront similarly loaded topics. Colescott’s art subverted the racist characteriza- tion of the black figure to fantastical effects, upending narratives and racial identities, and influencing younger artists to blithely appropriate America’s acidic popular culture. By illustrating the expansive narratives of black women while reclaiming their sexualized stereotypes, Chromati’s figures appear at ease among themselves, content to be seen simply being. Chromati’s technique is informed in large part Overall: by her study of graphic design at the Pratt Institute. Theresa Chromati Constructing surreal architectural tableaus with vector Stepping Out to Step in, 2019 Courtesy the artist software, the artist collages her painting and drawings and Kravets Wehby Gallery in digital space, often printing on a variety of materials Previous Page Right: Opposite: that she subsequently reworks by hand. Her work takes Theresa Chromati Theresa Chromati a distinctly feminist approach in this way, eschewing I already Let that shit go Hey! I’ll be there in 5. Can I bring (Moving On), 2019 a few guests? (Me and Me’s), 2019 traditional artistic hierarchies for a fluid practice that Courtesy the artist Courtesy the artist complicates the primacy of the canvas with the ubiquity and Kravets Wehby Gallery and Kravets Wehby Gallery

Practice in Print 67 Ntozake Shange: She Who Walks Like a Lion by Chayanne Marcano

There is a video on YouTube in which Ntozake Shange—wearing a fuchsia floral print with pink lipstick to match—tells the story of how she wrote her first poem in seven years.1 The story begins with Shange walking around her home—“cuz I could walk”—when words rush to her head. She is unable to steady the stream of language and recognizes the words are, in fact, a poem.

communities. I am moved each and every time lady in purple admits, “i am really colored & really sad sometimes & you hurt me.”2 In a society where misogynoirist stereotypes persist, bearing witness to such vulnerabil- ity can be startling. The stage directions are as affective as the poetry in for colored girls. lady in brown “comes to life,”3 and all the ladies dance until they “fall out tired, but full of life and togetherness.”4 Shange understood the body as a site of experience and, in turn, alchemized poetry, dance, and music into a language sophisticated enough to convey what it knows and remembers. That Shange lost control of her limbs impacted her work substantially. The poem “a word is a miracle,” one of the newer works in Shange’s last book, Wild Beauty (2017), evokes the obstacles she faced as she became acquainted with the changes in her body: “a word is a miracle / just letters that somehow wind up / clumsy fingers / with meaning / my life was inarticulate / no one knew what I meant / I cd capture no beauty or wistful memory.”5 Reading Shange, I empathize with her angst over losing the ability to write—of fingers once nimble, now “clumsy,” of a life once expressive, now “inarticulate.” Albeit frustrated, Shange showed courage and self-compassion, she Determined to transcribe the poem, Shange runs writes, “a word on a blank page, though / through her options. Dragon, the voice recognition that is triumphant.” software that translates speech into text, is of no use to Shange also found meaning in moments of impaired her. It cannot interpret the slang she is known to include mobility. In a 2017 interview with Jamara Wakefield, in her work, or her diction, which is slightly slurred fol- Shange spoke on the “10 years [she] was in bed” as a lowing a series of strokes. Shange attempts to write the time when she had the opportunity to reflect on her poem by hand—an ability she has been relearning with remarkable life.6 This line of gratitude and appreciation an occupational therapist—but her fingers start to ache. for her life appears in another poem from Wild Beauty, Her last choice is a computer. “these blessings.” Shange elaborates on her one-of- “I only had the computer left but I hadn’t had the a-kind encounters with cultural icons: dancing with strength in my fingers or the control over my fingers Nicolás Guillén in Cuba, sharing a meal with Romare to … make the key go down,” Shange recounts. Limited Bearden, and placing her daughter on the lap of Sun Ra. dexterity proves to be no match for her resolve. Shange Toward the end of the poem, one can feel her smiling, as triumphs. “I was so happy I could write again,” she says if to herself while lying in bed: before the video ends. What struck me the most about Shange’s testimony I live in music with me, was how she aligned her physical needs to her process. these blessings.7 In 2011, Shange experienced her first episode of chronic inflammatory demyelinating polyneuropathy (CIDP). 1. 3-Minute Storyteller, “NTOZAKE SHANGE, poet, playwright, performer, and novelist,” YouTube, February 9, 2018. https://youtu.be/isft8yxZgWk CIDP—a rare disorder of the nerves and nerve roots— 2. Ntozake Shange, for colored girls who have considered suicide / when the causes numbness, tingling sensations, weakening of the rainbow is enuf, (New York: Scribner, 1997), 44. arms and legs, and, in some cases, loss of motor skills. 3. Shange, for colored girls, 17. 4. Shange, for colored girls, 49. The condition came to Ntozake Shange when she was 5. Ntozake Shange, Wild Beauty: New and Selected Poems (New York: Atria / sixty-three years old, thirty-five years after for colored 37 INK, 2017), 235. 6. Jamara Wakefield, “Ntozake Shange on Writing Her Own Words in Her girls who have considered suicide / when the rainbow is enuf Own Way,” Shondaland, December 4, 2017. https://www.shondaland.com/ (1976) cemented her place as a griot of black live/a13999488/ntozake-shange-interview/ women’s interiority. 7. Shange, Wild Beauty, 233.

The “choreopoem,” as Shange christened it, illu- Photos reprinted courtesy the minated the emotional and spiritual landscapes of her Ntozake Shange Literary Trust

Ntozake Shange 71 Collecting a Legacy: New Acquisitions by Joshua Bell and Connie H. Choi

When The Studio Museum in Harlem was established in 1968, its founders did not intend for it to be a collecting institution, recognizing instead the importance of supporting and exhibiting the work of living artists of African descent. However, artists and collectors began gifting work to the Museum just two years later, and a collection was born. Since then, the Museum has amassed one of the largest collections in the United States of art by artists of African descent: more than 2,500 works dating from circa 1804 to the present.

Fifty years after its founding, the Studio Museum works were donated, which marks the largest gift ever remains at the forefront of institutions for artists of contemporary art by artists of African descent. of African descent, providing a haven for artists to The Studio Museum is incredibly grateful and forever create and see their work in, and be inspired by, the indebted to Cafritz following this historic gift. This work of others. donation, which includes more than four hundred works As construction of the Museum’s new home, to the Museum, grows the collection by twenty percent designed by Sir David Adjaye OBE, is underway, this and adds more than one hundred new artists, many moment presents an incredible opportunity to reflect from outside the United States. This gift encompasses upon how the collection has grown over the years, and a multigenerational “who’s who” of artists of African how the Museum can continue to expand its holdings descent, and will both expand and add to the strengths of work by black artists and inspired by black culture. of the existing collection. Among the artists represented Though the Museum’s Acquisition Committee serves a are many alumni of the Museum’s signature Artist-in- central role in growing the permanent collection, much Residence program, and those who have shown work at of it has been amassed through the generosity of friends the Museum, demonstrating the shared commitment and supporters of the institution who donated works of of Cafritz and the Museum to supporting black artists art. This past year (fiscal year 2018; July 1, 2017–June 30, throughout their careers. 2018) has been especially notable thanks to the incred- In addition to receiving six works by Tschabalala Self ible support and thoughtfulness of several major collec- and one work by Allison Janae Hamilton—both of whom tors and donors. are current artists in residence—notable additions to Peggy Cooper Cafritz, who passed away in February the collection include Soundsuit (2009) by Nick Cave, 2018, was a dedicated collector and developed an who was featured in Frequency, one of the exhibitions in impressive collection of artwork by black artists throughout her life. A champion of supporting art- Previous Page: Above: ists throughout their careers, she amassed one of the Nina Chanel Abney Serge Alain Nitegeka country’s largest private collections of work by artists Untitled, 2012 BLACK SUBJECTS: Still III, 2016 The Studio Museum in Harlem; The Studio Museum in Harlem; of African descent. The legendary arts patron, educator, bequest of Peggy Cooper Cafritz Museum purchase with funds and civil rights activist bequeathed the majority of her (1947–2018), Washington, DC, provided by Jonathan and Mindy collector, educator, Gray 2018.8 unparalleled collection to the Studio Museum and the and activist 2018.40.1 © Serge Alain Nitegeka. Courtesy Duke Ellington School of the Arts, which she cofounded © Nina Chanel Abney. Courtesy the artist and Marianne Boesky the artist and Jack Shainman Gallery, New York and Aspen in 1974 in Washington, DC. Collectively, more than 650 Gallery, New York

74 Studio Spring/Summer 2019 the influential “F-Show” series. Also included isAfrican- Betsy Witten, and the Acquisition Committee. The American Flag (1997) by David Hammons, a piece that Museum has a long and rich history with Ming Smith, serves as a strong connection to the one that had hung making these an incredible addition. Jeffrey Fraenkel in front of 144 West 125th Street since 2004. This work and Frish Brandt donated two Diane Arbus photo- is also part of the traveling exhibition Black Refractions: graphs from the 1960s. Following the close of Fictions Highlights from The Studio Museum in Harlem, orga- (2017–18), the Museum’s final exhibition in its home nized in partnership with the American Federation of of more than thirty-five years, the installation workSo Arts. Following its January debut at the Museum of the She Passed (2017) by Genevieve Gaignard entered the African Diaspora in San Francisco, the exhibition will collection thanks to the support of Genevieve Gaignard tour across the country, to five additional venues. Grassroots. Thanks to Barbara Gladstone, two works Other artists in this bequest include but are not by Derrick Alexis Coard were added to the permanent limited to Nina Chanel Abney, Sadie Barnette, Renee collection. The Museum is grateful to Jonathan and Cox, Noah Davis, Abigail DeVille, Emory Douglas, Derek Mindy Gray for their purchase of the monumental Black Fordjour, Samuel Fosso, Theaster Gates, Trenton Doyle Subjects: Still III (2016) by Serge Alain Nitegeka. The Hancock, Samuel Levi Jones, Titus Kaphar, Deana incredible video work, Love Is the Message, the Message Lawson, Simone Leigh, Eric N. Mack, Kerry James Is Death (2016) by Arthur Jafa was donated by the artist. Marshall, Toyin Ojih Odutola, Chris Ofili, Lorraine Tony Lewis’s What a Cheapskate (2016) entered the O’Grady, Ebony G. Patterson, Martin Puryear, Deborah permanent collection thanks to the generosity of Noel Roberts, Malick Sidibé, Lorna Simpson, Henry Taylor, Kirnon. Cauleen Smith’s …You Don’t Hear Me Though… Mickalene Thomas, Hank Willis Thomas, William (2017) has also become part of the Museum’s collection Villalongo, Kara Walker, Carrie Mae Weems, Kehinde thanks to the support of Miyoung Lee, Frank Ahimaz, Wiley, Saya Woolfalk, and Lynette Yiadom-Boakye.

In addition to the landmark donation by Cafritz, the Left: Right: following gifts were also made during fiscal year 2018. Arcmanoro Niles Lynette Yiadom-Boakye A Promise to Never Get Old, 2015 No Head for Violence, 2011 Art + Culture, with the support of Larry Ossei-Mensah, The Studio Museum in Harlem; The Studio Museum in Harlem; donated an edition of prints featuring work by Derrick bequest of Peggy Cooper Cafritz bequest of Peggy Cooper Cafritz (1947–2018), Washington, DC, (1947–2018), Washington, DC, Adams, Sanford Biggers, Phoebe Boswell, and Kameelah collector, educator, and activ- collector, educator, and activ- Janan Rasheed. Three photographs from the 1970s by ist 2018.40.221 ist 2018.40.383 Courtesy the artist © Lynette Yiadom-Boakye. Courtesy Ming Smith entered the collection thanks to the gener- and Rachel Uffner Gallery the artist and Jack Shainman Gallery, osity of Joan Davidson, Martin and Rebecca Eisenberg, New York

Studio Spring/Summer 2019 Collecting a Legacy 75 and the Acquisition Committee. Laurence and Saralta tives. The exhibition was executed in partnership with Loeb generously gifted three acrylic works on canvas the Schomburg Center for Research in Black Culture, and one lithograph by Daniel LaRue Johnson to the where it was on view from May through November 2018, Museum. The Museum is grateful to David Lusenhop alongside several other monumental new works by the for his incredible ongoing support, notably his dona- artist. tion of Barbara Jones-Hogu’s God’s Child (2009). Artist The remarkable gesture of stewardship and gener- Rodney McMillian gifted his work 3 moons: one into osity by Cafritz, as well as the ongoing support of the a galaxy (2016) to the Museum. Leonard and Louise Acquisition Committee and many friends, are particu- Riggio graciously gifted to the Museum Glenn Ligon’s larly meaningful this year as the Museum celebrates Stranger #86 (2016). Following his exhibition Crossing its 50th anniversary. Similar to the excitement and 125th at the Studio Museum in 2017, artist Jamel Shabazz development that followed the acquisition and move donated six of his photographs that were featured in to 144 West 125th Street in 1982, this current moment the show. Studio Museum Trustee Ann Tenenbaum of incredible growth and change has not only solidified and her husband, Thomas H. Lee, donated Willie Cole’s the Studio Museum’s presence in the New York and Downtown Goddess (2012) to the Museum. Finally, one global art scenes, but has also redefined the profile of of the newest Acquisition Committee members, Neda the permanent collection. This will provide the Museum Young, underwrote the purchase of The Olokun and her with opportunities for more comprehensive exhibitions Council and the Zulu Knight (2018) by Curtis “Talwst” and programming following the grand reopening in just Santiago. a few short years. In addition to all of these works, the Acquisition Committee—a select group of twenty-six individuals who meet three times a year and support the growth of the Museum’s collection through philanthropic support—purchased works by Firelei Báez, Maren Hassinger, Wadsworth Jarrell, Barbara Jones-Hogu, Above: Opposite: Mavis Pusey, Sherrill Roland, and Ming Smith. Museum Genevieve Gaignard David Hammons funds were also used to purchase Picnic with a Future Ex Colorblinds, 2017 African-American Flag, 1997 The Studio Museum in Harlem; gift The Studio Museum in Harlem; (2017) by Alex Gardner. Báez's work that was acquired of Genevieve Gaignard Grassroots bequest of Peggy Cooper Cafritz by the Committee, To write fire until it is every breath 2018.1 (1947–2018), Washington, DC, Courtesy the artist collector, educator, (2018) was featured in the recent exhibition, Joy Out of and activist 2018.40.111 Fire, one of the Museum’s most recent inHarlem initia- Courtesy the artist

76 Studio Spring/Summer 2019 Studio Spring/Summer 2019

Opposite: Nick Cave Soundsuit, 2009 The Studio Museum in Harlem; bequest of Peggy Cooper Cafritz (1947–2018), Washington, DC, collector, educator, and activist 2018.40.54 © Nick Cave. Courtesy the artist and Jack Shainman Gallery, New York

Above: Right: Ming Smith Jamel Shabazz Mother and Child, 1977 Double Exposure, 1990 The Studio Museum in Harlem; The Studio Museum in Harlem; Museum purchase with funds gift of the artist 2018.6.2 provided by Betsy Witten 2018.28 Courtesy the artist Courtesy the artist and Steven Kasher Gallery

Collecting a Legacy 79 Perspectives on Teen Leadership from Hawa by Ginny Huo

80 Studio Spring/Summer 2019 The Teen Leadership Council is a group of New York–based teens that foster a fun and safe space for their peers to express creative ideas with The Studio Museum in Harlem. Teen Leadership Council members assist with planning and facilitating the Museum’s free programs for teens, including Art Looks and Studio Works, and collaborate with other teen organizations for special programs.

Through visits to museums, talks with it was pretty cool to find out how H: The movie If Beale Street Could arts professionals, and exchanges someone can learn about somebody Talk, and I want to read the book now. with their peers, the Teen Leadership else from what they draw. I also liked I’m also reading Trevor Noah’s book Council nurtures creativity and ambi- the talk with Kimberly Drew and hear- Born a Crime about his experiences tion in developing the next genera- ing about her experience at a place growing up in South Africa during tion of cultural programmers. We sat like The Met. apartheid. It’s pretty good. down with Hawa, who joined the Teen Leadership Council in 2018, to ask GH: What were some ways that you GH: What music are you listening to about her experience. grew from the experience with the right now? Teen Leadership Council? Ginny Huo: Tell us a little bit about H: A Tribe Called Quest, Wu-Tang yourself! H: I feel like I got to learn more about Clan, ’90s hip-hop. hidden information. For example, Hawa: I’m seventeen years old and I prior to this program, I never heard GH: What are things that make live in Crown Heights. I’m a senior in about the Young Lords, so I went you happy? high school and can’t wait to gradu- home and I searched for more about ate. I love music, and I love the arts. it and watched a documentary. Then I H: My family. I also love movies. If I told my friends about it. I really liked don’t pursue a pre-med track, I would GH: What made you apply to the Teen learning about that part. I also found do something with movies. Leadership Council? a new appreciation for art. I always liked art, but I gained a lot of appre- GH: Do you have goals for yourself H: Last year I was trying to build up ciation for it. for 2019? my résumé and set up my extracurricular activities. I thought this pro- GH: What will you take H: Read more black authors and learn gram would make me stand out as from the experience? more about Islam. I want to read part of a great institution. I also felt more James Baldwin. I want to be the that the program matched my iden- H: Young people are definitely at the valedictorian—it’s a close race tity, so I gave it a shot. forefront of revolution, and art is between me and my best friend. something that makes you feel good, GH: How did you hear about so whenever you are feeling down, GH: Any advice for teens like you? the program? paint or listen to different types of art. H: Step out of comfort zones, join H: My art teacher at school. She GH: What or who inspires you? clubs, and do extracurricular activi- would put things on the board of ties, because for me that’s how I’ve what’s happening and your poster H: Tupac, I love how unapologetic he been able to get exposed to lots of with the pin of Black Lives Matter is. The confidence he had in himself different things and meet a lot of dif- stood out to me and that’s what made when people didn’t have confidence ferent people. Don’t be afraid to join me want to do this. in him is definitely inspirational to me. something that you thought you My mom as well, because she’s loving would never join. GH: What was one of your favorite and caring and I hope to bring that things you did at the Teen Leadership wherever I go. GH: We are excited for you and your Council? bright future. Thank you, Hawa! GH: What are some of your favorite H: I loved the art therapy workshop. things at the moment? Before that I had never heard of it and Photo: Ginny Huo

Studio Spring/Summer 2019 Perspectives on Teen Leadership from Hawa 81 How to Talk to Grown-Ups about Art by Chloe Hayward

Above: Opposite: Mickalene Thomas Family photo during the January Panthera, 2002 Lil’ Studio, based on the Find Art Here The Studio Museum in Harlem; reproduction of Mickalene Museum purchase with funds Thomas’s Panthera. provided by the acquisition Committee Left to Right: Family friend 2003.10.9 Massama, PJ, Kate Fillin-Yeh, Elissa Jacobs, Susanna

82 Studio Spring/Summer 2019 For many years, as an artist, educator, and art therapist, I’ve been privileged to witness the power of art, particularly over young children. In fall 2018 I had the pleasure of speaking with Casey Lesser from Artsy for an article titled “How to Talk to Kids About Art.” Inspired by this, I sat down with lil’ artists Susanna and P.J. to find out how they help their grown-ups, parents Kate Fillin-Yeh and Elissa Jacobs, talk about art. Kate and Elissa, long-time residents of Harlem and frequent attendees of The Studio Museum in Harlem’s early childhood program Lil’ Studio, also shared what their little ones have taught them about the value of arts education and arts appreciation.

Susanna: Once upon a time there was a panther going into the woods to eat fish with Chewbacca. He makes artwork too and he uses a little blue and a little pink. He likes to do collage and he also likes candy.

CH: P.J., what do you think grown-ups should notice about this work of art?

PJ: The panther! It has purple spots, glittering purple spots, there’s glitter everywhere. It’s pokey, it feels pokey on the top, but the panther is soft, very soft. He’s my friend.

During Lil’ Studio parents, caregivers, and organizations servicing little ones Chloe Hayward: How did you first ask questions at their level about the ages five and under are invited to the hear about Lil’ Studio? art. I enjoy how Lil’ Studio has such New York Public Library’s Harlem creative materials and also how we Library branch to enjoy art-making Kate Fillin-Yeh: I was searching the can continue to explore what we and other activities that encourage internet looking for art classes for talked about in class at home. creative time and bonding. Susanna and came across the program. It looked really good and here Elissa Jacobs: Kate’s mother was an Lil’ Studio is an early-childhood class we are! art historian. that engages children in reading, singing, movement, and art-making, CH: How long have you attended Lil’ KFY: Yes! I have vivid memories of and builds social/emotional, cogni- Studio? going around New York with my tive, physical, and language develop- mother and looking at art together. ment. Children explore connections KFY: On and off over the course of It’s interesting, the things that draw between literacy and the arts, the year. We also attend Books, your attention as a child are very dif- inspired by the Museum’s permanent Authors, & Kids! ferent than what draws your attention collection and inHarlem exhibitions. as an adult. Lil’ Studio is great Session A is designed for organiza- CH: What keeps you coming back to because it focuses on the important tions and agencies providing care for Lil’ Studio? What does it mean to you? skill of learning how to look. preschool-age children. Session B welcomes parents and caregivers. KFY: Lil’ Studio is a great opportunity CH: Susanna, what do you want to to show kids works of art. I really tell your parents about this work appreciate how different the materi- of art? als are and how the program tends to

Studio Spring/Summer 2019 How to Talk to Grown-Ups about Art 83 DIY: Create a Picture Pendant by Yohannah Franco In Heirlooms & Accessories, artist Kerry James Marshall alters historical photographs to shift the focus of significant moments in which blackness was targeted. Use the materials listed below to create your own parallel between art and history, remembering an important person, place, or moment in your life.

Materials

Air-dry clay Mod Podge, 2 feet ribbon, Sharp pencil water-based yarn or twine glue

Scissors Dinner knife Foam Acrylic or paintbrush tempera paint (optional)

Step 1 Step 2 Step 3 Cut out a small picture that repre- Use the dinner knife to shape and cut Use the tip of the sharp pencil to sents an important person, place, or the air-dry clay into a flat rectangular make a hole for a string at the top of moment in your life. You can use a or oval shape big enough to frame your clay pendant, then let it dry for printed paper page or a photograph your picture. twenty-four hours. Feel free to paint you already have. your pendant once it’s dry and then let it dry again, but that is optional.

Step 4 Step 5 Brush Mod Podge on the backside of Pull the string through the hole, tie a Kerry James Marshall the photo, attach it to the clay base, knot, and have fun wearing your pic- Heirlooms & Accessories (detail), 2002 then brush Mod Podge on top and let ture pendant! The Studio Museum in Harlem; it dry for fifteen to twenty minutes. Museum purchase made possible by a gift from an anonymous donor 2005.7.1b

DIY 85 Find Art Here

Find Art Here brings high-quality reproductions of artwork from the Studio Museum’s permanent collection to schools, libraries, and service centers throughout Harlem. Learn more: studiomuseum.org/find-art-here

Reproduction of Jordan Casteel, Photo: Adam Reich Kevin the Kiteman, 2016 on view at Thurgood Marshall Academy Lower School Five Tips for Arts Educators by Ilk Yasha

The Museum Education Practicum is an intensive training program focused on museum education and contemporary art practice at The Studio Museum in Harlem. We asked our program alumni to put together a “Top 5” list of tips for arts educators in the field. Here is what they have to say:

1. As an arts/museum educator, you will engage directly 4. It’s important to be knowledgeable about the history with diverse museumgoers. Always be open to the differ- and theory relevant to what you’re discussing. While art ent perspectives and interpretations of your students. Go historical knowledge is incredibly useful, it can isolate into every teaching experience with the mindfulness that some audiences. Instead, focus on helping visitors make it should be just as transformative for you as it is for them. connections between the works and their own lives and —Johnathan Payne experiences, and supplement the conversation with key background information while reinforcing the value of every contribution. 2. Learn to embrace curricular improvisation. Plans are —Amber Hunnicutt essential in all learning communities, but don’t be afraid to go off-plan or change course if your intuition tells you to. Finding a balance between embracing the wisdom in the 5. Art is very subjective and the greatest gift that we offer room and providing a container for the learning experi- to museumgoers is to ignite their thoughts without telling ence is at the heart of a critically engaged them exactly what to think. Each museum visitor has a teaching practice. different knowledge level, so we must encourage the —Ariana Faye Allensworth learning experience without shaming. —Kiara Shardé

3. Participate, participate, and participate! Whether it’s reading more, attending discussions, going to new For more information on this program and to apply, exhibits, joining workshops, volunteering, or conducting visit studiomuseum.org/practicum outreach, staying open and available (when you can) provides you the best opportunity for learning and overall growth as an educator. —Isis Rivas Photo: Shanta Lawson

Five Tips for Arts Educators 87 Member Spotlight: Sergio Lora by Paloma Hutton

SL: I love being able to have a voice and share new artists that I think should be exhibited at the Museum.

PH: You donated Untitled (dog), by Bill Traylor, to the Museum back in 1991, which is now on view in our traveling exhibition, Black Refractions: Highlights from The Studio Museum in Harlem. How did you acquire the Traylor piece, and why did you want to donate it to the Museum?

SL: I became aware of Bill Traylor’s work through the gallery run by Richard H. Oosterom. One summer, I went down to visit Just Above Midtown on 57th Street, and there was a new gallerist renting the space. We got to talk- ing and Richard eventually showed me some artists he was planning on exhibiting. One of the artists was Bill Traylor. I became obsessed with his work, and went home and started doing all this research, and created this book- let with information about his work. I loved his work because it was so innocent and childlike. I wanted to donate it to the Museum because I was in a financial pre- dicament, and I didn’t want to sell it to a gallery that In each issue of Studio we feature an interview with a wouldn’t pay that much for it. So I decided to donate it to Studio Museum Member to explore what inspired him or the Museum and get the tax write-off. I had two other her to be a Member and contribute to the Museum. I sat Traylor works that I also sold. I have also donated a print down with Sergio Lora to learn about his relationship to by Eldzier Cortor to the Museum. the Museum. PH: When did you first visit the Museum? Paloma Hutton: How long have you been a Member of The Studio Museum in Harlem? SL: I was at the inaugural Studio Museum exhibition in September 1968, Tom Lloyd’s Electronic Refractions II. Sergio Lora: I’ve been involved since the 1960s, when the Studio Museum was on top of that liquor store on Fifth PH: What is your favorite memory of the Studio Museum? Avenue, but I became an official member in 2017. SL: Some of them kind of fade in my mind, but the Stanley PH: What inspired you to get involved with the Studio Whitney show in 2015 was something that I adored. I have Museum? been following Whitney for the longest time, and I never thought the Museum would show his work. That was one SL: For me, it was seeing people of Afro-Caribbean of my most recent memories, but it was one of my favor- descent in a museum space. To me, that was the only ites. I’m waiting impatiently for the new building, and I place to be. All of the other museums were catering to can’t wait to see how it is in the neighborhood and how something else, this was the only place where I felt at we’re all able to interact with the building itself. home.

PH: What is your favorite part about being a Member? Photo: SaVonne Anderson

88 Studio Spring/Summer 2019 If you’ve passed by 144 West 125th Street lately, you may have noticed some changes!

The first major phase of our building project is under way. The new Studio Museum will be the first home the institution has ever occupied that will be conceived and built for its program. The new building will provide an enriched visitor experience for our neighbors in Harlem and visitors from around the world.

Have questions? Send us an email: [email protected]

Studio Spring/Summer 2019 Celebrating 50 Years!

Photo: Liz Ligon

90 The Studio Museum in Harlem held its annual fall Gala on Thursday, October 18, 2018, with a festive evening of dinner and dancing in celebration of the Museum’s 50th anniversary. Thanks to the generosity and support of the Museum’s incredible patrons, artists, and friends, over four million dollars were raised in support of the Studio Museum’s inHarlem initiatives and signature Artist-in- Residence program. Director and Chief Curator Thelma Golden kicked off the evening by introducing First Lady of New York City Chirlane McCray, who presented the Studio Museum with a Mayoral Proclamation commemorating the Museum’s historic fifty- year legacy. Another highlight from the evening was the special recognition of longtime Trustee Nancy Lane for her many years of dedication and commitment to the Museum. The 13th annual Joyce Alexander Wein Prize, supported by George Wein, was presented to Los Angeles– based artist Diedrick Brackens.

The Studio Museum would like to express its heartfelt thanks to the supporters listed on the following pages.

Celebrating 50 Years! 91 Sanford Biggers, Carrie Mae Weems** Julie Mehretu, Catherine Gund Kara Walker, Ari Marcopoulos**

Duhirwe Rushemeza, Joeonna Bellorado- Dr. Amelia Ogunlesi, Carol Sutton Lewis, First Agnes Gund, Merele Williams-Adkins, Samuels, Toyin Ojih Odutola, Lady Chirlane McCray, Jacqueline L. Bradley, Jack Shear Deborah Willis Kathryn C. Chenault**

culture. In keeping with Joyce’s The Joyce Alexander support of living artists, the Joyce Wein Artist Prize Alexander Wein Prize recognizes and honors artistic achievements of an Established by jazz impresario, African-American artist who musician, and philanthropist George demonstrates great innovation, Wein in memory of his wife Joyce, a promise, and creativity. Envisioned as dedicated Trustee of The Studio an extension of the Studio Museum’s Museum in Harlem, the Wein Prize mission to support experimentation honors the legacy of a woman whose and excellence in contemporary art, life embodied a commitment to the the prize includes an unrestricted power and possibilities of art and monetary award of $50,000.

Photos by: Liz Ligon * Julie Skarratt ** Regina Fleming *** Ben Gabbe

92 Studio Spring/Summer 2019 Diedrick Brackens, 2018 Wein Prize Recipient

Diedrick Brackens, a Los Angeles– based multidisciplinary artist, is rec- ognized for his innovative use of weaving and textile-making. Brackens received a BFA from the University of North Texas (2011) and an MFA in textiles from the California College of the Arts, San Francisco (2014). Brackens’s tapestries and textile sculptures explore the intersection between identity and the cultural histories and traumas of the United States. Utilizing the methodical algo- rithms inherent in textile-making, Brackens imbues his tapestries with the histories of African, American, and European weaving, and brings attention both to the traditions and production processes behind the loom, as well as the complexities of African-American identity. His choice and mastery of this medium directly engage with what has been known as “women’s work,” and contextualize its legacies and traditions through the lens of a queer man of color.

Cherry Brackens and Diedrick Brackens, Joyce Alexander Wein Prize 2018 Recipient.*

Studio Spring/Summer 2019 Celebrating 50 Years! 93 Spike Lee*** Nancy L. Lane Star Jones , Ricardo Lugo***

Sherry Bronfman, Hannah Bronfman*** Derrick Adams, Sherry Bronfman, Dr. Amelia Ogunlesi, Kathryn C. Chenault*** Michael Chuapoco*

Carol Sutton Lewis, Ira Haupt, Joyce Haupt***

94 Studio Spring/Summer 2019 First Lady Chirlane McCray, Thelma Golden** Kinshasha Holman Conwill, Thelma Golden, Peggy Cooper Davis, Gordon J. Davis* Edward S. Spriggs* Sir David Adjaye OBE, Ann G. Tenenbaum** Tyler Mitchell, Kimberly Drew* Jacqueline L. Bradley, Clarence Otis

Studio Spring/Summer 2019 Celebrating 50 Years! 95 Building Dispatch: Aissatou Bey-Grecia of McKissack & McKissack by Emily Dunkel McKissack & McKissack, the nation’s oldest minority-owned design and construction firm, is serving as a consultant to Sciame Construction on the building of The Studio Museum in Harlem’s new home. Aissatou Bey-Grecia, Director of Workforce Strategies & Initiatives at McKissack, is responsible for the recruitment and development of minority-owned, woman-owned, and locally based contractors (MWLBE) for the Museum’s building project.

Her work ensures that the people hired to work on build- been an important part of the community and its growth, ing projects across the five boroughs reflect the diversity and the new proposal by Sir David Adjaye OBE and his of New York and its local communities. team is very exciting. It’s going to change the landscape Aissatou began her community-centric career in the in a way that is very meaningful. 1980s as the program director of Harlem Hospital’s Injury Prevention Program. After observing that many major inju- ED: What do you hope to accomplish with the project? ries result from unmaintained, unsafe playgrounds, Aissatou worked with a team comprised of hospital pro- AB: I want to exceed our goals and I want to get as many fessionals, community members, and elected officials to qualified people in this community involved in the project renovate every playground in Harlem’s Community School as possible. It’s something that the team I work with is District 5. She began working with McKissack years later in always pushing to accomplish. I want this project to suc- a similar capacity, first on the construction of the New ceed in every way and to have a story that goes along with Patient Pavilion at the Harlem Hospital Center campus. this building—not only as a member of the team, but as a Below, Aissatou speaks to the importance of hiring member of the community. local tradespeople, her excitement about the Studio Museum building project, and her connection to Harlem. ED: Outside of this project, what is your relationship to the Studio Museum? Emily Dunkel: Can you tell me about your role at McKissack and how you got there? AB: My family and I love going to the openings and exhibitions, and I love seeing what the young people are coming Aissatou Bey-Grecia: I worked with Cheryl McKissack up with. In fact, this project has rekindled my interest in Daniel and the community advisory board to come up the Museum’s programs. Whenever I hear mention of The with the concept of community employment for Harlem Studio Museum in Harlem I feel proud to be attached to it. Hospital. We developed a process for identifying who is really qualified, who we could help with training, and how ED: You have been in Harlem since 1967. What is your we could take each of those people—wherever an appli- connection to the neighborhood now? cant was in life—and move them to the next level. AB: My family has lived in Harlem for five generations. ED: What are some significant challenges you face Here, I’m able to find a balance between this family his- in the field? tory, our traditions, the arts, and community. Those are my bottom lines, the things that make me tick. It’s really nice AB: The current shortage of qualified labor. The City of to be able to work with and for institutions that support New York has pretty big goals for every construction proj- the same kinds of important bottom lines. I feel like I ect, so everyone is trying to engage the qualified MWBE found it in all these projects and in my work with contractors and the local workforce. Every resource is McKissack. At McKissack I can be myself and put forth the being tapped. To readers: Anyone who is interested or importance of community. Making sure people in a com- knows of anyone interested should get in contact. munity can find sustainable work is important.

ED: What excites you about the Studio Museum project? For more information about McKissack & McKissack, please visit mckissack.com AB: The number one thing is that it’s the Studio Museum. What’s not exciting about that? I moved here from Ohio in 1967. There was an emergence of all kinds of arts and cul- Photo: Courtesy tural institutions during that time. The Studio Museum has McKissack & McKissack

Building Dispatch 97 Supporters

The Board of Trustees and Director of The Studio Museum in Harlem extend deep gratitude to the donors who supported the Museum between July 1, 2017, and June 30, 2018. We look forward to providing a list of our Fiscal Year 2019 donors in the Fall/Winter 2019–20 edition of Studio.

$500,000 and above The Estée Lauder Companies Inc. David R. Jones John H. Friedman and Jane Furse The Andrew W. Mellon Foundation Andreá and Kenneth Frazier Joseph and Joan Cullman Kathy and Richard S. Fuld Jr. The New York City Department Gladstone Gallery Foundation for the Arts Godfrey R. Gill of Cultural Affairs Amy Goldrich Joyce and George Wein Foundation Lévy Gorvy Institute of International Education Jaishri and Vikas Kapoor Martin M. Hale, Jr. $100,000 to $499,999 Jerome Foundation Noel Kirnon Alvin D. Hall Bank of America Miyoung Lee and Neil Simpkins Marie-Josée and Henry R. Kravis Joe Hall Jacqueline L. Bradley and Courtney Lee-Mitchell and Leonard and Judy Lauder Fund Grant Hill Clarence Otis Marcus Mitchell Margaret Munzer Loeb and Nicola and Francis Idehen Citi Bernard I. Lumpkin and Daniel S. Loeb Nancy L. Lane Katherine Farley and Jerry Speyer Carmine D. Boccuzzi Main Gate Productions LLC Raymond Learsy Gray Foundation Macy’s Matthew Marks and Jack Bankowsky Nyssa and Chris Lee The Henry Luce Foundation May and Samuel Rudin Family Kerry James Marshall and Glenn Ligon The Horace W. Goldsmith Foundation, Inc. Cheryl Lynn Bruce Andrea J. London Foundation Crystal McCrary and Cheryl and Philip Milstein Lawrence Luhring and New York State Council on the Arts Raymond J. McGuire Drs. Liza and Frederick Murrell Roland Augustine Amelia and Bayo Ogunlesi Rodney M. Miller, Sr. The New York Community Trust Jamie and Marc Lunder Stavros Niarchos Foundation Marcus Mitchell and Van Lier Fund Dr. Shirley Madhère-Weil and Target Courtney Lee-Mitchell Yana Peel Michael Weil Ann Tenenbaum and Thomas H. Lee RBC Capital Markets Amy and Joseph Perella Lydia M. Marshall Walton Family Foundation and The Riggio Foundation Karen Proctor Cheryl and Eric McKissack The Ford Foundation Sciame Construction, LLC Lynda and Stewart Resnick Jennifer R. McZier William R. Kenan, Jr. Charitable Trust Sotheby’s Rita and Alex Hillman Foundation Iva and Scott Mills Viacom / BET Networks Robert Lehman Foundation The Movado Group Foundation $50,000 to $99,999 Frank and Nina Whittington-Cooper Craig Robins Senga Nengudi Kathryn C. and Kenneth I. Chenault / BlackRock Victoria M. Rogers Hau Nguyen and Arthur Lewis The Eisenberg Family Lise and Jeffrey Wilks Richard Sandor Jack O’Kelley III Global Infrastructure Partners Jide J. Zeitlin Barbara H. Scott Paula Cooper Dr. Lisa and Mr. David J. Grain The Shelley & Donald Rubin Lisa and Richard Perry Mr. and Mrs. John B. Hess $10,000 to $24,999 Foundation Walter Price Joan Ganz Cooney Olaolu Aganga and Patrick Egeonu Marva A. Smalls Shawn A. Pride & Holly Peterson Foundation Frank Ahimaz Sara Tayeb-Khalifa Jonelle Procope and Fred Terrell Joy of Giving Something, Inc. Arnhold Foundation Lu-Shawn Thompson Janelle Reiring Carol Sutton Lewis and Honorable Nicole Avant and Venable LLP Tracey and Phillip Riese William M. Lewis, Jr. Ted Sarandos Verizon Foundation Mary Sabbatino Nancy and Howard Marks Cheryl Bergenfeld and Janice Savin Williams and Yinka Shonibare Morgan Stanley E. Stanley O’Neal Christopher J. Williams James H. Simmons III and National Endowment for the Arts Dr. Anita Blanchard and Patricia A. and William T. Williams Bernirene Ramos Rockefeller Brothers Fund Martin H. Nesbitt Betsy Witten Marsha E. Simms Holly L. Phillips, M.D. and Michèle and Joseph Brazil Dian Woodner Jonathan B. Simon José L. Tavarez CastleOak Securities L.P. Neda Young Paul and Becky Simpson Samuel I. Newhouse Foundation Inc. Chapman Perelman Foundation Ellen Stern Keisha Smith-Jeremie / News Corp CNL Financial Group $5,000 to $9,999 Margaret E. Stokes Pippa Cohen Jacqueline Adams Studio Institute, LLC $25,000 to $49,999 The Cowles Charitable Trust Peg Alston Ryan Tarpley A G Foundation Daniel M. Neidich and Beverly J. Anderson Courtney and Scott Taylor American Express Brooke Garber Neidich Sarah Arison and Thomas Wilhelm John L. Thomson Bloomberg Philanthropies Foundation Rudolph Austin Time Warner, Inc. Bloomingdale’s David Zwirner Gallery Janine and Lyndon Barrois Kory Trolio Bradley Family Charitable Anne E. Delaney Lana de Beer and Harry G. David Victoria Miro Gallery Foundation Trust Deloitte Services, LLP Karyn Bendit Nina and Ted Wells Susan and Jonathan Bram Mark Falcone and Ellen Bruss Daniel Black Marina Adams and Stanley Whitney Charlita C. Cardwell and Adam Flatto / Richard Levy and Marianne Boesky Mary and Jack Whitten Martez R. Moore Lorraine Gallard Laurel Britton Conscious Kids, Inc. Frankfurt Kurnit Klein & Selz Cecily Brown $1,000 to $4,999 Consolidated Edison Company FUSION TV Drs. George Campbell and Anonymous of New York Gavin Brown’s enterprise Mary Schmidt Campbell Philip E. Aarons and Joan S. Davidson Robert Gober and Donald Moffet Colgate-Palmolive Dr. Shelley Fox Aarons Peggy Cooper Davis and halley k. harrisburg and Adair Curtis and Jason Bolden Iman Abdulmajid Gordon J. Davis Michael Rosenfeld Thomas Dane Amsale Aberra and Neil Brown Doris Duke Charitable Foundation Joyce and Ira Haupt, II David and Candace Weir Foundation Derrick Adams Susan and Thomas Dunn Hauser & Wirth Aryn Drake-Lee Ronald Adams, M.D. and Dasha Smith Dwin and Damien Dwin HBO Rebecca and Martin Eisenberg Linda Bradley, M.D. / GCM Grosvenor Stephanie and Tim Ingrassia Jaime Frankfurt Merele Williams Adkins

98 Studio Spring/Summer 2019 Elizabeth Alexander Judith A. Jackson Larry Satterfield Jonathan Caplan and Angus Cook Kenneth R. Alleyne, MD and Samuel and Latanya R. Jackson Mel and Ann Schaffer Jordan Casteel Shaun Biggers-Alleyne, MD Sandra Jackson-Dumont Melissa Schiff Amy Chaiklin Victoria Anderson, Esq. Dwight C. Johnson Marvin Schneider Midwin Charles Andrea Rosen Gallery Joan Jonas Annette Mitchell Scott Jennifer Chen Shari L. Aronson Charla Jones Laureen Seeger and Minalie Chen and Jackson Hsieh Anna R. Austin Kellie Jones and Guthrie Ramsey David Elliot Cohen Aisha Christian Spencer C. Bailey Elizabeth Ann Kahane Jamel Shabazz Harriette Cole Corey M. Baylor Kathy Romero Events LLC Jean Shafiroff Stuart Comer Derryl and Jacqueline Benton Peter and Maria Kellner Jack Shainman Susan C. Courtemanche Allison and Larry Berg Lisa Heari Kim LeAnn Shelton Dawn Davis Nicole Bernard Gail and George Knox Virginia J. Simmons, M.D. Elizabeth Davis and Luis Penalver Judia Black Sandy Kummerer Smart Set, Inc. Stratford Dennis Terri and Alvin Bowles Lindsay Lee Suzanne McFayden Smith Brickson E. Diamond Miko Branch Aren LeeKong Gregory Spiegel Dominion Energy Isolde Brielmaier Leo Model Foundation Shaun Stanley and Drs. Keith Downing and Patricia Brim Jonathan Levine Deirdre Stanley Massiah Gabrielle Page-Wilson Nicholas Buxton Andwele Lewis Nicole and Michael Stewart Kimberly Drew Molly Campbell Cher Lewis Michael Ward Stout Nordia Edwards Ashley Carr Dorothy Lichtenstein Dorine Holsey Streeter and Susannah Eldridge Eleanor Cayre Jane K. Lombard Jon Streeter Louise Eliasof Lee Chaffin Andrea J. London Stuart-Lynn Company, Inc. Brinille Ellis Charles E. Culpeper Foundation Lewis Long / Long Gallery Harlem Gabrielle and Arthur Sulzberger John E. Ellis, M.D. Deborah R. Chatman Luxembourg & Dayan Raymond Svider Susan Fales-Hill Faith Childs Martin Z. Margulies Kathleen Tait Michael Findlay Clifford Chance Marian Goodman Gallery Lindsay and Matthew Taylor Jane Furse Dale Mason Cochran Marianne Boesky Gallery Franklin Thomas and Kate Whitney Charles Gaines Columbia University Susan Markham Mr. and Mrs. Larry D. Thompson James Gara Jocelyn Cooley Courtney J. Martin The Tides Foundation Dr. Melissa Gilliam Cooper Robertson Martin D. and Jean Shafiroff Connie Rogers Tilton Touria El Glaoui Mr. and Mrs. Donald Cornwell Foundation Times Square Alliance Linnie Green Paul Corrado David Maupin Laurie M. Tisch Joan Greenfield Elizabeth and Scott Corwin Jerome McCluskey Tim Tompkins Jean-Claude Gruffat Ann Policelli Cronin and Rodney McMillian Lynne Toye Kimberly Ann Guy William J. Cronin Anthony Meier Rossie Turman Lisa Dolberry Hancock Jessica Stafford Davis Richard and Ronay Menschel Rima Vargas-Vetter Lyle A. Harris Lisa E. Davis, Esq. Michael Werner Gallery Josef Vascovitz and Lisa Goodman Barbara Hoffman Mark Dowley The Michael and Dudley Del Balso Jeanette Sarkisian Wagner Jayne Houdyshell Thomas E. Dyja and Suzanne Gluck Charitable Trust Thea Westreich Wagner and Nene Humphrey Easton Family Fund Laura Michalchyshyn Ethan Wagner Lisa Hunt Michele and Harry Elam Gregory R. Miller and Andreas Waldburg-Wolfegg Mariane Ibrahim Victoria and David Elenowitz Michael Wiener Alan Wanzenberg Rosemarie Y. Ingleton, M.D. Alfred and Gail May Engelberg Milton and Sally Avery M. Sabir Ward DéVon Johnson Darby English Arts Foundation Nari Ward Samuel Levi Jones Cristina Enriquez-Bocobo Joseph Mizzi Elizabeth Webb Christine Y. Kim Waldo and Rita Falkener Modica Carr Art Advisory Adam and Lorraine Weinberg Nancy A. Kistner Ronald M. Feder Morehouse College Alumni Lola C. West Alan J. Kluger and Mark and DeNora M. Getachew Association Drs. Eric and Cheryl Whitaker Judge Amy N. Dean Craig J. Goldberg John Morning Dawanna Williams Toby D. Lewis Elizabeth Goldwyn Peter Morris, Esq. Janice Savin Williams Erika F. and Kevin Liles Stephanie Goto Ruthard C. Murphy, II Saundra Williams-Cornwell Robert and Celia Liss Herman Gray Wangechi Mutu Alona C. and Louis E. Wilson David Lusenhop Constance and Linnie Green Jacqueline and Kevin Nickelberry Katherine Wilson-Milne and Ninah Lynne Floyd W. Green III / Aetna Christine Noble Peter Rudegeair Harriette and Edgar Mandeville Carolyn Greene Lynn Nottage-Gerber Oprah Winfrey Curt Marcus Lynda and Nigel Greig Anthony Nwachukwu Terry Woodard Alfred Mays Gucci Michelle Ores Candace Worth Tamara McCaw Bryant Gumbel and Hilary Quinlan Marilyn Oshman Sheena Wright Ginger McKnight-Chavers and Kavi Gupta Anne Pasternak Alfred and Patricia Miller Zollar Kevin G. Chavers Guy Nordenson and Associates Breon Peace Zubatkin Owner Representation Martha McLanahan Dominic Hackley Perrotin, New York Cassandra Metz James F. Haddon and Verdun S. Perry $500 to $999 Britt L. Morgan-Saks Madeleine L. Haddon Ronald and Ophelia Person Bellatrix Accola Jeanne Moutoussamy-Ashe Kathy Halbreich Dawn Porter AHRC Dr. Alondra Nelson Ira and Carole Hall Kim Powell Ashley Alston Thao Nguyen Tiffany Hall JoAnn Price Dr. Ganya Alvarado-Reagans Derek G. Nichols Harlem Commonwealth Council R & B Feder Charitable Foundation Nicole Andrews Akisa Omulepu Celeste B. Hart, M.D. Warren Reed and Tyler Murphy Amy Astley Eddie Opara Harvey Marshall Berling Associates Tracy L. Reese Monica Azare Gabrielle Page-Wilson and Steven P. Henry and Linda Johnson Rice Josh Baer Keith Downing Philip Shneidman Richard Gray Gallery LP Ronni Ballowe Amber and Charles Patton Marieluise Hessel Nina del Rio Arlene Bascom Monique Péan Leslie M. Hewitt The Robert Mapplethorpe Baj Battle Jesse and Doris Penn Aaron Holiday / Nnamdi Okike Foundation Susan Bay-Nimoy Catherine Pollack Derrick Horner Deborah Roberts and Al Roker Joeonna Bellorado-Samuels Danyale A. Price Joan and George Hornig Scherri L. Roberts Betsy Berne Neil Printz Earle Horton Caralene M. Robinson Dawoud Bey Tracey Winn Pruzan Arthur J. Humphrey, Jr. Scott Rothkopf Hope Bond Miriam Raccah Lauren Imperial Fiona and Eric Rudin Carl A. De Brito Tiffany Rand J.P. Morgan Chase The Samuel Goldwyn Foundation Carla Camacho Donville and Rashaan Reid

Studio Spring/Summer 2019 Supporters 99 Tanea Richardson Lizzy Berryman Rosemarie DaCosta Frank Gimpaya Roberts Projects Monica Bertran Clarissa Dalrymple Milly Gleckler Ellen Schoninger-Grinberg Kathleen Bethel Hope Dana Esin Goknar Lynn and Sengal Selassie Janada Birro Jean Dana Jan and Steven Golann Dr. Anjanette Ferris Senatus Karen E. Bishop Dr. Cathy Davidson Sarah Butler Gold Jessica Silverman Odette Blaisdell Dorothy Davies Sirje Helder Gold and Mac Simonson Rosemary Blake Karen C. Davis Michael O. Gold Laura Skoler Julia Boland Bleetstein Timothy Davis Harriet Goldberg Katie and Jonah Sonnenborn Dr. Rich Blint Sandra L. Davoll Caren Golden and Peter Horzberg Georgianna Stout Barbara Boggs George A. Davson Jacqueline Goldsby Katherine Gass Stowe Mahen and Luca Bonetti Darlene DeFour Sophie Golub T. Troy and Keisha Dixon Aja Bonner Elissa Delia Alessandra Gomez Ellie and David B. Tweedy Lisa Bonner William Deluca Alma Gomez Nicola Vassell Carmen Boone Edith Denney Thyrza Nichols Goodeve Tina Walls Evidelia G. Boyd Mary Dennison Kathleen E. Goodin Monique Ware Clifton R. Branch Trace DePass Susan Goodman and Rod Lubeznik Wendy Washington Sheila Bridges Florence Derieux Google Heather Watts and Damian Wetzel Sydney Briggs Jhakai Deshong Keren Gottesman Michelle Morris Weston LeRonn Brooks Susan C. Dessel Christine Govan Marie and Jim White Angela Brown Ellen Devens Gregory Gray Allison Whiting David S. Brown Wanda Diaw Phillan Greaves Pauline Willis Elliott Brown Jr. Jared Diaz Brenda Green Sylvia Wolf and Duane Schuler Howard Brown Leah A. Dickerman Naima Green Barbara Young and Audrey Young Julian Brown Anne Dobbs Hilary Y. Greene LaKela Brown Brian Donovan Nikki Greene $499 and below Marcia R. Brown Jeanette Dotson Roxanne Greenstein Anonymous Patricia Brown Debbie Douglas Constance Grey Debra Tanner Abell, M.D. Rose Brown Robin Douthitt Maxine Griffith Milton Achelpohl Jean Bunce Morgan Dover-Pearl Evelyn Guadeloupe Stephanie Adamowicz Madeline and Tom Burrell Ryan Drake-Lee Patricia and Robert Gwinn Alexandra Adams Sarah Buttrey Chloe Drew Daniele Hager and Robi Hager Vernona Adams Lee Bynum Thelma and David Driskell Karyn A. Hairston Ennis Addison Judith Byrd Yvonne M. Durant Phillip Hales Kojo Ade Elan Cadiz Achla Eccles Zorona Hamm Olubukunola Adebo Susan Cahan Marquita and Knut Eckert Bryan Hanley Leah Aden Daniel Callahan Pamela Edmonds Jennifer Hardy Tunji Adeniji Agnes Cammock Brenda Eisbey Joseph Hardy Camille Adolphe Maria M. Campos-Pons Victor Ekpuk Lubbie Harper Bill Aguado Joan Carey Miriam Elfenbein Radiah Harper Sarah Ahmad Russell Carmony Valentino and Ingrid Ellis Richard Harper Sonja and Ashok Ahuja Dr. Suzanne C. Carothers Lisha Epperson Cicely Harris Beth Alberty Shayna Carr Arline Epstein Jeremy O. Harris Aleesa Alexander Cynthia A. Carter Susan Epstein Lindsay Harris Leah Allen Lindsey Cash Jenny Eskin Susan Harris Juanita Alleyne Hudson Cayenne Antonie Evans Diedra Harris-Kelley Steven W. Altman Beatrice Chaderton Bonnie Evans Carrie Hawaks Candida Alvarez Sophia Chang Marsha Evans Jasmine Hearn Micaela Amateau Amato Colin Chase Uchenna Evans Helicon Collaborative, LLC Walesca Ambroise Joseph Chehebar Sarah Evers Henry Heller Mirsini Amidon Laurent Chevalier Frederick Eversley Scott Helmes Monique Anderson Beverly C. Clark Lucille Eversley Evelyn M. Henderson Noelle Anderson Corinne Clark Richard Fahoome D’Shai Hendricks and Vallyn Anderson Dante Clark Andrea F. Falcione Khristy Nicholas The Andy Warhol Foundation Matthew Clark Nadine Faraj Asa Hendrix-Petry for the Visual Arts Sanford and Diane Cloud Diane and George Fellows Herbert Henry Kathy Angele Velma L. Cobb Lex Fenwick and Eleanora Herman Paola Antonelli and Larry Carty Ian Cofre Sophia Crichton Stuart Yeshiareg H. Hidaru Dr. Kwame Anthony Appiah Nadja Webb Cogsville Carmen Ferreira Gladstone E. Hinds Rocío Aranda-Alvarado Glori Cohen Barbara Finch Louise Kerz Hirschfeld Arcus Foundation Mr. and Mrs. Peter J. Cohen Lola Flash Lauren Hissrich Michael and Lori Armstrong Juliet Coleman Barbara G. Fleischman Gill C. Hockett Jimmy Arnold Constance Collier-Mercado David Fletcher Maybel Marte Hodelin Mark Aronson Adrian Relu Coman Morgan Fletcher Rhona Hoffman laz ason Deana Concilio-Lenz Leslie A. Fleuranges Phyllis Hollis Abigail Asper Doris Conner Jennifer Foley Karen Hughes Kofitunde Atigbi Cassye D. Cook Sienna Fontaine April Hunt Anisha Atluri Pamela Cook Calvin Forbes Irene Hunt Grace H. Ayanru, M.D. Joy S. Cooke Kamilah Forbes Claudia Joan Hurst Ella Baff Douglas Cordwell Jessica Ford Jon Hutton Kathy Baker Michael Cortor Florence Ford-Banks Institutional Investor, LLC Dorria Ball Irma Coster-Lynch Jeanette Foster Russell Isaacs Dr. Kit Basquin Helen and William Covington Julia Fowler Lisa Ivorian-Jones C. Richard Becker Felicia N. Crabtree Lori Fox Faith R. Jacobs Alexandra Bell Timothy Craig Lady Jane Freidson Ashley James Laurie and Richard Bell Diane Cromwell Louis Gagliano F. James Jr. Richard Bell Alison Cross Marilyn Gailliard Joan James Wayne Benjamin Priscilla Crowe Robin Galloway and Marc Wancer Oceana James Yvonne Benn Lewis Cullman Shevon Gant Emma Jamison Vanessa Bennett Donald Currie Gwendolyn R. Gaynus Xylor Jane Jane Berentson Lynda D. Curtis Eden Ghebresellassie John R. Jefferson

100 Studio Spring/Summer 2019 Evelyn Jemmott-Jackson Michael McIntosh Michael Queenland Bruce Spencer Leroy Jennings Vera McKie Nicole Rabiu Ilene L. Squires Roxanne John Shannon McLean Marie Ragona Dr. Melita T. Stancil Cynthia M. Johnson Don McMahon Laura Raicovich Erana Stennett Daniel Johnson Larry S. McMillan Gina Ramcharan Kenya Stevens Janice K. Johnson Odette M. McNeil Freddie Rankin Revend Stewart Laura Johnson Geraldine Méhu Steven Reed Sue Stoffel Patricia Redd Johnson Meredith Mendelsohn Calvin Reedy Edward Stowe Benjamin F. Jones Leon Meyer Benis Reffkin Jessie M. Stringfield Bonita and Sherwood Jones Sonika Misra Christopher Reid Sophie Crichton Stuart Grace A. Jones Brian Stokes Mitchell and Jonathan Rendell Martha A. Sullivan Kelly Jones Allyson Tucker-Mitchell Sara Rex Jodi Swaby Melanie Jones John L. Moore Alexander Richardson Marian Swerdlow Tiara Jones Nicole Moreira Brittany Richmond Eric V. Tait Robert M. Jordan Jessica Morgan Cheryl Renee Riley and Aissata Traore Fernandez Taranco Vishal Jugdeo George Morris Courtney Sloane Tau Omega Chapter Alpha Kappa Adam Kane Quentin Morris Judy Riley Alpha Sorority, Inc. Brit Katke Rebecca Morris Lena Roach Kelly Taxter Sanaya Kaufman K.C. Morrison Warren C. Roache Anne L. Taylor Maureen Kazarinoff J.P. Mourra Chelsea Roberts Beverly Taylor John R. Keene Anna Muhammad Jacqueline A. Roberts Cassandra Taylor Stephen Keith Kathryn Murphy Amy B. Robinson and Sandra Teepen Elleza Kelley Mildred R. Murphy Lewis J. Robinson, Jr. Ann Temkin and Jane Kelly Victoria C. Myers Crystal Robinson Wayne Hendrickson Linda J. Kelly Ben Nathanson Vivian D. Robinson Beverly Tempro Arnold J. Kemp Kameron Neal Francisco and Hope Rodriguez Evie Terrono Asher Kennedy Otto Neals Jorge Luis and Evelyn Rodriguez Freida H. W. Tesfagiorgis Blythe Kennedy Merry Neisner Ciara Rolle-Harris Thom Filicia Inc. Margaret Kennedy Duric Nettles Verdery Roosevelt Carla and Cleophus Thomas Jr. Michelle Kennedy Regina Nettles Miriam Rosen Cordy Thomas Safwan Khatib Irene Kubota Neves Terry Rosen Melissa Thomas Tracey J. Knuckles and Pamela Newkirk Deborah Ross Selin Thomas Christopher L. White Floyd and Janice Newsum, Jr. Hyacinth Ross Tanya Thomas Nicole Korn Beanca Nicholson Paul Rowe Harrison Thompson Habiba Koroma Cady Noland Cynthia Rowley and Bill Powers Beverly Tillery Jerome Kretchmer Leslie Norville Ashley Rucker Pamela Tillis Christine Kudrav Adrianne Y. Norwood Jeanine Russaw Valerie L. Tisdale Hanna Lachert Lynette Nylander Blair Russell Marjorie Toney Elin Lake-Ewald Alex Obe Carol and Aaron B. Russell Karen A. Toulon Daniel Laroche Betty Odabashian Alison Saar Amber Trapp Nancy Latimer Kenneth Oehlkers George Saddler Konrad Trewick Grace V. Lawrence Sheun Olatunbosun Teresa Sampson Eugenie Tsai Rosalyn Lee and Beverly Tillery Robert G. O’Meally Ann Sand Jacqueline Tuggle Mary Leer Yani Brinson O’Neal Shani Sandy UniCredit S.p.A. Leila Hellery Gallery Hope OReilly ME Savage Inez B. Vanable Suzanne and Emmanuel Lemakis Kwaku Osei Pancho Savery Ashley Vaughan Valerie Lemon Ayodele Oti Ingrid L. Schaffner Sydney Vernon Susan and Paul Leonard Frances Outlaw Patricia Schwadron Natalia Viera The Honorable and Mrs. Pierre Leval Nell Painter Margery A. Scott Lina Iris Viktor Gwendolyn and Sherwood Lewis Dr. Arthur Paris Nicole Sealey Carra Wallace Grace Ligon Jo Ann Parks Linda Seidel Charles Walthall Julia Lo Joyce Parr Sreshtha Sen Gary Warren Dana Lok Paul, Weiss, Rifkind, Wharton Steven Sergiovanni Caroline Washington Sergio Lora & Garrison LLP Thor Shannon Stephen Washington Hannah Lovejoy Gordon Payne Lacary Sharpe Diane Waters Carrie Lowery Sandra M. Payne Marji Shaw Gladys and Anthony Watkins Rod Lubeznik Laura Pegram Paulette Sheard Khadijah Booth Watkins Rudy Lucas Sheila Pepe Devan Shimoyama Yelberton Watkins Laura Lupton Camille Perrottet Veronica and James Shipp Barbara J. Webb Maggie G. Lyko Tina Perry Kioni Shropshire-Maina Veronica Webb Sabah Mabek Stephanie Pesakoff Demetrios and Maria Siatos Margaret N. Weitzmann Delores E. Mack Karl Petion Aissatou Sidime-Blanton Naomi Weston Kirsten Magwood Karen A. Phillips Julius Simmons Annie Whaley Nedjra Manning Christola Phoenix Xaviera Simmons Jacquetta Whaley Lester J. Mantell Katrina Parris Pinn and Mark Pinn Gerty Simon Donald White and Etta Spencer Robert L. Marcus Victoria and John Pinderhughes Pamea Simpson-Marshall Roger E. White Shereen Margolis Jessica Plair Martha Singer Susan Whitlock Susanna Margolis J. Pliner Franklin Sirmans and Jessica Plair Thomas M. Wicker, Jr. and Rose Paula Marincola Michael Pope Edith Van Slyck and Brown Sheila Marmon Nancy Delman Portnoy James R. Hammond Derrick D. Wilder Gail Marquis Connie Pouncy Grace Small Jason and Diane Wiley Jonnie C. Marshall Christina Powell Audrey Smaltz and Gail Marquis Kenneth Wilkinson Daisy W. Martin Dr. Richard Powell Beuford Smith Dorothy Ann Williams Maria Martinez Bill Powers and Cynthia Rowley Cauleen Smith E. S. Williams Carmen Matthew Nikki Pressley Judith W. Smith Eleanor D. and Cosima Mattner Wallace Prestwood Patricia Smith James D. Williams, Sr. Olga Mavity Mary L. Price Peter Sokaris Garland Williams Marques McClary Debra Priestly Virginia Sommer Gilbert S. Williams, Jr. Michael McCulley Yvonne Puffer Darrelle M. Spears Jacqueline Williams Jeffery McCullough Anne Purnell Lisa Spellman

Studio Spring/Summer 2019 Supporters 101 Kim Williams Gifts in Memoriam Global Council Patricia D. Williams of Kynaston McShine Jacqueline Adams Patrick Williams Josh Baer Olaolu Aganga and Patrick Egeonu Richard Williams Thomas Dane Beverly J. Anderson Sharon Williams-Matthews Agnes Gund Sarah Arison and Thomas Wilhelm Deborah Willis Michael Werner, Inc. Jody and John Arnhold Jeanne Willis Neil Printz Rudolph Austin Mabel O. Wilson Alan Wanzenberg Janine and Lyndon Barrois Tonya T. Winfield Lana de Beer and Harry G. David Lauren Wittels Gifts in Memoriam Cheryl Bergenfeld and James T. Woodley of Greyson Knox Powell E. Stanley O’Neal Marysia Woroniecka Morgan Dover-Pearl Adair Curtis and Jason Bolden Elizabeth Wright Susannah Eldridge Aryn Drake-Lee Ruth C. Wright Robin Galloway and Marc Wancer Nicola and Francis Idehen Gloria Young Sarah Butler Gold Courtney Lee-Mitchell and Lisa Yuskavage Daniele Hager and Robi Hager Marcus Mitchell Cheryl Zaron Susan and Paul Leonard Jamie and Marc Lunder Larry Zawadzki Victoria C Meyers Dr. Shirley Madhère-Weil and Douglas Zywiczynski Wallace Prestwood Michael Weil Virginia Sommer Lydia M. Marshall In-Kind Cheryl and Eric McKissack Harlem Blue Gifts in Memoriam of Jack Tilton Jennifer R. McZier JetBlue Lisa Spellman Drs. Liza and Frederick Murrell Hau Nguyen and Arthur Lewis Gifts in Memoriam Patron Groups Victoria M. Rogers Below are the names of those The Museum thanks the members of Marsha E. Simms who gave to The Studio Museum its Acquisition Committee, whose Marva A. Smalls in Harlem in memory of their loved leadership and generosity support Ryan Tarpley ones between July 1, 2017, and June the growth of the Museum’s Courtney and Scott Taylor 30, 2018. We are deeply grateful permanent collection, and the John L. Thomson to the friends and family members Global Council, which recognizes Nina and Ted Wells who directed this support those individuals who make to the Museum. unrestricted gifts of $5,000 and above. Gifts in Memoriam of Lea K. Green Leah Aden Acquisition Committee Vanessa Bennett Frank Ahimaz Carmen Boone Corey M. Baylor Michèle and Joseph Brazil Karyn Bendit Shayna Carr Patricia Blanchet Sanford and Diane Cloud Pippa Cohen Douglas Cordwell Joan S. Davidson Ann Policelli Cronin and Martin Eisenberg William J. Cronin John H. Friedman Dominion Energy Godfrey R. Gill Pamela Edmonds Martin M. Hale, Jr. Keren Gottesman Alvin D. Hall Constance and Linnie Green Noel Kirnon Patricia and Robert Gwinn Nancy L. Lane Lubbie Harper Miyoung Lee Earle Horton Bernard I. Lumpkin Emma Jamison Rodney M. Miller, Sr. Bonita and Sherwood Jones Iva Mills Melanie Jones Ruthard C. Murphy II Linda J. Kelly Dr. Amelia Ogunlesi Christine Y. Kim Holly L. Phillips, M.D. and Nancy A. Kistner José L. Tavarez Elin Lake-Ewald Tracey Riese Gwendolyn and Sherwood Lewis Jonathan B. Simon Glenn Ligon Ellen Stern Jennifer R. McZier Dawanna Williams Yani Brinson O’Neal Betsy Witten Verdun S. Perry Neda Young Victoria and John Pinderhughes Connie Pouncy JoAnn Price Jonathan Rendell Amy B. Robinson and Lewis J. Robinson, Jr. Margery A. Scott Smart Set, Inc. Marie and Jim White Allison Whiting

102 Studio Spring/Summer 2019 Citi. Proud Partner of Harlem Postcards. Proud Sponsor of Progress.

Postcards by Alani Bass, Lyric R. Cabral, Ava Hassinger, Barkley L. Hendricks, Kia Labeija, Larry Mantello, Kori Newkirk, Lorna Simpson, Do-Ho Suh, and Frank Stewart

Studio Spring/Summer 2019 Members

The Studio Museum’s membership program has played an important role in the institution’s growth for fifty years. Thank you to all of the following individuals whose dues helped support our ambitious schedule of exhibitions and public programs from July 1, 2017, through June 30, 2018. We are also grateful to the more than two hundred IDNYC Members for their incredible and enthusiastic response to this program. We look forward to providing a list of our Fiscal Year 2019 Members in the Fall/Winter 2019–20 edition of Studio.

SPECIAL MEMBERSHIPS Susan Delvalle Ellie and David B. Tweedy Aloma Moore Kathleen A. Dill Thea Westreich Wagner and Jessica Morgan Studio Society Bruce Dobozin Ethan Wagner Isobel H. Neal Kathleen Adams Drs. Keith Downing and Jamie and Ennett Watson Eileen Harris Norton Leah Allen Gabrielle Page-Wilson Mr. and Mrs. E. Thomas Williams Sheun Olatunbosun Roland J. Augustine and Philippe Dupont Alona C. and Louis E. Wilson Amy and Joseph Perella Lawrence R. Luhring Marquita and Knut Eckert Betty Wilson Vanessa Y. Perez, Ph.D. Douglas Baxter and Brian Hastings Mia Enell and Nicolas Fries Drs. Greta Clarke Wims and Howardena D. Pindell Caroll Bogert Dr. Patricia A. Fraser, M.D. Warner Wims Katrina Parris Pinn and Mark Pinn John Trent Bromley Ken Gilbert Beth Zubatkin Karen and Timothy Proctor Jonathan Caplan and Angus Cook Jan and Steven Golann Douglas Zywiczynski Jane Ratcliffe and Jack Coakley Kimberly Drew Carol and Arthur Goldberg Cynthia M. Reed John E. Ellis, M.D. Joshua Guild and Carla Shedd Associate Ray Reid Joseph Faber Elsie P. Hall Peg Alston and Willis Burton Bill and Georgia Ringle Amy Goldrich Ira and Carole Hall Dudley and Michael Del Balso Dr. Samuel K. Roberts, Jr. and Lynda and Nigel Greig Michael Holland Tamara Bechara Christina M. Greer James F. Haddon and David Hornik Charles Beye Vivian D. Robinson Madeleine L. Haddon Sandra Jackson-Dumont Randolph C. Cain Dr. Lisa Ross Joe Hall Sandra Jaffe Elaine Carter Diane Sanchez Chanice Hughes-Greenberg Barbara Jakobson Susan C. Courtemanche Mel and Ann Schaffer Larry and Tina Jones Steven Kirkpatrick Helen and William Covington Francesca Schwartz Lucy J. Lang Alan J. Kluger and Janet D. Cox Joyce Pomeroy Schwartz Raymond Learsy Judge Amy N. Dean Kay Deaux and Sam Glucksberg Ronald Scott Julia Lo Brian Leftwich Sally Dill and Joseph Dorsten Vivian Senghore Ryan Tarpley Harriette and Edgar Mandeville Jack and Rebecca Drake Steven Sergiovanni Charlotte R. and Herbert Wagner, III Robert L. Marcus Thelma and Dr. David Driskell John Silberman and Elliot Carlen Eden Williams Kerry James Marshall and Elaine G. Drummond Patterson Sims and Katy Homans Katherine Wilson-Milne Cheryl Lynn Bruce Peter Eleey Edith Van Slyck and Dianne H. McDonald Waldo and Rita Falkener James R. Hammond GENERAL MEMBERSHIP Gay McDougall Toni G. Fay Marcia Smith and Stanley Nelson Anthony Meier Ruth Fine Joel Snyder Benefactor Dr. Joseph Mele and Katherine Mele Louise Fishman and Ingrid Nyeboe Susan Talley Dawoud Bey Andrea Miller Beth Fleming-Brown William Terry Ursula Burns Joseph Mizzi Louis Gagliano Sheryl and Roger Tucker III. Dorothy Davies Jason Moran and Alicia Hall Moran Ira Goldberg Osahon Ukponmwan Jane K. Lombard Maryanne Mott Wendy Goodman Jeanette Sarkisian Wagner Joel Mallin Jeanne Moutoussamy-Ashe Anne Gorrissen Charles and Cheryl Ward Walter Price Edward Tyler Nahem Maxine Griffith Gwen and Arnold Webb Richard Rieger Brooke Garber Neidich Robert and Patricia Gwinn Teresita and William Whitaker Derek G. Nichols Shannon J. Hales Patricia A. and William T. Williams Donor Janice Carlson Oresman and Charlene Hardy Patrick Williams Debra Tanner Abell, M.D. Sam Fortenbaugh Reginald D. Harris Seana and Roger Wood Elizabeth Alexander CCH Pounder Susan A. Harris Rodney and Daryl R. Alexander Brooke and Richard Rapaport Marilyn Holifield Supporter Loreen Arbus Donville and Rashaan Reid Ellen Holloman and James Fuerst Cynthia D. Adams Tracy L. Austin Margaret Russell John O. and Claudia L. Hopkins Sheneekra Adams Juliette Bethea Mary Sabbatino Rosemarie Y. Ingleton, M.D. Vernona Adams Daniel Black Shani Sandy Charla Jones Sonja and Ashok Ahuja Hope and Mogolodi Bond Lacary Sharpe Hilary and Lewis Josephs Alia Alam Karen A. Brown Virginia J. Simmons, M.D. Cathy M. Kaplan Jennifer Arceneaux Drs. George Campbell and Patricia Smith Phyllis L. Kossoff Richard Armstrong Mary Schmidt Campbell Marlynn Snyder Kimberly P. and Roderick E. Lane Ronald Aubert Constance R. Caplan Bontia and Kevin Stewart Valerie D. Lewis and Otis McGee Ronni Ballowe Ashley Carr Marjorie and Louis Susman Bradley Lynch Victor Barall Paula Cooper and Jack Macrae Laura Sweeney Maureen Mahon Karole Dill Barkley and Dana Cranmer Anne L. Taylor Mark Maynard Eric J. Barkley DéLana Dameron-John Susan L. Taylor and Khephra Burns Nion McEvoy George Barlow Anne E. Delaney Jessica Traynor Stephanie Miller Cynthia Barnes

104 Studio Spring/Summer 2019 Rodney Barnette Kristen B. Glen Martin Z. Margulies Donald Stephens Arlene Bascom Charlynn and Warren Goins Daisy W. Martin Cynthia Stivers Gloria Batiste-Roberts Amy Gold Sheila Ann Mason-Gonzalez Jessie M. Stringfield Marisa Beard Sirje Helder Gold and Michael O. Laurence Mathews and Randolph D. Sturrup Carrol Belloni Gold Brian Saliman Lawrence R. Sykes, Esq. Wayne Benjamin Alvia Golden Michael McCollom Salim I. Talib Linda Bermas Caren Golden and Peter Horzberg James and Vanessa McKnight Larry Earl Taylor Betsy Berne Jacqueline Goldsby Rhonda J. McLean Magda Teter and Shawn Hill Robert D. Bielecki Ryan Goodland Rodney McMillian Carla and Cleophus Thomas Jr. Rebecca Bien and David Poll Geraldine M. Granger Olive McNeil Erika Thomas and Bernard Fulton Ann and Jonathan Binstock Michael Grant Lorenzo McRae Franklin Thomas and Kate Whitney Rosemary Blake Marti Golden Greenberg Kynaston McShine Randy Thomas Sandra C. Blakney Barry A. Greene Connie and Arlene Miller Dario Timotic Arlo Blocher Dr. Patricia Jones Gregory Jeanne-Marie A. Miller Laurie M. Tisch Beverly Boggs P. Peju Griffin Cerisa Mitchell Anthony Todman Sydne Bolden Kathryn Grody Diane Moershel Opal Tometi Bill and Suesue Bounds Sarah Haga Gaffar Mohamed Albertha S. Toppins Edith Boyd Carole and Ira Hall Angeline Monroe-Mayo John D. Treadwell Kenneth Bradford Howard Hall Justin Garrett Moore Felicia Tsividis Donna Brent Bryan Hanley Prof. Wayne Moreland Alia Uduhiri Sheila Bridges William A. Harper Phoebe Morris Gaye Vann Carl A. De Brito Sanjeanetta Harris K.C. Morrison Josef Vascovitz and Lisa Goodman Paul Broches Terrance Hayes Lucienne Muller Sametta Vick Daryl Brown and Ingrid M. Dodard Olivia C. Hector Madeline Murray Margo and Anthony Viscusi Wilma Bucci and Bernard Maskit Donald Heisel Anna Nathanson and Kathleen Lynn Darren Walker and David Beitzel Betty Burgess and Henry Sancroft Steven P. Henry and Robert Newman Dr. Tshombe Walker Edward Blake Byrne Philip Shneidman Earl Newsome George B. Walker Nelson and Jonathan Caban Horacio and Julia Herzberg Kenneth Nochimson Adriana Warner Patricia Anne Taylor Carsel Victoria Hibbs Christopher Oates Greg and Jodi Warren Majora Carter Shearin O. Higgs Cynthia Orage Edna Watson Deborah Cates Velma Hill Joan Ostreich Bridget Welch Faith Hampton Childs and Louise Kerz Hirschfeld and Sandra Owens Landon Westbrook Harris Schrank Lewis Cullman Renwick and Dymah Paige McDonald C. White Pooja and Pravin Chottera Janet and Paul Hobby Jonathan W. Parker Thomas M. Wicker, Jr. and Steve Christ Barbara T. Hoffman Paula V. Parris Rose Brown Camille and Luther Clark Barry Hoggard David and Nancy Payne Emmett Wigglesworth Marcie N. Cleary Lindsay Holcomb Sandra M. Payne Arlene Wilcox Patricia G. Coates Alfonso Holloman Tina Pelikan and Claire Stefani Darryl S. Williams Velma L. Cobb Langoon Holloway Susan Penzner Gilbert S. Williams, Jr. Mr. and Mrs. Peter J. Cohen Edgar Howard Gary Pirner Jacqueline Williams Joy S. Cooke James Herbert Howell Nancy Delman Portnoy Nicole Williams Dr. Cornelius Cooper and Karen Hughes John Priber Bobbie Willis Dr. Haseen Cooper Claudia Joan Hurst Scott Price Nathaniel Parker Willis and Donald Cornwell and Saundra Diane Jacobsen Leslie Puth Aidan Messina Williams-Cornwell The Honorable Debra A. James Evelyn Pye Hugh A. Wilson Vivian Cox Kenneth V. Jenkins Hugh Raffles Mabel O. Wilson Trevor Rainford, CPA Barbara Johnson Ali Al Rahman, Ph.D. Savina Wiltshire Carol A. Cross Lynda M. Johnson and Alonzo Wright Betty A. Reardon Terry A. Winters Lynda D. Curtis Marjorie Johnson Peter S. Reed and Alden Warner Marlisa Wise Glen DaCosta Suzanne Johnson, Esq. Steven Reed Susan and Keith Wright Ronald and Linda Daitz Allan and Vikki Jones Landon Reid Lisa Yuskavage Elizabeth Dang and David Crane Benjamin F. Jones Jonathan Rendell D. Daniel-Parkes Helen M. Jones Cheryl Renee Riley and Family/Partner Bev Daniels-Greenberg Kellie Jones and Guthrie Ramsey Courtney Sloane Lance and James Abbey-Magee Shannon Danzy Deborah St. Julien Mary E. Riley Catherine Abbott and Tyrone M. Davenport Alice Kaplan Addie Rimmer Laurence Abbott Cathy Davidson and Ken Wissoker David Karp and Monica McTighe Jacqueline A. Roberts Donald and Doreen Afflick Carl F. Davis Mitchell Karp Sande Robinson Meg Aldrich and Charles Davis Peter Kayafas Francisco and Hope Rodriguez Reindorf Adomaku-Manu Mr. and Mrs. Allison Davis Dr. Dominique Kelly Robert G. Rollerson Tarrie Alexis and Julius Butler Sandra L. Davoll Ernece B. Kelly Deborah Ross Lloyd W. Alford and Meredith Fife Day Wayne H. Kelton Carol and Aaron B. Russell Judith Lightsey-Alford Ellyn and Saul Dennison Emily-Jane Kirwan Tala Russell Stephanie K. Arnold and Mark Prieto Aissatou Diagne Jerome Kretchmer Anna and Wolfgang E. G. Saxon Nevah Assang Eric Diefenbach and Carin Kuoni Barbara Z. and Richard S. Schiffrin Kim Van Atta and Mary Rzepski James Keith Brown Nancy Latimer Elijah Seabrook Wanda Baker-Smith Louise S. Dockery Arnold Lehman Elza Rohan Sharpe Rina Banerjee Tyler Drake and Paola Mathe Jeffrey A. Leib LeAnn Shelton Angela M. Banks Ryan Drake-Lee Lawrence Levine Cynthia Shipley Jane Berentson Brinille Ellis Marjorie A. Lewis Kenneth Sills Daniel Berry Valentino and Ingrid Ellis Eunice Lewis-Broome Helen Simpson Sophia Bilynsky Sehra Eusufzai and Stephen Makinen Nashormeh and Delroy Lindo Laura Skoler Nadine Bowens Jennifer Evans Elizabeth Lucas Sippio Small Grace Braithwaite Kimberly C. Felder Kilolo Luckett Audrey Smaltz and Gail Marquis Michèle and Joseph Brazil Wendy Fisher Karen Lumpkin Howard J. Smith Isolde Brielmaier Barbara G. Fleischman Joyce Lowinson, M.D. Judith W. Smith Dr. Anthony and Vilma E. France Delores E. Mack Seton Smith Mrs. Jacquelyn Brown Patricia Freeman Sherry and Joel Mallin Clara R. Stanton James Keith Brown and Eric Lady Jane Freidson Hyatt Mannix Luke Stedman Diefenbach Sara Friedlander Curt Marcus Leanne Stella Matthew Buckingham

Studio Spring/Summer 2019 Members 105 George Calderaro Sonja Jackson Rosita Sarnoff Hilary M. Ballon Katiria Calderon Karl Jacoby and Marie Lee Frances Savage Marie Banjoh Orlando Camargo Dale James Patricia W. Schulte and Tom Yamin Patrice Banks Maria M. Campos-Pons Donna Johnson Elizabeth Searcy Veronica Banks Tamara L. Carter Wendel Johnston Robert Searcy Dr. Juliet Barker Jacqueline Carter-Brown Denise Jones and Dennis Jordan Abukarriem Shabazz Pearl Barkley Camille and Luther Clark Robert M. Jordan Ann Shaffer Mary Barnett Hannah and John Coleman David Joselit Anne and Melvin Siegel John A. Barr Adrian Relu Coman Richard B. Keith, Jr. and James H. Simmons III and Marelle Battle Lauren Connolly and Sam Spratt Teresa L. Keith Bernirene Ramos Thomas Beard Jay Cooper Charles Kim Ruby Singleton Nubia Beazer Ken Cooper and Charmian Place Eva Kobus-Webb Barrett Sinowitz Marian Begley Erica Corbin Carmen Kovens Alejandra Smith Michelle Bell Lisa Corrin and Peter Erickson Kima M. Kraimer and Angus Pierre Jay Smith Thurston Bell Rio Cortez-Francis Amy B. Kuhn and Stuart L. Rosow Kyle Smith Victor A. Benjamin Stephen G. Crane Antoinette Lamb Sallie A. Smith Duncan Bernard Clayton Crawley David Land and Rumaan Alam Vernon Smith Nicole A. Bernard and Lee Chaffin Valerie Cueto James D. Lax, M.D. Sam Smithyman Mark Bernhardt Danielle Cumbo Joshua Leach and John Thomspon Denise and Langdon Soares Stacey Billups Donald Cumming Rosalyn Lee and Beverly Tillery Sophie Crichton Stuart Timothy Bing Kevin R. Curry and Abdou Seye Suzanne and Emmanuel Lemakis Diane W. Sunshine Keith Bishop Andrew P. Davis Margaret and Tilden J. Lemelle Nikki Terry Yolande Black Dawn L. Davis and Mac LaFollette Susana and Pierre Leval Quincy Theodore and Zana Woods Cynthia Blanchard Margaret Davis-Grimes and Jerome M. and Sarah E. Lewine Margaret Thomas Radha Blank Henry A. Grimes Dawn Lille Susann Thomas Shaun Blayton David Dawes Marty Linsky Dr. Brenda Aiken Thompson and Julia Boland Bleetstein Rudy Dawkins Daniel S. Loeb and Kenneth Thompson Dr. Rich Blint The Honorable Alice M. Dear Margaret Munzer Loeb Glenda Thornton Stephen Blum Danielle Decatur Adam Lotterman Sandra Torrence Neil Blumstein Elizabeth Dee Rob Lubeznick and Susan Goodman Aissata Traore N. Bonner Bunny and Jeff Dell Shola Lynch Leithlad Tulloch Chakaia Booker Jessica and Jordan Dialto Robert Manley Mary Valverde John A. Borst Danielle Dimston Linda Marks and Berenice Fisher Clara C. Villarosa Dr. Nicholas Boscamp Dr. Frederick Dunn Kelsie Mason and Arianna Swazer Emily Waelder and Caitlin Shann Retha Boston Jorge Durand Mari Matsuda Alan Wallach and Phyllis Rosenzweig Charles M. Boyce Marcella Durand and Bill Maxwell David Walters Eleanor Boynton Richard O’Russa Davella and Abraham May Eric K. Washington Charles Bradford Peter Erickson and Lisa Corrin Tulis McCall Joseph Washington Barbara Bragg Tabetha Ewing Odette M. McNeil Jane Weldon Samuel and Adele Braude Erik Falkensteen Sean McQueen Celia and Landon H. Wickham LeRonn Brooks Mark Fichandler Bill Miles Kim Williams and Angela Brown Darrell and Helen Forbes Fields John L. Moore Marilda Rosa-Williams Cedric Brown David Fletcher Michael and Michele Moorman Solomon and Gloria Williams David S. Brown Kathie Foley-Meyer and Irving Meyer Luis Mora and Bruce Tilley Deborah Willis Ronald Brown Lori Fox Paul Morgan-Riley Evan Willner Shanté Brown Jaime Frankfurt Ludovic Moulin Sonia Wornum Sidney J. Brown Sean Frankino and Robert Friedrich Scott Newman Toni Wynn Gavin Browning Justine Franklin Floyd and Janice Newsum, Jr. Barbara Young and Audrey Young E. Maudette Brownlee, Ph.D. Vincent and Shelly Dunn Fremont Mary Nittolo Jack Zulack Laura D. Brown-Sands Iliya Fridman Sochie Nnaemeka and Ted Fertik Audie Brunson Rhoda Gardnier Nisa Ojalvo and James Cantrell Individual Klaus Burgel Alice M. Garner and Tim Garner Jelena Pasic and Dennis Decker Jeanette Adams Eileen Callwood Richard Gerrig and Timothy Peterson Myra Patterson-Cox Angela Adusah Dario Calmese Adonica Gill Jesse and Doris Penn David W. Alekel Cal-Poly Pomona Library Periodicals Drew Gilmore and Malene Duncan Glenn Perryman Rana Al-Hallaq Agnes Cammock Gary and Bernice Giscombe Gloria C. Phares and Richard Dannay Deborah W. Allen Cathleen Campbell Janlori Goldman and Jerry Pinkney Justin Allen Helen Campbell Katherine Franke Morgan Powell Juanita Alleyne Wilhelmina Carney Robert Gooding-Williams Jonelle Procope and Fred Terrell Geraldine Alston Muriel Carrington Susan Goodman and Rod Lubeznik Kevin Rabsatt Sister Khuumba Ama Carolyn Carter Constance Green Miriam Raccah Liz Amez Orlandarette M. Carter Michelle Green and Robert Stulberg Nicholas Ragovis and Zhang Yang Sonia M. Amira Jordan Casteel Wardyll Green Leslie Reese D. Faye Anderson Amy Chaiklin Bev and Don Greenberg Michael Reeves Deena Anderson Sasha Chait Angela E. Gumbs Jorge Guttlein Sara Rex Frank Anderson Nia Chambers and Paula Steele Jo-Ann W. Hamilton Mariel Reyes-LaMon and Rico Anderson Robert Chapman III William T. Harrington Linnea Reyes-LaMon Valerie Anderson Ivan Chatman Kyle Haver and Susan Goetz-Haver Jeremy Richards Anonymous Vera Cheek Olive and Kevin Hayes Judy Riley Felicia Appenteng Alphena Bowen Clark D’Shai Hendricks and Lillian Risbrook Alise Ariel Beverly C. Clark Khristy Nicholas Kathryne and Karol Robinson Mary Ellen Arrington Eda Clarke Gladstone E. Hinds Valerie Rosenberg and George Arterberry Roseanne Clark-White Allene Hinton Mathwe O’Malley Hilary Asare Cynthia Cogdell Kristen Hogan Susan and Saul Rosenstreich Dr. Kenneth Ashley Becky Cole Drs. Liz and Edward Holifield Hyacinth Ross Kofitunde Atigbi Harriette A. Cole and Candice Hoyes Kathleen Ruen and E.J. McAdams Michael D. Atkins George Chinsee Andrew Hume and Carrie Walker Tomya Ryans George Avin Susan P. Cole John Hunter Alison Saar Grace H. Ayanru, M.D. Jacqueline S. Combs Emalohi Iruobe and Olajide Bello Paula Sanchez Peggy and John Bader Emma Conyer Peter Jablin Alexandra Santana Jacqueline A. Bailey Ellen Copeland

106 Studio Spring/Summer 2019 Rodney Cox Nancy Grossman Grace A. Jones George Morris Felicia N. Crabtree Jeffrey Grove Hettie Jones Marilyn Mosely Laura Cronin Bryant Gumbel and Hilary Quinlan Sandra Jordan C. Moultrie Aeon L. Cummings Janice Guy Gregory A. Joseph Ernesto Mujica Esther D. Curtwright George Haddad Savvas Kaminarides Pamela Imani Mungin Claudette Cutlar-Day James F. Haddon and Adam Kane Mildred R. Murphy Jean Dana Madeleine L. Haddon Dianne Kane Denise M. Murrell Christopher Davis Uraline S. Hager Beth Kantrowitz Linda Myles Timothy Davis Karyn A. Hairston Chiemi Karasawa Shanti Nagel Yvonne Davis Kim F. Hall Mara Kearney-Loving Beverly Nance Paralee Day L. Priscilla Hall Brigitt Keller Nancy Natale Dennis Decker Allison Janae Hamilton Margaret Kennedy Shaniqua Neal Chantal deFelice Zorona Hamm Michelle Kennedy Otto Neals Darlene DeFour Susie W. Hampton Arthur King Jeanne Nedd Robynn Delin Jennifer Hanner Regina M. King Antonia Neel William Deluca Elizabeth D. Hansen Deborah I. Knight Reggie Nicholson Monique DeMory Carlotta Hardy Kaija Korpijaakko Adrianne Y. Norwood Elinor Deutsch Kishanna Harley Mona Kreaden Chanda M. Nunez Edward Dew Lovette W. Harper Cynthia Langston Chad Nurse Wanda Diaw Giselle Harrington Daniel Laroche Mary Alice O’Connor-Cooper Leah A. Dickerman Letitia E. Harris Lara Lauchheimer Betty Odabashian Jack Dickson Diedra Harris-Kelley Wilhelmina P. Law Mr. Olusoji O. Oluwole Delores C. Dixon Ariel Harrison Marie LeDoux Oluyemi Omowale Robin Douthitt David C. Hart Claudia S. Lee Akisa Omulepu Margaret K. Dudley Joyce Hartsfield Mary Ann Lee Dael Orlandersmith Dr. Charles E. Dunn Arnold Hatcher Rudean Leinaeng Richard Orridge Yvonne M. Durant Emily Havens Rachel Levinsohn Dolores L. Osborne Dennis N. Easter Beatrice Hawkins Dale Lewis Ellease E. Oseye Paige Edwards Mildred Hay Daniel Lewis Ayodele Oti Sarah F. Eggleston Monroe Head Pamela Lindsay Wendy Panken Lois Eichacker Scott Helmes Deborah Lomax Monica Parham Laura Einstein Andrew G. Henderson Jonarhan London Bernadette Parker Jed Eisenman Evelyn M. Henderson Kimberlie Saint Louis Calvin Parker Mariana Elder S. Henderson Carrie Lowery Emily Parker Nadine Felton Franklin E. Hennessy David Lucas Mary Tooley Parker Juan Ferguson Eda Henries David Lusenhop Jo Ann Parks Barbara Finch Herbert Henry Sabah Mabek Joyce Parr Jeanne Fishman Jill Herbert Andrea Mahon Keon Parsons Caitlin Fitzgerald Debra L. Herron Riham Majeed Paula Cooper Nicole R. Fleetwood and Ardath Hill Karol B. Mangum Gordon Payne Benton Greene Ethan Hill Chrislan Fuller Manuel Norma T. Payne Gardy St Fleur Sharon M. Hill Rose Marabetti Denise A. Penn Fred Flores Cheree Himmel Claude Marcelle Robert E. Penn Charlotte Ford Anita Hoffman Dynna Martin Sheila Pepe Walton Ford Edward D. and Patricia L. Holder George McKinley Martin Joan E. Perez Eve France Frank Holton Monique Martin Joan Perez Cassandra and Dwayne Francis Shirley Hood Maryland Institute College of Art Elizabeth Perkins D. Mercedes Franklin Audrey Hubbard Daniel Mason Jeffrey Perry Gloria B. Frasier Charlotte B. Huey Sarah Masters Paul Pfeiffer Shade Freeland Maria Huff Shanti Mathew Lulu Phongmany Saundra Freeman Anne Hulley and David Hulley Carmen Matthew Richard Pierce Donna Freireich Nene Humphrey Kevin Matthews Candace Pinn Bette Fried Lisa Hunt Dr. Marlin Mattson James E. Pope Waldo A. Fuller Kimberly Indresano Cynthia S. May Lee Pridgen Nichelle Gainer Kerry F. Inman Elizabeth Mayers Lucius Priester, Jr. Gladstone Gallery Ryan Inouye Tamara McCaw John Prince Harriett Galvin Steve and Erica Itzkowitz Y.P. Benn McElderry Princeton University Library Adam Garnett Lisa Ivorian-Jones Gloria McFarland Periodicals Victor Gathers Barbara Jackson Julie L. McGee Abigail Pucker Gwendolyn R. Gaynus Cora Jackson Christine McKay Mervyn Punnett The Getty Research Institute John W. Jackson Stella McKeown Annette Purnell Eden Ghebresellassie Naomi Jackson Shakina McKibben David Raleche Michael C. Gillespie Casey Blue James Vera McKie Pamela Randolph Nina Gillman Erica Moiah James Barbara and Michael McLanahan John T. Reddick Richard Glover Venetta Jarvis Uri McMillan Warren Reed and Tyler Murphy Sihien Goh Cyndy Jean-Negriel Jason McNary Maggie Reilly Jennifer Gorman John R. Jefferson Sandra McNeill Marlene Reiss Jo-Ann Graham Margaret Jenkins Mary B. McRae Nadine Renazile Martina Grahamn Olga C. Jenkins Cornelia Medley Clarence Vernon Reynolds, Jr. September Gray Robin E. Jenkins Arlene Mehlman Valerie A. Rhodes Patricia Grayson and Vanessa E. Jenkins David Mellins Curtis Rias Charles Jennings Christopher Jiles, Jr. Elspeth Meyer Sara Richburg Jessie Green Amanda E. Johnson Lila Miller Elizabeth Riggle Nakami Green Barry C. Johnson Dr. Herman Milligan John P. Riley Marguerite D. Greene DéVon Johnson Capucine Milliot Louis Von Rippon Nikki Greene Mabel E. Johnson Marsy Mittlemann Warren C. Roache Roxanne Greenstein Nola Johnson Alice Momm Sonia J. Robbins Marion T. Greenup Patricia Redd Johnson Tobitha R. Moran Caralene M. Robinson Elizabeth Gregg M. Joiner Joan Morgan Corane Robinson Patricia Peju Griffin Charles L. Jones Dolores O. Morris George T. Robinson

Studio Spring/Summer 2019 Members 107 Sur Rodney and Geoffrey Hendricks United Way of New York City Darcel L. Caesar Susan Leider Richard Rodriguez Pilar Vahey Tanya D. Caesar-Waller Nicole Levin Sheila Ronning Ronnit Vasserman Diana Cagle Shirley Lewis Tim Roseburough Estela Vazquez Flossie Canada Lynn Lieberman Nada Rowand Colette Veasey-Cullors Nancy L. Clipper Janice Livingston Philip Rudich Deirdre Visser Houstonia Clymer Elizabeth Lizan Colton Ryan Karl Walkes and Verniece Walkes Dr. Paula L. Collins Sergio Lora Talib A. Saleem Kevin Walz Milton Collins Eleanor Lowe Edith Salton Joan Warren Joyce Conoly-Simmons Leslie A. Lowery Toby L. Sanders Cynthia Washington Susan Cowell G. Lucas-deVeaux Cynthia Saunders-Perry Ella M. Washington Lorayne Craft Barbara Luke Pancho Savery Wendy Washington Brent Crayton Michael Myers, M.D. Dr. Jacqueline Ann Sawyer Gladys Watford Robert Oba Cullins Susan E. Madigan Jason Schafer Terrecita E. Watkis Ruth Curtis Carolyn Maitland Ingrid L. Schaffner Beth Weinstein Joan Davidson Lester J. and Joanne E. Mantell Richard Schiffrin Margaret N. Weitzmann Marzella Dawkins Jonnie C. Marshall Jason Schoen Eva Welch Diane D. Dean Maria Martinez Anna Scott Francine and Michael Wernham Veronica F. DeLuze Shirley McCain Carolyn Scott Doris D. White D. DePrator Cheryl McCampbell Joann Scott Roger E. White Joan Deroko Neita McLean Harold A. Sedgwick L. H. Whitehead Susan C. Dessel Ann Marie Menting and Ellen Shaffer Laura Whitehorn Andrew Diggs Robert O. Johnson Crystal Shipp Carol Whiting Gwen Dixon Carl Miller Paula Siegel Rev. Malika Lee Whitney Betty Donerson Daphna H. Mitchell Stefanie Siegel Michelle Joan Wilkinson and J.A. Durades Henry Mitchell Johnie Simmons Ira Dworkin Elaine H. Ellsberry Quentin Morris Franklin Sirmans and Jessica Plair Annette Williams Gertrude F. Erwin Lavinia R. Morrison Jane Small E. S. Williams George D. Everette James Morton Deborah Smikledavis Glen Williams Lucille Eversley Reginald Nelson Oskar Smith Hubert Williams Jacqueline Farmer Eileen Newman Edward L. Snyder James and Eleanor Williams Charles A. Forma Lutrell R. Nickelson Evan Solomon Lenore Williams James E. Frazier Benjamin W. O’Nealos Tumi Soyinka Margaret D. Williams Suzanne Frye Dr. Ademola Olugebefola Valeria T. Spann Paulette F. Williams Marilyn Gailliard Robert G. O’Meally Lisa Spellman Niki Willis Phyllis Galembo Paul O’Neil Bruce Spencer Anne Wilson Linda Galietti Nell Painter Agnes Sprouse Audraine Wilson Robert Gibbons Michele Patterson Ilene L. Squires Caryn Wilson Pearl Gill Robert Perree Nathaniel Stacy Samuel Wilson, Jr. Frank Gimpaya Karen A. Phillips Emogene B. Stamper Samuel and Zeta von Winbush Kathleen E. Goodin Christola Phoenix Les Stern Liliana Wolking Molly Goodrich Giselle King Porter Susannah Stern Alinda H. Woods Jennifer Goosechilde Richard Prescott Kenya Stevens Elizabeth Wright Teta Gorgovi Jennifer Price Alvieno James Stinson Cherise-Aste M. Wykoff P.A. Grant Andrea Ramsey Carol Stokes Henrey Wynn Richard Greenberg Jacqueline K. Randolph Andre Sulbers Kemar Wynter Joan Greenfield Ursula Rebek Ernesta V. Sweeney Antoinette Young Constance Grey Dr. Constance W. Rice Michelle Sylvain Nicola Zimmer Iris Gumbs Stuart Roberts Reginald Sylvester II Nadia Zonis Phyllis W. Haber Virginia Robinson Mark Taff Dorothy Haime Jorge Luis and Evelyn Rodriguez Catherine Tafur Senior Kim Hamilton Hiram Alfredo Rodriguez-Mora Anthony Tait Anonymous Radiah Harper Miriam Rosen Laura E. Tandy Beverly C. Abisogun Sandra Harper Madge Rosenberg Cassandra Taylor Kojo Ade Dr. Genevieve Harris Leslie Rupert Dorothy A. Taylor Beth Alberty Janet Henry Lawrence H. Rushing John Taylor Sandra Allen-Lesibu Wendi Higginbotham Lois Safian Ethel Terrell Emma Amos Nancy Hill Harvey Schulman Emily Terry Anonymous Claudia Love Hopkins Gloria J. Scott Charlene Terry-Sinckler Ann B. Armistead Charlotte L. Horton Vernon Sears Freida H. W. Tesfagiorgis Jimmy Arnold Larry Hughes Myrna Sharp Anita Thacher Anna R. Austin Jon Hutton Gwendolyn A. Simmons Jerry Thomas, Jr. Nancy B. Austin Adrienne Ingrum Julius Simmons Norman M. Thomas Lillian M. Bartok Faith R. Jacobs Cheryl Smith Alvetta Thompasionas C. Richard Becker Al-lyce Eloise James Edwin Smith Dolores Thompson Anne Beckman Joan James Amy L. Snyder Lloyd E. Thompson Dolores H. Bedford Sharon Jarvis Madelyn Soussoudis Raquel Thompson Carolyn Bell Bjorg L. Jeanpierre Thomas Southern Sarah B. Thornhill Yvonne Benn Elizabeth Johnson Arcilla Stahl Gerald W. Timberlake Regina Black-Middleton Patricia Johnson Madlyn Stokely Eva Ting Barbara Boggs Brenda F. Jones Marian Swerdlow Akili Tommasino Elizabeth T. Bolden Cynthia G. Jones Julian and Jacqueline Taub Tim Tompkins Jane Clement Bond William Jones Beverly Taylor Lynne Toye Roscoe Born Ronald June Sandra Teepen Kristine Tran Barbara Boyd Lois M. Kahan Phyllis Thorpe Adejoke Tugbiyele Bertha Brandon Michael Kenny Karen Towles Jacqueline Tuggle Emilie de Brigard Susan Kreitzman Inez B. Vanable Bernice J. Turner Barbara Biber Brous Sue Kreitzmer Theresa Garrison Warren Betty Turner Beverly F. Bryer-McLean Beth M. Lawrence Theresa Warren Paul Turner Jean Bunce Sandra Lee Thomas Warren Eva Unhold Vinie Burrows Mary Leer Helene Wasserman

108 Studio Spring/Summer 2019 Diane Waters Credits Sylvia Waters inHarlem (p. 18, 24, 26, 58, 86) is David Weaver made possible thanks to Citi; the Paula Webster Stavros Niarchos Foundation; Hadassah Weiner William R. Kenan Jr. Charitable Trust; Joy Wellington Rockefeller Brothers Fund; and The Joseph Copley Wemple Shelley & Donald Rubin Foundation. Michael and Wernham Carol White The Artist-in-Residence program (p. Dyana Williams 22, 42) is supported by the Robert Eugene Williams Lehman Foundation; the Jerome Patricia D. Williams and Foundation; New York State Council Weade Williams on the Arts, with the support of Jeanne Willis Governor Andrew M. Cuomo and the Barbara M. Wilson New York State Legislature; the William R. Kenan Jr Fredericka Woodford Milton and Sally Avery Arts Charitable Trust Gerri Woods Foundation; and by endowments Harold and Gerri Woods established by the Andrea Frank Ruth C. Wright Foundation; the Jacob and Elizabeth Young Gwendolyn Knight Lawrence Trust John Young and Rockefeller Brothers Fund.

Student Black Refractions: Highlights from Laura Amerson The Studio Museum in Harlem (p. 44) Jeanelle Augustin is organized by the American Wendy Barrales Federation of Arts and The Studio Paul Beasley Museum in Harlem. Christina Chan Dianne Dillingham The Studio Museum in Harlem Christina M. Greer and Archives (p. 54) are generously Samuel K. Roberts, Jr. supported by a grant from the Henry Marika Joyce Hashimoto Luce Foundation. Nelson Henricks Ashia Johnson Support for Maren Hassinger: Horace Johnson Monuments (p. 58) thanks to Amy J. Leon Johnson Goldrich. Stephanie Kabore Eric Knowles Education programs (p. 80, 82, 87) Kirsten Magwood are made possible thanks to funding Mia Matthias from the Gray Foundation; Con Kofi Norsah Edison; May and Samuel Rudin Yoichiro Okumura Family Foundation; and Joseph and Moruna Sheppard Joan Cullman Foundation for the Talia Simon Arts. Teen Programs are funded in Barbara Stennett part thanks to Hearst Endowment Chloe Helene Tims Fund. Kids and Families program- Nakami Tongrit-Green ming is supported by Target. The Chester Toye Studio Museum Institute is made Peter Tresnan possible, in part, through the Sharon Williams-Matthews Diversifying Art Museum Leadership Catherine Wilmer Initiative, funded by the Walton Lauren Winston Family Foundation and the Ford Foundation. Corporate Memberships American Express Additional support is generously Bloomberg Philanthropies provided by The New York City Citi Department of Cultural Affairs; the Colgate-Palmolive New York State Council on the Arts Consolidated Edison with the support of Governor Company of New York Andrew Cuomo and the New York Pfizer State Legislature, and the New York Time Warner, Inc. City Council; and The Andrew W. Mellon Foundation.

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Individual $50 Supporter $125 Benefactor $1000 (Fully tax-deductible) (Fully tax-deductible) ($950 tax-deductible) — Personalized membership card demonstrating — All the preceding benefits, plus: — All the preceding benefits, plus: your commitment to our mission — Member privileges of the North American — Invitation to the Spring Luncheon — One–year subscription to the award–winning Reciprocal Museum Program allowing free or (ticketed event) Studio magazine mailed to your home member admission and discounts at over 700 — Reserved seating at the annual Lea K. Green — Advance notice of inHarlem programs museums in the United States Artist Talk — 15% discount on exhibition catalogues — Member-only programming at arts and cultural published by the Studio Museum spaces throughout New York City Studio Society — Free admission or discount tickets to all Studio Individual $1500 Museum education and public programs Associate $250 Steering Committee $2500 — Special Studio Museum Member discounts at ($220 tax-deductible) — Studio Society is comprised of an select Harlem businesses — All the preceding benefits plus: extraordinary group of individuals who are — One complimentary Studio Museum dedicated to supporting black art and culture. Family/Partner $75 exhibition catalogue Studio Society members engage with leading (Fully tax-deductible) — 15% discount on all Studio Museum Store artists of African descent and other members, — All of the preceding benefits for two adults at purchases while enjoying a full calendar of events. the same address and children under eighteen — Annual recognition in Studio magazine Members of the Steering Committee play a years of age leadership role in service to growing support Donor $500 of the Museum. ($450 tax-deductible) — All the preceding benefits, plus: For additional information, please contact the — Invitations to behind-the-scene tours and talks Studio Museum’s Development Department at with art connoisseurs and curators 212.864.4500 x221

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The Studio Museum in Harlem 144 West 125th Street New York, NY 10027