Tenth Anniversary Edition Contemporary Art Museum St

Total Page:16

File Type:pdf, Size:1020Kb

Tenth Anniversary Edition Contemporary Art Museum St Mesh Contemporary Art 2013–14 Mesh a Museum St. Louis Magazine 2013–14 Tenth Anniversary Edition Front cover Inside front cover Iñigo Manglano-Ovalle, Der Hütte, 2013. Charred Anthony McCall: You and I, Horizontal (II), cedar, 16 ft × 16 ft × 16 ft. Installation view, Place is installation view, Contemporary the Space, Contemporary Art Museum St. Louis, Sep- Art Museum St. Louis, September 6– 02 Board of Directors tember 6–December 29, 2013. Photo: David Johnson December 29, 2013. Letter from the Director The Contemporary Art Museum St. Louis (CAM) About CAM presents, supports, and celebrates the art of our CAM is 10 time. It is the premier museum in St. Louis dedicated to contemporary art. Focused on a dynamic array Mesh of changing exhibitions, CAM provides a thought- 04 10 Years of Artists provoking program that reflects and contributes to the global cultural landscape. Through the diverse 06 Contemporary Art is: perspectives offered in its exhibitions, public programs, and educational initiatives, CAM actively engages a 10 10 Years of Exhibitions b Mesh 2013–14 b Mesh range of audiences to challenge their perceptions. Contents It is a site for discovery, a gathering place in which to 12 CAM in Context experience and enjoy contemporary visual culture. 13 Place is the Space 14 Architect’s Voice 16 Groundbreakers The Contemporary Art Museum St. Louis William E. Weiss Foundation; National Community Fund of Boeing; J.P. Morgan; is a non-profit, tax-exempt organization. Endowment for the Arts; Charter; and the Missouri Arts Council, a state agency; Exhibitions, programs, and general oper- Crawford Taylor Foundation. National Endowment for the Arts; The 2013–14 18 10 Years by the Numbers ations are privately funded Dana Brown Charitable Trust, U.S. Bank, through contributions from generous Support for specific exhibition programs Trustee; Wells Fargo Advisors; Whole 20 CAM:10 Gala individuals, corporations, public is provided by Gladstone Gallery, New Foods Market; Target; Dorte and Jim 22 Major Exhibition Support funders, and foundations. York; Gavin Brown’s enterprise; Regen Probstein; Elissa and Paul Cahn; Terry D. Projects, Los Angeles; Frame Visual Art Weiss M.D. Youth Education Fund; and 23 2013–14 Exhibitions General operating support is provided by Finland; Anonymous; The Broad Art Foun- The Honey Fund. Whitaker Foundation; Regional Arts Com- dation, Santa Monica; Steven F. Roth; El- 28 Youth & Family Programs mission; Missouri Arts Council, a state len and Durb Curlee; carlier gebauer; Gió Special thanks to ALIVE Magazine; ARC- agency; William T. Kemper Foundation; Marconi; Consulate General of Finland, TURIS; Blu Dot; Companion Bakery; FEAST Arts and Education Council; The New York; AVEK; Marylyn and Larry Fields; Magazine; Kraftig; KDHX 88.1; Magic Hat; 30 2013–14 Programs Preview Trio Foundation of St. Louis; Bank of Goethe Institute; American-Scandinavian Major Brands, Inc.; Midwest Valet Parking; America Charitable Foundation; Nancy Foundation; Jack Shainman Gallery; and North American Breweries; Purus Organic Reynolds and Dwyer P. Brown; Alison Carmine Boccuzzi and Bernard Lumpkin. Wheat Vodka; Riverfront Times; Schlafly and John Ferring; Clare Davis and David Beer; and St. Louis Public Radio. Obedin; the Board of Trustees; and mem- Support for CAM’s education initiatives bers of the Contemporary Art Museum and exhibition-related programs is Design: Practise St. Louis. Support for CAM’s exhibition provided by Emerson; The Middle Fund; James Goggin & Scott Reinhard Year in Review program is provided by Jeanne and Maritz; PNC Foundation; Monsanto Fund; Print: The Advertisers Printing Company Rex Sinquefield; Gateway Foundation; AIGA STL/STL Design Week; Employees 32 2012–13 Highlights 35 Dada Ball & Bash 36 Annual Giving 2012–13 40 CAM People 38 Annual Report 2012–13 49 Visitor & Member Information Pat Whitaker, Phyllis Langsdorf Michael Chair Katherine Lazar Staenberg Board Jacob W. Reby, Sandy Lehrer Donald Suggs Secretary Judith W. Levy Gary Wolff David Gantt, Ann Sheehan Jackie Yoon of Directors Treasurer Lipton Kimberly MacLean Emeritus Bradley Bailey Joan H. Markow Barbara Z. Cook 2013–14 Susan Barrett Susan McCollum Charles Cook Holly Benson Isabelle Montupet Eleanor W. Nanette Boileau Dean H. Mutter Dewald Mark Botterman Rebecca Nelson Terrance Good Dwyer Brown David S. Obedin Joan Goodson Sarah Carlson Lawrence K. Otto Henry O. Johnston Alexis M. Cossé Dorte Probstein Marylen Mann Arnold Donald Emily Rauh Donna Moog David Drier Pulitzer Ann Ruwitch Jamey Edgerton Julian Schuster John Ferring Thad Simons Ex-officio Matthew Fischer Rex A. Sinquefield Vincent C. Nancy Kranzberg Andrew Srenco Schoemehl, Jr. 02 Mesh CAM Letter from is 10 the Director Dear Friends, Perhaps as remarkable as our ability to work with some of the most surprising, unexpected, and life-changing art Looking back after one year at CAM, I feel extremely of our time, is how we are sewn into the very fabric of the fortunate to be here at the crossroads of the tenth city through our creative collaborations—over fifty in the anniversary of the Museum’s building. I’m aware of last year alone—and in the uniqueness of what we offer. this extraordinary chance to understand the institution as we celebrate our history—why we came to be and I am immensely grateful for all you have done to help why CAM is necessary for St. Louis—but even more make CAM so vital to this community and the world thrilling is the chance to look forward to the next ten as we arrive at this ten-year milestone. Please join me years and beyond. in celebrating as we look excitedly and with great expectation to the future. CAM holds an essential place in the landscape of St. Louis. As an institution dedicated to contemporary art and nimble in its non-collecting nature, the Museum is a vehicle through which St. Louisans can regularly see the world Lisa Melandri anew and have transformational experiences. Director The opening of the building at 3750 Jonathan Ene Liis Yoko Ono David Reed Gedi Sibony Cy Twombly Washington Boulevard in 2003 signaled a Horowitz Maya Lin Michelle Tom Reed James Sienna Salla Tykkä new identity for this institution. Founded Vlatka Horvat Michael Lin Oosterbaan Trevor Reese Roman Signer as the First Street Forum in 1980 and later Zhang Huan Pia Lindman John Opera David Reinfurt Laurie Simmons J. Parker known as the Forum for Contemporary Art, Alex Hubbard Marie Lund Julian Opie Robin Rhodes Dexter Sinister Valentine Tom Huck Gabriel Orozco Laura Riboli Greg Parma Smith Steve Van den the Museum became the Contemporary Kim Humphries M.Ho Christopher Orr Damon Rich John Smith Bosch Art Museum St. Louis (CAM), receiving a George Maciunas Ruby Osorio Gerhard Richtor Kiki Smith Lesley Vance permanent home along with the new name. Oliver L. Jackson Duncan Virginia Overton Pipilotti Rist Matt Sheridan Stan VanDerBeek Margarete MacKenzie Smith Philip Jakschik Iñigo Michael Smith Vanderhyden With this issue of Mesh, we celebrate this 2003 Bill Jensen Manglano- Michael E. Smith Chris Verene remarkable event, looking back at some 2013 Yun-Fei Ji Ovalle Snowflake/ Justin of the highlights of the past ten years and Tiia Johannson Robert Mangold Citystock Visnesky forward to the year ahead. Jasper Johns Fabian Marcaccio . Sean Snyder Chris Vogt David Johnson Ari Marcopoulos of Reena Spaulings Tris Vonna- Tom Johnson Peter Marcus Eric Spehn Michell Sarah Jones Brice Marden Mary Sprague Pavle Vuckovic Folkert de Jong Malerie Marder Frances Stark Donald Judd Kerry James Owusu-Ankomah Torbjørn Rødland Jennifer Erika 04 Dan Acostioaei Thomas Demand Tony Feher Dan Gouldini Marshall Djordje Ozbolt Milton Rogovin Steinkamp Wanenmacher 05 Lauren Adams Simon Denny Hans-Peter Francisco José de Kai Kaljo Cameron Martin Alexander Ross Frank Stella Emily Wardill Agency Rineke Dijkstra Feldmann Goya y Tellervo Kalleinen Anthony McCall Adrian Paci Douglas Ross Mladen Stilinovic Andy Warhol Yasser Aggour Leslie Dill Oana Felipov Lucientes Asma Kazmi Jesse McLean Marta Pan Daniela Rossell Maryann Alex Waterman Eija-Liisa Ahtila Thea Djordjadze Ed Fella Katy Grannan Ellsworth Kelly Jonas Mekas Christodoulos Meg Rotzel Strandell Gillian Wearing CAM is 10 CAM 10 is 10 CAM Chantal Akerman Godfried Donkor Spencer Finch Brent Green Mike Kelly Ana Mendiata Panayiotou Thomas Ruff Matthew Strauss Clemens von Aksamija Tara Donovan Peter Fischli Aneta William Kentridge Dan Mihaltianu Gemma Pardo Aïda Ruilova Hiroshi Sugimoto Wedemeyer Richard Aldrich Matthew Barney Elina Brotherus Jill Downen Alen Floricic Grzeszykowska Ki’Wa Jason W. Miller Alix Pearlstein Franco Mondini Killu Sukmit William Wegman Laylah Ali Tina Barney Amanda Browder Carroll Dunham Claire Fontaine Varnai Gyula Sung Hwan Kim Tiffany Minx Anthony Pearson Ruiz Eva Weinmayr Siemon Allen Jennifer Bartlet Pavel Büchler Eric Duyckaerts Adam Frelin Yuki Kimura Tracey Moffat Chihcheng Peng Ed Ruscha Mika Taanila Claudia Weiser Darren Almond Jean-Michel Ian Burns Marcel Dzama Lucien Freud Sibylle Hagmann Scott King Jonathan Monk Diego Perrone Jessica Rylan Zin Taylor David Weiss Jesper Alvaer Basquiat Mikey Burton Dzine Zipora Fried Lyle Ashton Karin Kneffer Giorgio Morandi Serena Perrone Robert Ryman Javier Tellez Piotr Brandon Thomas Bayrle Lee Friedlander Harris Oliver Kochta- Paul Morgan Dominique Patricia Weyzykowski Anschultz Alma Becirovic Patrick van Michael Eastman Tom Friedman Rachel Harrison Kalleinen Moses Petitgand Tom Sachs Teodorescu White Flag Janine Antoni Nina Beier Caeckenbergh Gardar Eide Aurélien Froment Courtney
Recommended publications
  • Why Is Everyone Always Stealing Black Music?
    Disclaimer: This is a machine generated PDF of selected content from our databases. This functionality is provided solely for your convenience and is in no way intended to replace original scanned PDF. Neither Cengage Learning nor its licensors make any representations or warranties with respect to the machine generated PDF. The PDF is automatically generated "AS IS" and "AS AVAILABLE" and are not retained in our systems. CENGAGE LEARNING AND ITS LICENSORS SPECIFICALLY DISCLAIM ANY AND ALL EXPRESS OR IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, ANY WARRANTIES FOR AVAILABILITY, ACCURACY, TIMELINESS, COMPLETENESS, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Your use of the machine generated PDF is subject to all use restrictions contained in The Cengage Learning Subscription and License Agreement and/or the Gale Academic OneFile Select Terms and Conditions and by using the machine generated PDF functionality you agree to forgo any and all claims against Cengage Learning or its licensors for your use of the machine generated PDF functionality and any output derived therefrom. Why Is Everyone Always Stealing Black Music? Author: Wesley Morris Date: Aug. 18, 2019 From: The New York Times Magazine Publisher: The New York Times Company Document Type: Article Length: 4,665 words Lexile Measure: 1190L Full Text: I've got a friend who's an incurable Pandora guy, and one Saturday while we were making dinner, he found a station called Yacht Rock. ''A tongue-in-cheek name for the breezy sounds of late '70s/early '80s soft rock'' is Pandora's definition, accompanied by an exhortation to ''put on your Dockers, pull up a deck chair and relax.'' With a single exception, the passengers aboard the yacht were all dudes.
    [Show full text]
  • Bronx Museum Announces the Block Gallery and Inaugural Class of Resident AIM Artists
    12/11/2018 Bronx Museum Announces The Block Gallery And Inaugural Class Of Resident AIM Artists West End Off-Broadway United States International Entertainment Log In Sections Shows Chat Boards Jobs Students Video Industry Bronx Museum Announces The Block Hot Stories BroadwayWorld TV Gallery And Inaugural Class Of Resident AIM Artists Jessie Mueller Will Star as Marian in Kennedy Center's by BWW News Desk Oct. 26, 2018 SHARE Tweet Share THE MUSIC MAN KISS ME, KATE's O'Hara & Chase The Bronx Museum of the Arts is pleased to announce its new exhibition and artist Holiday Gifts! workspace at 80 White Street in Lower Manhattan, which will be known as The Block Gallery. The name was chosen in honor of the late Bronx Museum Executive Director Holly Block. It will welcome the rst artist residents in January, 2019. Invite: Watch a Live Q&A With Darren Criss on The space will be home to a new expansion of AIM (Artist in the Marketplace), the Monday! museum's storied career development program for emerging artists in all ve boroughs of New York City. The space will serve as a community resource hub, featuring private workspaces, exhibition facilities, meeting rooms, and career management resources for alumni of the AIM program. The museum's AIM program will now serve 46 New York- based artists every year, with 36 rst-time emerging artist fellows at the Bronx Museum Backstage with Richard and ten AIM alumni at "The Block" in lower Manhattan. The residency will host ve Ridge: Norm Lewis Talks Keeping It Nutcraker Cool artists every six months.
    [Show full text]
  • Notices for 12.4
    AFTERIMAGE NOTICES FOR THE WEEK OF DECEMBER 4, 2009 EXHIBITIONS ARIZONA Scottsville: Scottsdale Museum of Contemporary Art, 7374 E. 2nd St. Unexpected Wegman: From the Collection of the Scottsdale Museum of Contemporary Art. Through Jan. 24. southwestNET: film and video: Looking Through the Other End of A Telescope. Through Jan. 24. Rewind Remix Replay: Design, Music & Everyday Experience. Dec. 19-May 23. www.smoca.org. Tucson: Etherton Gallery, 135 S. 6th Ave. Poetics of Light. Through Feb. 27. www.ethertongallery.com. Tucson: University of Arizona, Center for Creative Photography, 1030 N. Olive Rd. John Gutmann: The Photographer at Work. Through Jan. 23. www.creativephotography.org. CALIFORNIA Berkeley: Photolab, 2235 5th St. Ruth Kaiser: The Spontaneous Smiley Project. Through Jan. 2. www.photolaboratory.com. Berkeley: University of California, Berkeley Art Museum & Pacific Film Archive, 2625 Durant Ave. Omer Fast: Nostalgia. Through Dec. 17. Hak Kyung Cha: Earth. Through Dec. 20. Material Witness: A World in Upheaval. Through Dec. 20. New Pathways to Ancient Traditions: Recent Acquisitions to the Asian Art Collection. Through Feb. 14. Joe McKay: Big Time. Dec. 1-Feb. 28. Photographs by Ari Marcopoulos: Within an Arm’s Reach. Through Feb. 7. Sarah Charlesworth: Arc of Total Eclipse. Through Feb. 7. Fernando Botero: The Abu Ghraib Series. Through Feb. 7. Assignment Shanghai: Photographs on the Eve of Revolution. March 3-June 27. What it All Means: William T. Wiley in Retrospect. March 13-June 20. www.bampfa.berkeley.edu. Claremont: Pitzer College, Nichols Gallery, 1050 N. Mills Ave. Group Show:Veronica. Through Dec. 11. www.pitzer.edu/galleries/. El Cajon: Grossmont College, Hyde Art Gallery, 8800 Grossmont College Drive.
    [Show full text]
  • Kenya (Robinson) and Running from May 11 Through June 30, 2013
    FOR IMMEDIATE RELEASE: A 50 Orange Street (corner of Orange & Crown) New Haven, CT 06510 http://artspacenh.org Phone – 203.772.2709 Email – [email protected] ‘Toonskin: May 11–Jun 30, 2013 Artspace is pleased to announce the upcoming exhibition, ‘Toonskin, organized by artist Kenya (Robinson) and running from May 11 through June 30, 2013. An opening reception will be held on May 11, 2013 from 5:00–8:00 PM. Sequential art holds an important place in the development of American myth making and within this sphere the caricature of Blackness has a long animated history. Tom and Jerry, the best of enemies, present a compelling model for the complex relationship between Blacks and whites, while the minstrel underpinnings of Mickey Mouse offer a glimpse into the convoluted histories that inform American pop culture. The symbiotic relationship between early animation and Jazz emphasizes the American-ness of Black identity, codified by the likes of Betty Boop, Coal Black, and The Sebben Dwarves. Bugs Bunny is a direct descendant of the irrepressible Br’er Rabbit, while the Road Runner series freely samples tenets from trickster folklore of the African Diaspora. Even “The Man of Steel,” the preeminent figure of comic book superheroism, bears traces of John Henry, the original “Steel Drivin’ Man.” Often acting as the foil to the main characters or, in the case of Felix the Cat, serving as the inspirational touchstone for design and mannerisms, these representations are ultimately limiting in nature. ‘Toonskin attempts to perforate and expand these limits by bringing together contemporary visual artists who reinterpret, recreate, and redefine Blackness—and otherness more generally—within an animated context.
    [Show full text]
  • Blouin Artinfo | October 30, 2018
    Bronx Museum of the Arts Announces the Opening of The Block Gallery BY BLOUIN ARTINFO | OCTOBER 30, 2018 (/#FACEBOOK) (/#TWITTER) (/#PINTEREST) Bronx Museum of the Arts announces opening of The Block Gallery (Courtesy: Bronx Museum) The Bronx Museum of the Arts announced its new exhibition and artist workspace at 80 White Street in Lower Manhattan, which will be known as The Block Gallery. The name was selected to honor the late Bronx Museum Executive Director Holly Block and the gallery will welcome its first artist residents in January, 2019. The new gallery space will be an expansion of AIM (Artist in the Marketplace), the museum’s storied career development program for emerging artists in all five boroughs of New York City. It will serve as a community resource hub, featuring private workspaces, exhibition facilities, meeting rooms, and career management resources for alumni of the AIM program. The museum’s AIM program will now serve 46 New York-based artists every year, with 36 first-time emerging artist fellows at the Bronx Museum and ten AIM alumni at “The Block” in lower Manhattan. The residency will host five artists every six months. The inaugural resident artists are Blanka Amezkua (AIM alumnus, 2008), Michael Paul Britto (2006), Cecile Chong (2011), Sophia Dawson (2016), and Pacifico Silano (2013). In July, the second cohort will begin its residency: Onyedika Chuke (2012), Alicia Grullon (2012), Jessica Lagunas (2006), Jasmine Murrell (2016), and Shani Peters (2010). “We are thrilled to be able to offer even more support to emerging artists by welcoming the first class of resident artists to The Block,” said Deborah Cullen, Executive Director of the Bronx Museum of the Arts.
    [Show full text]
  • Lorraine O'grady Art Resume
    LORRAINE O'GRADY Born September 21, 1934, Boston, MA. Based in New York, NY. website: http://lorraineogrady.com gallery: ALEXANDER GRAY ASSOCIATES, New York, NY http://www.alexandergray.com/artists/lorraine-oand39grady/ archive: “Lorraine O’Grady Papers, 1952-2012” WELLESLEY COLLEGE ARCHIVES, Wellesley, MA (HTML): http://academics.wellesley.edu/lts/archives/MSS.3.html (PDF): http://www.wellesley.edu/sites/default/files/assets/departments/libraryandtechnology/files/archives/mss.3.pdf ART RESUME September 2015 Education 1951 H.S. Girls Latin School, Boston, MA. Honors in English and Latin, First Place in History. National Honor Society. 1956 B.A., Wellesley College, Wellesley, MA. Major: Economics. Minor: Spanish Literature. Freshman Honors. 1965-67 M.F.A. Candidate. Iowa Writers Workshop, University of Iowa, Iowa City, IA. Fiction. Performances 1979-80 The Dual Soul—Part 1: Divine Twins; Part 2: Come Into Me, You. Written for performance-artist protagonist of unproduced filmscript. 1980 Rosie O'Grady's Pub, NYC. Sweet Rosie O'Grady. Private guerrilla performance. 1980 Just Above Midtown Gallery, NYC. Mlle Bourgeoise Noire Goes to JAM. Guerrilla performance. 1980 Just Above Midtown Gallery, NYC. Nefertiti/Devonia Evangeline. Director: Linda Goode-Bryant. 1981 Elizabeth Irwin High School, NYC. Nefertiti/Devonia Evangeline. In "Acting Out: The First Political Performance Art Series." Curator: Lucy Lippard. Lorraine O’Grady - 2 - 1981 Just Above Midtown Gallery, NYC. Gaunt Gloves. Performance and lecture by Mlle Bourgeoise Noire. 1981 New Museum for Contemporary Art, NYC. Mlle Bourgeoise Noire Goes to the New Museum. Guerrilla performance. 1981 Feminist Art Institute, NYC. Nefertiti/Devonia Evangeline. 1982 Allen Memorial Art Museum, Oberlin College, Oberlin, OH.
    [Show full text]
  • Art Ready Mentors 2011-2012
    S m a c k M e l l o n ART READY MENTORS 2011-2012 SONYA BLESOFSKY, DRAWING/PAINTING/SCULPTURE & INSTALLATION Sonya Blesofsky is a Brooklyn-based installation artist who deals with urban anxieties related to construction, development, urban renewal, and collapse. Blesofsky received her MFA from the San Francisco Art Institute and BA from UC Santa Cruz. She has held residencies at the CUE Art Foundation, Artist’s Alliance, Smack Mellon, Dieu Donne Papermill, Chashama, LMCC’s Workspace:120 Broadway, Plane Space, and the California Legion of Honor. Blesofsky’s work has been shown in New York at Mixed Greens, Plane Space, Cleopatra’s and Smack Mellon, and in San Francisco at Patricia Sweetow Gallery, Swarm, Mission 17, and Pond. Blesofsky is represented by Mixed Greens gallery, and is a teaching artist at The Jewish Museum, the Guggenheim, and the Museum of Arts and Design. www.sonyablesofsky.com MICHAEL PAUL BRITTO, VIDEO Michael Paul Britto is a video artist whose work addresses the misconceptions and assumptions surrounding people of color in the United States. Selected exhibitions include shows at the Victoria and Albert Museum in London, the Contemporary Art Museum in St. Louis, the Yerba Buena Center for the Arts in San Francisco, the Studio Museum in Harlem, El Museo del Barrio, and the Soap Factory in Minneapolis. He was a Smack Mellon Studio Artist in 2007 and has also held residencies at the Marie Walsh Sharpe Foundation, Lower Manhattan Cultural Council, and Nars Foundation. Michael has experience working with children and young adults in his positions as a high school media teacher, and as an instructor at Downtown Community Television Center's (DCTV) Pro-TV youth program.
    [Show full text]
  • El Museo Del Barrio Announces Summer
    FOR IMMEDIATE RELEASE CONTACT Carolina Alvarez-Mathies El Museo del Barrio T: 212.660.7119 E: [email protected] EL MUSEO DEL BARRIO ANNOUNCES SUMMER EXHIBITION LINEUP RODRIGUEZ CALERO: Urban Martyrs and Latter Day Santos CUT N’ MIX: Contemporary Collage PRESENTE! The Young Lords in New York July 22, 2015 – October 17, 2015 Press Preview: July 21 | 10:00am – 12:00pm NEW YORK, NY May 28, 2015 – El Museo del Barrio is pleased to present RODRIGUEZ CALERO: Urban Martyrs and Latter Day Santos - the first museum survey of the Nuyorican artist Rodríguez-Calero and the second in a new annual series of women-artist retrospectives at El Museo. The exhibition is shown in conjunction with two additional shows: CUT N’ MIX: Contemporary Collage, which examines the work of artists experimenting with collage techniques in ways that expand the gestures of cutting paper and mixing various mediums together; and PRESENTE! The Young Lords in New York, which explores the legacy of the Young Lords in East Harlem, the Bronx and the Lower East Side, focusing on political events that the Young Lords organized in these locations. All three exhibitions are on view July 22 – October 17, 2015. “It’s going to be a Nuyorican summer at El Museo,” said Jorge Daniel Veneciano, Executive Director, El Museo del Barrio, “especially with exhibitions on Rodríguez Calero and the Young Lords. Greater recognition for the hip-hop and Byzantine work of Rodríguez Calero is long overdue. No one in contemporary art makes a clearer case for collage as the natural medium for hip-hop culture than she does.
    [Show full text]
  • Be Black Babyiii
    FOR IMMEDIATE RELEASE Be Black Baby a House Party Presents If There’s No Dancing At The Revolution I’m Not Coming Curated by Simone Leigh & Naomi Beckwith Featuring work by Michael Paul Britto, Tova Carlin, Maren Hassinger, Jennie Livingston, & Jacolby Satterwhite with MC Elia Alba Friday April 1, 2011 7-9pm performances; 9pm– 12am dance party with DJ Khary Polk April 1, 2011—In response to Emma Goldman’s statement, “If there’s no dancing at the revolution, I’m not coming” the third iteration of Be Black Baby a House Party Presents will stage an evening of site- specific performance, video and dancing in the street. * * * Be Black Baby: A House Party Presents is a series organized by Simone Leigh and Recess Activities, Inc. Recess hosted the inaugural Be Black Baby: A House Party Presents on March 13, 2010. This first evening of performance responded to Brian DePalma’s film “Hi Mom” (1970). Taking the film as a point of departure, the series continues to challenge traditional identity politics and question modes of cultural appropriation. For more information visit www.recessactivities.org or contact [email protected] Artist Bios: Michael Paul Britto was born and bred in Brooklyn. He graduated with a BA from the City College of New York. Britto engages in videos, digital photography, sculpture, and performance. He has had residencies at the New Museum in New York as well as Smack Mellon and The Marie Walsh Sharpe Foundation and his work has been featured in at El Museo del Barrio, The Studio Museum of Harlem, The Zacheta National Gallery in Warsaw and the Victoria and Albert Museum in England.
    [Show full text]
  • A Complicated Affair: Performing Life on the Margin Between Art and Politics
    Hope, Photo: Alex Villaluz A Complicated Affair: Performing Life on the Margin between Art and Politics Nicolas Dumit Estevez | Union Theological Seminary, New York Nicolas Dumit Estevez in Born Again: A Lebanese-Dominican Dominican York is born again as a Bronxite, 2011. www.hemisphericinstitute.org | www.emisferica.org Phoca PDF Nicolas Dumit Estevez in BORN AGAIN: A LEBANESE-DOMINICAN DOMINICAN YORK IS BORN AGAIN AS A BRONXITE, 2011. PHOTOs: ALEX VILLALUZ Our first significant encounter was in the nature of a blind date. That was twenty years ago before IM, Skype or Facebook. I was combing The New Times classifieds searching for a job teaching art, as I had recently graduated after two years in art school, received my green card, and was eager to become a documented taxpayer. Moving from ad to ad, my eyes stopped on a call from the Bronx River Restoration Project for an art counselor for its summer program for children. At the time the Bronx was a place I had visited sporadically, so traveling by train from the Upper West Side, where I lived, to Fordham Road was in some ways no more than an urban excursion outside of the “center” and into the margins of “The City.” The job I found in the classifieds was mine for $8.00 an hour. Yet this was a deal that would eventually transcend its nature as simply employment to mark the beginning of my love affair with the only borough in New York City that is part of the continental United States. In 2004 I moved permanently from Manhattan (where I ended up after emigrating in 1991 from the Dominican Republic) to the mainland, the Bronx.
    [Show full text]
  • Isbn 978-83-232-2171-5 Issn 1733-9154
    Managing Editor: Marek Pary Ŝ Editorial Board: Patrycja Antoszek, Zofia Kolbuszewska, Karolina Krasuska, Zuzanna Ładyga, Paweł Stachura Advisory Board: Andrzej Dakowski, Jerzy Durczak, Joanna Durczak, Jerzy Kutnik, Zbigniew Lewicki, El Ŝbieta Oleksy, Agata Preis-Smith, Tadeusz Rachwał, Agnieszka Salska, Tadeusz Sławek, Marek Wilczy ński Reviewers for Vol. 4: Lucyna Aleksandrowicz-Pędich, Jerzy Durczak, Joanna Durczak, Jacek Gutorow, Jerzy Kutnik, Jadwiga Maszewska, Agata Preis-Smith, Piotr Skurowski Polish Association for American Studies gratefully acknowledges the support of the Polish-U.S. Fulbright Commission in the publication of the present volume. © Copyright for this edition by Wydawnictwo Naukowe UAM, Pozna ń 2010 Cover design: Ewa W ąsowska Production editor: El Ŝbieta Rygielska ISBN 978-83-232-2171-5 ISSN 1733-9154 WYDAWNICTWO NAUKOWE UNIWERSYTETU IM. ADAMA MICKIEWICZA 61-701 POZNA Ń, UL. FREDRY 10, TEL. 061 829 46 46, FAX 061 829 46 47 www.press.amu.edu.pl e-mail:[email protected] Ark. wyd. 14,5. Ark. druk. 12,25. DRUK I OPRAWA: TOTEM-DRUK INOWROCŁAW, UL. JACEWSKA 89 Table of Contents Alicja Piechucka Images and Ideas: Hart Crane’s and André Gide’s Readings of the Myth of Narcissus .................................................................................................................... 5 Agata Preis-Smith The Uncanny at the Heart of the Country Household: Gertrude Stein’s Blood on the Dining Room Floor ..................................................................................................... 17 Sostene
    [Show full text]
  • THE SUPPER CLUB the SUPPER CLUB What Does It Mean to Have a Seat at the Table? Antonio Cruz, Mickalene Thomas, Lina Puerta, Extension of Her Everyday Life
    THE SUPPER CLUB THE SUPPER CLUB What does it mean to have a seat at the table? Antonio Cruz, Mickalene Thomas, Lina Puerta, extension of her everyday life. A precedent Ask artist Elia Alba, and her many guests— LaToya Ruby Frazier, and Las Hermanas to Alba’s project is Carrie Mae Weems’ The artists and otherwise—who have attended Iglesias, among others. As Alba continued Kitchen Table Series (1990), begun in 1989 with the twenty-fiveSupper Club dinners over to approach other artists to sit for subsequent self-portraits representing women seated at the past five years, and that question will be portraits, she decided that hosting dinners the table, accompanied by text that intimately met with many different answers. Although was a way to give voice to those featured revealed their relationships and daily lives.1 Of the first meals took place in restaurants, in in the photographs. And so, a journey of the series, art historian Robin Kelsey writes: recent years the level of production for each dinners, discussions, and the staging of gathering has been formalized. For each portraits has evolved into a complex network “Kitchens and streets. You could write a dinner, Alba plans the menu and identifies a of relationships. Each dinner has hinged on history of the twentieth century through host—an artist, intellectual, or art historian specific conversations, concentrating on a that pairing. If the city street is a place with a keen understanding of current cultural range of themes, bringing new participants of random encounter, of hustle and protest, politics—who provides a prompt thematically to the table on subjects like Identity, Race, the kitchen is a place of intimate habit, framing the dinner conversation, to provoke and Baltimore, a Tribute to Freddie Gray; of sharing and aroma…The street presses a discussion about race and visual culture.
    [Show full text]