DOCSLIB.ORG

What to Look Forward to in 2021: More Than 30 Exhibitions, Books, and Events Focused on African American Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
What to Look Forward to in 2021: More Than 30 Exhibitions, Books, and Events Focused on African American Art Culture Type What to Look Forward to in 2021 Victoria L. Valentine 31 January 2021 What to Look Forward to in 2021: More Than 30 Exhibitions, Books, and Events Focused on African American Art The year ahead is rife with an expansive and diverse selection of exhibitions, books and other opportunities to engage with the work of African American artists. From Austin, Texas, to Brooklyn and Boston, a notable line up of solo museum exhibitions opening in 2021 is focused on Black female artists, including Emma Amos, Sonya Clark, Deana Lawson, Wangechi Mutu, Lorraine O’Grady, Christina Quarles, Deborah Roberts, and Alma Thomas. Exhibitions about “Grief and Grievance: Art and Mourning in America,” conceived by late curator Okwui Enwezor at the New Museum in New York; Blackness and architecture at the Museum of Modern Art in New York; “The Dirty South,” exploring the intersection of music and visual expression at the Virginia Museum of Fine Arts in Richmand; the first U.S. presentation of “Afro-Atlantic Histories” at the Museum of Fine Arts Houston; and the first comprehensive retrospective of David C. Driskell at the High Museum of Art in Atlanta, are among the most anticipated exhibitions of the year. Major forthcoming publications include “The Soul of a Nation Reader: Writings by and about Black American Artists, 1960–1980,” a complement to the landmark exhibition featuring more than 150 texts by artists and writers, and “Kara Walker: A Black Hole Is Everything a Star Longs to Be,” a massive 600-page volume shedding light on the artist’s personal archive of works on paper. In early February, HBO is celebrating Black History Month with the documentary “Black Art: In the Absence of Light, A Celebration of African American Artists.” Postponed from last year, Prospect 5, the citywide triennial in New Orleans, is now opening in October. Delays due to COVID-19 also affected shows dedicated to Quarles, Roberts, Lawson, and David Hammons, providing added benefits to this year’s schedule. Concerns about health and safety surrounding the pandemic continue to force institutions to temporarily close, causing some delays to programming. Many are planning ahead for these issues. Being held in Canada for the first time this year, the Black Portraiture[s} symposium will take place both online and in-person. The first-ever UK solo exhibition of Charles Gaines at Hauser & Wirth gallery in London opened online Jan. 29 in anticipation of the potential reopening of the gallery’s physical space in the months to come. The following selection of what’s on the horizon in African American art provides a guide to prime offerings, what to look forward to in 2021: Winter Image: “AFRICOBRA: Messages to the People,” Edited by Jeffreen Hayes, with a foreword by Chana Sheldon, and text by Leslie Guy (Gregory Miller/Museum of Contemporary Art, North Miami, 176 pages). Exploring the art and legacy of the AfriCOBRA, the artist collective founded in Chicago in 1968, this fully illustrated volume documents two exhibitions curated by Jeffreen M. Hayes—“AfriCOBRA: Messages to the People” at the Museum of Contemporary Art, North Miami (2018-19) and “AfriCOBRA: Nationtime,” an official collateral event of the 58th Venice Biennale in 2019. More than 80 works are featured 25—28 Old Burlington Street London W1S 3AN T +44 (0)20 7494 1434 stephenfriedman.com Culture Type What to Look Forward to in 2021 Victoria L. Valentine 31 January 2021 by co-founders Jeff Donaldson, Jae Jarrell, Wadsworth Jarrell, Barbara Jones-Hogu and Gerald Williams, as well as subsequent members Sherman Beck, Napoleon Jones-Henderson, Omar Lama, Carolyn Mims Lawrence and Nelson Stevens. Exhibition | The Black Index @ Contemporary Arts Center (CAC) Gallery, University of California, Irvine, Irvine, Calif. | Jan. 14-March 20, 2021 Image: KENYATTA A.C. HINKLE, “The Evanesced: The Untouchables,” 2020 (100 drawings, India ink and watercolor on recycled, acid-free paper). | © 2021 University Art Gallery, UC Irvine. Photo by Paul Salveson Disrupting traditional expectations of portraiture, Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas employ drawing, performance, printmaking, sculpture, and digital technology to “build upon the tradition of Black self-representation as an antidote to colonialist images” and “question our reliance on photography as a privileged source for documentary objectivity and understanding” offering “an alternative practice—a Black index—that still serves as a finding aid for information about Black subjects, but also challenges viewers’ desire for classification.” Dedicated to David C. Driskll, the exhibition is curated by Bridget R. Cooks, includes a fully illustrated catalog and will travel the Palo Alto Art Center, the University of Texas at Austin, and Hunter College. Book | The Black Civil War Soldier: A Visual History of Conflict and Citizenship by Deborah Willis | Expected Jan. 26, 2021 Image: “The Black Civil War Soldier: A Visual History of Conflict and Citizenship” by Deborah Willis (NYU Press, 256 pages). Part of the NYU Series in Social and Cultural Analysis, Deborah Willis has assembled a striking collection of images, handwritten materials, and personal ephemera, shedding light on the “crucial role of photography in (re)telling and shaping African American narratives of the Civil War, pulling from a dynamic visual archive that has largely gone unacknowledged.” Exhibition | Deborah Roberts: I’m @ The Contemporary Austin, Austin, Texas | Jan. 23, 2021-Aug. 15, 2021 Image: DEBORAH ROBERTS, “The duty of disobedience,” 2020 (mixed media collage on canvas, 72 x 100 inches). | © Deborah Roberts. Courtesy the artist; Vielmetter Los Angeles; and Stephen Friedman Gallery, London. Courtesy The Contemporary Austin, Photo by Paul Bardagjy For her first solo exhibition in a Texas museum, Austin- based Deborah Roberts is presenting a selection of new paintings and works on paper. In addition to her mixed- media works, Roberts is showing two new interactive sound, text, and video sculptures and the museum 25—28 Old Burlington Street London W1S 3AN T +44 (0)20 7494 1434 stephenfriedman.com Culture Type What to Look Forward to in 2021 Victoria L. Valentine 31 January 2021 commissioned her to create a mural on the museum’s exterior. Originally scheduled to open in September 2020, the exhibition was delayed to late January due to the COVID-19 pandemic. “Deborah Roberts focuses her gaze on African American children—historically, and still today, among the most vulnerable members of our population—investigating how societal pressures, projected images of beauty or masculinity, and the violence of American racism conditions their experiences growing up in this country as well as how others perceive them.” Exhibition | Charles Gaines: Multiples of Nature, Trees and Faces @ Hauser & Wirth, London | Jan. 29-May 1, 2021 Image: Installation view of “Charles Gaines: Multiples of Nature, Trees and Faces,” Hauser & Wirth, London, Jan. 29-May1, 2021. Shown, Works from Multi-Racial/Ethnic Combinations Series. | © Charles Gaines, Courtesy the artist and Hauser & Wirth Los Angeles-based Charles Gaines works with formulaic systems that “interrogate relationships between the objective and the subjective realms, as well as navigating ideas around identity and diversity.” For his first-ever solo exhibition in the UK, the conceptual artist is presenting Plexiglass gridworks from his Numbers and Trees series, which dates back to the mid-1970s, and Numbers and Faces series, started in 1978. The new works are based on English trees Gaines observed and photographed in Melbury in Dorset (London Series 1’) and portraits of people who consider themselves multi-racial (Multi-Racial/Ethnic Combinations Series). Hauser & Wirth’s London space is currently closed based on government guidance regarding the pandemic. In the meantime, the exhibition is on view online. Gaines also has forthcoming solo museum presentations at Dia Beacon (February) and the San Francisco Museum of Modern Art (March). Exhibition | Emma Amos: Color Odyssey @ Georgia Museum of Art at University of Georgia, Athens, Ga. | Jan. 30-April 25, 2021 Image: EMMA AMOS, “Tightrope,” 1994 (acrylic on linen with African fabric borders, 82 x 58 inches). | © Estate of Emma Amos. Minneapolis Institute of Art, Gift of funds from Mary and Bob Mersky and the Ted and Dr. Roberta Mann Foundation Endowment Fund A dynamic painter, who died last May, Emma Amos (1937-2020) explored and challenged race, class, and gender norms, both in her work and career. Her works reference color-field painting, employ photo transfer techniques, and are trimmed in African fabrics. An in-depth examination of her life and practice, this career-spanning traveling retrospective presents about 60 works, including paintings, prints, and woven works. 25—28 Old Burlington Street London W1S 3AN T +44 (0)20 7494 1434 stephenfriedman.com Culture Type What to Look Forward to in 2021 Victoria L. Valentine 31 January 2021 Exhibition | David Driskell: Icons of Nature and History @ High Museum of Art, Atlanta | Feb. 6-May 9, 2021 Image: DAVID DRISKELL, “Homage to Romare,” 1975 (Collage and gouache on Masonite). | © Estate of David C. Driskell. Virginia Museum of Fine Arts, Richmond, Arthur and Margaret Glasgow Endowment Presenting an overview of the illustrious 60-year career of David Driskell (1931-2020), this exhibition celebrates highlights of his oeuvre, across painting, printmaking and collage. About 60 works will be on view, dating from 1953 to 2011. Opening less than a year after the artist and scholar died last April, due COVID-19, the exhibition will be hosted by the High Museum in Atlanta, Portland Museum of Art in Maine, with a final stop in the fall at the Phillips Collection in Washington, D.C. The exhibition is guest curated by Julie McGee and accompanied by a catalog, the first publication to survey Driskell’s entire career. Film | Black Art: In the Absence of Light, A Celebration of African American Artists @ HBO and HBO Max | Premieres Feb.
Load more

Recommended publications
  • KEHINDE WILEY Bibliography Selected Publications 2020 Drew
    KEHINDE WILEY Bibliography Selected Publications 2020 Drew, Kimberly and Jenna Wortham. Black Futures. New York: One World, 2020. 2016 Robertson, Jean and Craig McDaniel. Themes of Contemporary Art: Visual Art after 1980, Fourth Edition. Oxford: Oxford University Press, 2016. 2015 Tsai, Eugenie and Connie H. Choi. Kehinde Wiley: A New Republic. New York: Brooklyn Museum, 2015. Sans, Jérôme. Kehinde Wiley: The World Stage: France 1880-1960. Paris: Galerie Daniel Templon, 2015. 2014 Crutchfield, Margo Ann. Aspects of the Self: Portraits of Our Times. Virginia: Moss Arts Center, Virginia Tech Center for the Arts, 2014. Oliver, Cynthia and Rogge, Mike. Kehinde Wiley: The World Stage: Haiti. Culver City, California: Roberts & Tilton, 2014. 2013 Eshun, Ekow. Kehinde Wiley, The World Stage: Jamaica. London: Stephen Friedman, 2013. Kandel, Eric R. Eye to I: 3,000 Years of Portraits. New York: Katonah Museum of Art, 2013. Kehinde Wiley, Memling. Phoenix: Phoenix Art Museum, 2013. 2012 Golden, Thelma, Robert Hobbs, Sara E. Lewis, Brian Keith Jackson, and Peter Halley. Kehinde Wiley. New York: Rizzoli, 2012. Haynes, Lauren. The Bearden Project. New York: The Studio Museum in Harlem, 2012. Weil, Dr. Shalva, Ruth Eglash, and Claudia J. Nahson. Kehinde Wiley, The World Stage: Israel. Culver City: Roberts & Tilton, 2012. 2010 Wiley, Kehinde, Gayatri Sinha, and Paul Miller. Kehinde Wiley, The World Stage: India, Sri Lanka. Chicago: Rhona Hoffman Gallery, 2011. 2009 Wiley, Kehinde, Brian Keith. Jackson, and Kimberly Cleveland. Kehinde Wiley, The World Stage: Brazil = O Estágio Do Mundo. Culver City: Roberts & Tilton, 2009. Jackson, Brian Keith, and Krista A. Thompson. Black Light. Brooklyn: Powerhouse Books, 2009.
    [Show full text]
  • Jordan Casteel
    Jordan Casteel CASEY KAPLAN 121 West 27th Street September 7–October 28 In 2015, while in residence at the Studio Museum in Harlem, Jordan Casteel took to the streets with her camera and iPhone, photographing men she encountered at night. Adopting this process for the exhibition of paintings here, the artist presents herself as a flaneuse, capturing the vibrant life of the neighborhood without categorizing it for easy consumption. In these portraits, men appear alone or in groups of two or three, sitting in subway cars, on stoops, and standing in front of store windows. (Women are absent, save for images on a braiding salon’s awning.) Nonetheless, Casteel’s subjects are perfectly at home in their environments, often bathed in the fluorescence of street lamps, as in Q (all works 2017), where the eponymous subject gazes back, phone in hand, a Coogi-clad Biggie Smalls on his red sweatshirt. Casteel has a knack for detail where it counts: the sharp glint of light hitting the subject’s sunglasses in Zen or the folds of a black puffer jacket and the stripes of a Yankees hat in Subway Hands. In Memorial, a bright spray of funeral flowers on an easel sits over a street-corner trashcan—the pink bows attached to the easel’s legs feel almost animated, celebratory. The artist also possesses a wry humor: The pair of bemused men in MegasStarBrand’s Louie and A-Thug sit on folding chairs next to a sign that reads “Melanin?” Jordan Casteel, Memorial, 2017, oil on canvas, 72 x 56". Casteel’s paintings capture Harlem’s denizens beautifully, a community that has long shaped black American identity despite years of white gentrification.
    [Show full text]
  • AWOL ERIZKU New Flower | Images of the Reclining Venus
    PRESS CONTACT: Maureen Sullivan Red Art Projects, 917.846.4477 [email protected] AWOL ERIZKU New Flower | Images of the Reclining Venus Exhibition Dates: September 17 – December 12, 2015 Opening Reception: Thursday, September 17, 6-8PM NEW YORK, NY – The FLAG Art Foundation presents Awol Erizku: New Flower | Images of the Reclining Venus from September 17 – December 12, 2015, on FLAG’s 10th floor gallery. The exhibition marks the first presentation of the artist’s series of photographs taken in Ethiopia’s capital city of Addis Ababa in 2013. This compelling body of portraiture challenges the mythologized art historical role of the Venus and the odalisque1 in Western painting, setting these tropes against the reality of one of the largest concentrations of sex workers in Africa2. A ‘Conceptual Mixtape’ by Erizku, produced in collaboration with Los Angeles-based DJ SOSUPERSAM, will be released alongside New Flower | Images of the Reclining Venus, featuring music, recorded conversations, and spoken word expanding on the ideas of the exhibitions. Awol Erizku has created several bodies of work re-contextualizing iconic art historical images through his cross-disciplinary approach to sculpture, photography, music, video installation, and social media channels, to discuss identity and the politics of representation. Erizku states “Growing up going to the MoMA or the Met, and not seeing enough people of color (in the art or in the museum)…I felt that there was something missing. So when I was ready to make work as art, I wanted to comment and critique the art history, and make art that reflected the environment I grew up around…” The exhibition’s title New Flower is the English translation of Addis Ababa, where Erizku created the series, made possible by the Alice Kimball Fellowship Award from Yale University, where he received his MFA.
    [Show full text]
  • Art Historian Sarah Lewis on Why Black Artists Have Been ‘Over-Exhibited and Under-Theorized’
    (/) People (https://news.artnet.com/art-world/people) Art Historian Sarah Lewis on Why Black Artists Have Been ‘Over-Exhibited and Under-Theorized’ Lewis has literally changed the curriculum via the Vision & Justice Project. Folasade Ologundudu (https://news.artnet.com/about/folasade-ologundudu-1571), February 27, 2021 Sarah Elizabeth Lewis. (Photo by Stu Rosner) This article is part of a series of conversations with scholars engaged with Black art for Black History Month. See also Folasade Ologundudu’s interviews with Richard J. Powell (https://news.artnet.com/art-world/richard-j-powell- interview-1944754), Bridget R. Cooks (https://news.artnet.com/art-world/bridget-cooks-interview-1945749), and Darby English (https://news.artnet.com/art-world/darby-english-1947080). *** One cannot consider the present-day field of African American art history without mention of Sarah Lewis. The associate professor of the History of Art and Architecture and African and African-American studies at Harvard University (https://haa.fas.harvard.edu/people/sarah-lewis) whose groundbreaking Vision & Justice project has become a part of Harvard’s core art history curriculum is a force to be reckoned with. With her widely watched 2017 TEDX Talk (https://www.ted.com/talks/sarah_lewis_how_images_shape_our_understanding_of_justice) on visual imagery as a change agent for narratives of Black life, Lewis argued that the power of photography can affect our perceptions of justice, reshaping our understanding of society. She has served both on Obama’s National Arts Policy Committee and as a curatorial advisor for Brooklyn’s high-profile Barclays Center. In correspondence, Lewis shared the intimate family moments that propelled her into the fields of academia and art, the ways in which Black artists combat injustice through their work, and how the field of study—African American art and art history—has changed over the past two decades.
    [Show full text]
  • School of Art 2013–2014
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2013–2014 School of Art 2013–2014 BULLETIN OF YALE UNIVERSITY Series 109 Number 1 May 10, 2013 BULLETIN OF YALE UNIVERSITY Series 109 Number 1 May 10, 2013 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, or PO Box 208227, New Haven CT 06520-8227 national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and covered veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to the Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 203.432.0849.
    [Show full text]
  • School of Art 2015–2016
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2015–2016 School of Art 2015–2016 BULLETIN OF YALE UNIVERSITY Series 111 Number 1 May 15, 2015 BULLETIN OF YALE UNIVERSITY Series 111 Number 1 May 15, 2015 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
    [Show full text]
  • New Season, New Art: Fall Begins with 45 Notable Exhibitions Featuring Works by Black Artists by VICTORIA L
    http://www.culturetype.com/2017/09/30/new-season-new-art-fall-begins-with-45-must-see-exhibitions-featuring-works-by-black-artists/ New Season, New Art: Fall Begins with 45 Notable Exhibitions Featuring Works by Black Artists by VICTORIA L. VALENTINE on Sep 30, 2017 • 10:58 pm THE FALL EXHIBITION SEASON IS UNDERWAY and a wide variety of amazing shows featuring Black artists is on view. This month, exhibitions featuring major figures and emerging talents opened across the United States and at international venues. Kara Walker, Barbara Chase-Riboud, Jordan Casteel, Kahlil Joseph, Chris Ofili, Adrian Piper, and Jeff Sunhouse are presenting works in New York. Exhibitions featuring African American artists David Hartt, Senga Nengudi, and Jennifer Packer, are on view in Chicago. Packer is presenting her first institutional solo show at the Renaissance Society (above). Wangechi Mutu, Trenton Doyle Hancock, and Mickalene Thomas have shows in Texas. Also in September, Frank Bowling and Awol Erizku opened exhibitions in Los Angeles. Finally, after the publication of last year of “Four Generations: The Joyner Giuffrida Collection of Abstract Art,” the exhibition “Solidary & Solitary,” organized to further showcase the collection, opens Sept. 30 at the Ogden Museum of Southern Art in New Orleans. A selection of new exhibitions follows: MARTIN PURYEAR, “Untitled VI, State 1,” 2012 | © Martin Puryear, Courtesy Matthew Marks Gallery via The Print Center Martin Puryear: Prints, 1962-2016 @ Print Center, Philadelphia | Sept. 8-Nov. 15, 2017 It’s been 25 years since Martin Puryear has had an exhibition in Philadelphia. This presentation is dedicated to his prints and features woodcuts and etchings made in the 1960s and since 1999, and is being presented in conjunction with “Big Bling,” Puryear’s largest public art work, which is currently on view on Kelly Drive in Philadelphia.
    [Show full text]
  • Jordan Casteel Presskit in Her First Solo Museum Show, Jordan Casteel’S Humanizing Portraits Get Even Closer
    Jordan Casteel Presskit In Her First Solo Museum Show, Jordan Casteel’s Humanizing Portraits Get Even Closer JANUARY 15, 2019 by DODIE KAZANJIAN In 2012, Jordan Casteel and her mother drove across the country from Denver to New Haven, Connecticut, with a wooden easel in the back of a 2001 Subaru Outback. The easel was a gift from her corporate-lawyer father and soon made her a source of merriment among her savvier classmates at Yale’s School of Art, who knew that even figurative painters no longer used the rickety contraptions. But nobody worked harder or learned faster than “Jordy.” “I was like a sponge,” she tells me as we sit in her Manhattan studio, where I’ve come to visit her on a brisk fall day. “I just wanted to learn everything from everyone.” Her receptiveness went beyond the classroom, extending to her family, specifically her two brothers. “I knew them as poets and writers and skateboarders and full human beings,” she says, “rather than what could be perceived by the world as different.” She began making paintings of nude black men, and here her liberal-arts educa- tion “kicked in,” she says. She researched extensively, absorbing how the black male body had been sexualized and criminalized in this country. Her paintings would not show her subjects’ genitals, she decided. Skin tones merged pinks with browns, greens, and purples; perceiving blackness, her work implies, is not a simple matter. Above all, the emphasis is on individuality and humanity. In her large-scale portraits, subjects look you in the eye.
    [Show full text]
  • Jordan CASTEEL Photography SEBASTIAN KIM Styling MICHELLE CAMERON the YOUNG NEW YORK ARTIST TACKLES BLACK MALE STEREOTYPES by PAINTING PEOPLE SHE MEETS on the STREET
    22/ART Jordan CASTEEL Photography SEBASTIAN KIM Styling MICHELLE CAMERON THE YOUNG NEW YORK ARTIST TACKLES BLACK MALE STEREOTYPES BY PAINTING PEOPLE SHE MEETS ON THE STREET. CLOCKWISE FROM TOP LEFT: JAMES, 2015. OIL ON CANVAS; 72 × 56". COURTESY OF THE ARTIST AND THE STUDIO MUSEUM IN HARLEM, NEW YORK. JARED, 2016; OIL ON CANVAS; 72 × 54". PHOTO: ADAM REICH. COURTESY OF THE ARTIST AND THE STUDIO MUSEUM IN HARLEM, NEW YORK. TWINS, 2017; OIL ON CANVAS; 72 × 56". PHOTO: JEAN VONG. COURTESY OF RENNIE COLLECTION, VANCOUVER. TIMOTHY, 2017; OIL ON CANVAS. 78 × 60". PHOTO: JEAN VONG. COURTESY OF PRIVATE COLLECTION. Jordan Casteel applied to Yale’s MFA program on tions of black men as aggressors, the artist infuses her the self-proclaimed introvert. “I think if that discom- a dare from her mother. “She and I were googling subjects with tender contradictions, such as Miles and fort went away, I would find something else to paint. ‘best art schools,’ ” says the 28-year-old Colorado Jojo, a 2015 painting of a father and son with a toothy, For me, it’s about this kind of two-sided generosity.” native. “Yale popped up first. I applied with no stuffed monster propped in the son’s arms. The inti- For her solo show at New York’s Casey Kaplan gal- expectations.” The university responded favorably macy of the work can be traced to her painting process, lery in September, Casteel plans to unveil a new series to the young artist’s leap of faith, and three years which begins with photography.
    [Show full text]
  • Wallach Art Gallery to Open ​Uptown Triennial 2020 At
    WALLACH ART GALLERY TO OPEN UPTOWN TRIENNIAL 2020 ​ AT THE COLUMBIA UNIVERSITY LENFEST CENTER FOR THE ARTS NEW YORK, NY, September 23, 2020 – The Wallach Art Gallery at Columbia University is pleased to open Uptown ​ Triennial 2020, the second iteration in the series, presenting the work of contemporary artists in dialogue with the ​ Harlem Renaissance—a defining moment in American modernism and African-American cultural history—during its centennial year. The exhibition opens to Columbia students, faculty, and staff on September 24, 2020 (reservations ​ ​ are required) and with a 3D virtual tour for the broader community. Full public access to the gallery is expected later ​ ​ ​ ​ this fall. Reservations to the exhibition, links to the 3D virtual tour and updates on gallery access are available at wallach.columbia.edu. The exhibition closes on December 13, 2020. ​ Uptown Triennial 2020 is organized by Wallach director and chief curator, Betti-Sue Hertz. “The exhibition features ​ ​ ​ 25 artists whose works project a confidence in Black identity that reflects a quest for making visible emerging subjectivities that mine popular and historical iconographies,” said Hertz. Uptown Triennial 2020 includes works by artists Derrick Adams,Tariq Al-Sabir, Dawoud Bey, Sanford Biggers, ​ ​ Kabuya Pamela Bowens-Saffo, Jordan Casteel, Renee Cox, Gerald Cyrus, Priyanka Dasgupta & Chad Marshall, Damien Davis, Delano Dunn, Awol Erizku, Derek Fordjour, Hugh Hayden, Leslie Hewitt, Jennie C. Jones, Kahlil Joseph, Autumn Knight, Whitfield Lovell, Glendalys Medina, Rashaun Rucker, Xaviera Simmons, Dianne Smith, and LeRone Wilson. These 25 accomplished artists work in a wide range of media including painting, photography, video, sculpture, installation and performance.
    [Show full text]
  • Press 31 January 2021 What to Look Forward to in 2021 Culture Type
    Culture Type What to Look Forward to in 2021 Victoria L. Valentine 31 January 2021 What to Look Forward to in 2021: More Than 30 Exhibitions, Books, and Events Focused on African American Art The year ahead is rife with an expansive and diverse selection of exhibitions, books and other opportunities to engage with the work of African American artists. From Austin, Texas, to Brooklyn and Boston, a notable line up of solo museum exhibitions opening in 2021 is focused on Black female artists, including Emma Amos, Sonya Clark, Deana Lawson, Wangechi Mutu, Lorraine O’Grady, Christina Quarles, Deborah Roberts, and Alma Thomas. Exhibitions about “Grief and Grievance: Art and Mourning in America,” conceived by late curator Okwui Enwezor at the New Museum in New York; Blackness and architecture at the Museum of Modern Art in New York; “The Dirty South,” exploring the intersection of music and visual expression at the Virginia Museum of Fine Arts in Richmand; the first U.S. presentation of “Afro-Atlantic Histories” at the Museum of Fine Arts Houston; and the first comprehensive retrospective of David C. Driskell at the High Museum of Art in Atlanta, are among the most anticipated exhibitions of the year. Major forthcoming publications include “The Soul of a Nation Reader: Writings by and about Black American Artists, 1960–1980,” a complement to the landmark exhibition featuring more than 150 texts by artists and writers, and “Kara Walker: A Black Hole Is Everything a Star Longs to Be,” a massive 600-page volume shedding light on the artist’s personal archive of works on paper.
    [Show full text]
  • ART, CULTURE and the CITY TOC LALA Fall 2017.Qxp Layout 1 9/22/17 8:11 PM Page 18
    LALAmag.com | Fall 2017 “What I’m doing with my paintings is finding and synthesizing contemporary abstraction in what I see in the street... I hope people understand that it’s a reaction to the times that we are living in." — Awol Erizku TM ART, CULTURE AND THE CITY TOC LALA Fall 2017.qxp_Layout 1 9/22/17 8:11 PM Page 18 contents lalamag.com Fall Issue 2017 VESPA JEFF BY PORTRAIT Artist Awol Erizku in front of How That Make You Feel? PST... PST... LALA’s Guide to Pacific Standard Time: LA/LA 40 LALA LIST The must-see happenings and people, places and things to have on your radar right now. 43 ELEVATED WELLNESS Anna Lundgaard debuts an exclusive event series for the mind, body and spirit. 48 ERASING NEUTRA Dion Neutra is still fighting to preserve the family’s design icons in the face of demolition. 54 COASTAL SHUFFLE Garance Doré and musician Chris Norton left Manhattan behind for the creative inspiration of L.A. 56 SOCIAL STUDIES Ace Hotel’s Kelly Sawdon is all about pushing boundaries with her cultural curation for DTLA’s hotspot. 58 TIME WARP In an exclusive outtake from his new photo tome, Portraits of Artists, Manfredi Gioacchini captures Friedrich Kunath 60 in his lab. KILLER CROSSOVER Jacqueline Kiyomi Gordon and MNDR trace their path from their Bay Area warehouse days to their 62 most recent collaboration: Gordon’s first pop song. HEAD OF HER CLASS Philanthropist Rochelle Gores Fredston is using education to disrupt the cycle of generational poverty. 66 A HOTEL LIFE On the heels of a recent renovation at Venice's Hotel Erwin, Larry Bell shares his stories of his life at the beach.
    [Show full text]