The Studio Museum in Harlem Magazine Winter/Spring 2014 Studio Magazine Board of Trustees This Issue of Studio Is Underwritten, Editor-In-Chief Raymond J

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Winter/Spring 2014 Winter/Spring Magazine in Harlem Museum The Studio

The Studio Museum in Harlem Magazine Winter/Spring 2014 Studio Magazine Board Of Trustees This issue of Studio is underwritten, Editor-in-Chief Raymond J. McGuire, Chairman in part, with support from Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Rodney M. Miller, Treasurer Creative Director Teri Trotter, Secretary The Studio Museum in Harlem is sup- Thelma Golden ported, in part, with public funds provided Jacqueline L. Bradley Managing Editor by the following government agencies and Valentino D. Carlotti Jamillah James elected representatives: Kathryn C. Chenault Joan S. Davidson Copy Editor The New York City Department of Cultural Gordon J. Davis, Esq. Samir Patel Affairs; New York State Council on the Dr. Henry Louis Gates, Jr. Arts, a state agency; National Endow- Design Sandra Grymes ment for the Arts; Council Member Inez Pentagram Arthur J. Humphrey, Jr. E. Dickens, 9th Council District, Speaker George L. Knox Printing Christine Quinn and the New York City Nancy L. Lane Allied Printing Services Council; Manhattan Borough President Dr. Michael L. Lomax Scott M. Stringer; and New York Council Original Design Concept Bernard Lumpkin on the Humanities. 2X4, Inc. Tracy Maitland Dr. Amelia Ogunlesi Studio is published two times a year The Studio Museum in Harlem is deeply Corine Pettey by The Studio Museum in Harlem, grateful to the following institutional Ann G. Tenenbaum 144 W. 125th St., New York, NY 10027. donors for their leadership support: John T. Thompson Reginald Van Lee Copyright ©2014 Studio Magazine. Bloomberg Philanthropies Hon. Kate D. Levin, ex-officio Booth Ferris Foundation All rights, including translation into other Karen A. Phillips, ex-officio Ed Bradley Family Foundation languages, are reserved by the publisher. Ford Foundation Nothing in this publication may be Jacques and Natasha Gelman Trust reproduced without the permission of the The Horace W. Goldsmith Foundation publisher. Lambent Foundation Cover Image: Margaret A. Cargill Foundation Wanuri Kahiu Pierre and Tana Matisse Foundation Pumzi (video still), 2009 The Andrew W. Mellon Foundation Courtesy Focus Features Africa MetLife Foundation First Short Film Program Rockefeller Brothers Fund Inside Back Cover Image: Surdna Foundation Joe Minter Target Housewife, 1998 The Andy Warhol Foundation for Courtesy Souls Grown Deep Foundation the Visual Arts Joyce and George Wein Foundation Wells Fargo The Winston Foundation Letter from the Director

I’ve long been fascinated by the ways It’s no coincidence, then, that as in which Harlem exists as both a we begin a new year—fresh with a physical place and a space of imagi- new set of goals and dreams—the nation. Every street in Harlem holds Studio Museum will present three many stories—stories about what is exhibitions that take the imagination happening now, what happened in of a place and time as a central the past and what we hope will theme. The Shadows Took Shape, happen in the future. For centuries, our critically-acclaimed examination this neighborhood has sparked the of Afrofuturism, takes a look at the imaginations of people around the fascinating use of science fiction and world, including millions who have fantasy by artists determined to push never even had the chance to visit. the boundaries of what is possible. At the Studio Museum, we’ve Our eagerly anticipated Spring 2014 explored the broad reach of Harlem in exhibition, When the Stars Begin to the global imagination through a variety Fall: Imagination and the American of exciting programs. We have created South considers the lasting influence

Photo: Timothy Greenfield-Sanders exhibitions such as Harlemworld and of another iconic place in American books such as Harlem: A Century in geography, history and myth. We’re Images, challenged artists from around also thrilled to present Carrie Mae the world to interpret the neighborhood Weems: The Museum Series, an in Harlem Postcards and invited our art- exhibition in which one of the great ists in residence to view their surround- imaginations of our times (and the ings as a point of departure for their subject of a major retrospective cur- own artistic explorations. This fall, we rently on view at the Guggenheim) had the privilege of hosting First Lady questions, through a series of self- Michelle Obama and the spouses of portraits created since 2007, the international heads of state, where she role that museums and institutions referred to Harlem as a community across America and Europe have "infused with the kind of energy and played in shaping cultural myths. passion that is quintessentially As spring is a time for renewal American, but has also touched so and reinvention, we are continually many people around the world." imagining and reimagining what Forty-five years after our founding, we the Studio Museum is and can be. continue to treasure this institution’s Thank you for joining us on this role in igniting the imaginations of our exciting journey. visitors, young and old, local and inter- I’ll see you around—and defi- national, physical and virtual. nitely uptown.

Thelma Golden Director and Chief Curator Museum Features

What’s Up: Exhibition Schedule 5 Project Row Houses at Twenty 41

Introducing the 2013–14 Artists 6 Lauren’s London Seen 46 in Residence Artist × Artist: Lynette Yiadom-Boakye 50 Harlem Postcards Summer 2013 12 and Jennifer Packer and Fall/Winter 2013–14 Mind Matters: Conversations with 56 Carrie Mae Weems: 16 Arts & Minds Teaching Artists A World of Her Own Mothership Connections: Zoë Whitley 58 Spring 2014: When the Stars 20 in Conversation with Harold Offeh Begin to Fall Living History: Narratives of the South 61 Beyond Studio Jr.

In Memoriam: Albert Murray 23 ArtLooks: Keeping an Eye 64 on the Future Elsewhere 24 Coloring Page by Stacey Robinson 66 Studio Visit: Oscar Murillo 30 Kids Book Picks 68 A Beautiful Thing: Saya Woolfalk 33 Tote Bag DIY: Abstract Afrofuturistic Sculpture 70

Back to the (Afro)Future: 34 Neighborly Interventions: 72 Sci-Fi Film Picks The Laundromat Project

RAMM:�LL:Z��: The Armed Equation 36 Lesson Plan: Moments in Movement 74

My Harlem: Daniel Tisdale 39 Education in the Community: 76 Spotlight on Thurgood Marshall Academy Lower School Friends

2013 Joyce Alexander Wein 79 Artist Prize

Gala 2013 81

Members 85

Supporters 89

Membership Info and Form 93

Visitor Information 95

In Memoriam: Ann Jackson 96 Museum Features

What’s Up: Exhibition Schedule 5 Project Row Houses at Twenty 41

Back to the (Afro)Future: 34 Neighborly Interventions: 72 Sci-Fi Film Picks The Laundromat Project

RAMM:�LL:Z��: The Armed Equation 36 Lesson Plan: Moments in Movement 74

My Harlem: Daniel Tisdale 39 Education in the Community: 76 Spotlight on Thurgood Marshall Academy Lower School Friends

2013 Joyce Alexander Wein 79 Artist Prize

Gala 2013 81

Members 85

Supporters 89

Membership Info and Form 93

Visitor Information 95

In Memoriam: Ann Jackson 96 Winter/Spring 2014 4 Museum 5

What’s Up Exhibition Schedule Museum Winter/Spring 2014

Check studiomuseum.org for the latest on our exhibitions and programs

November 14, 2013–March 9, 2014 The Shadows Took Shape Radical Presence: Black Performance in Contemporary Art

July 18, 2013–January 23, 2014 Body Language

January 30–June 29, 2014 Carrie Mae Weems: The Museum Series

March 27–June 29, 2014 When the Stars Begin to Fall: Imagination and the American South

Always on View Harlem Postcards Glenn Ligon: Give Us a Poem Adam Pendleton: Collected (Flamingo George) Winter/Spring 2014 4 Museum 5

What’s Up Exhibition Schedule Museum Winter/Spring 2014

Check studiomuseum.org for the latest on our exhibitions and programs

November 14, 2013–March 9, 2014 The Shadows Took Shape Radical Presence: Black Performance in Contemporary Art

July 18, 2013–January 23, 2014 Body Language

January 30–June 29, 2014 Carrie Mae Weems: The Museum Series

March 27–June 29, 2014 When the Stars Begin to Fall: Imagination and the American South

Always on View Harlem Postcards Glenn Ligon: Give Us a Poem Adam Pendleton: Collected (Flamingo George) Winter/Spring 2014 6 Museum 7

Introducing the 2013–14 Artists in Residence

Organized by Dana Liss, Curatorial Intern

In October 2013, the Studio Museum welcomed Kevin Beasley, Bethany Collins and Abigail DeVille as the 2013–14 artists in residence. A core component of the Museum’s mission and history, the Artist-in-Residence program provides each artist with on-site studio space, a stipend and the opportunity to exhibit his or her work at the end of the year-long residency. Kevin Beasley creates sculptures, installations and sound works that are invested in the physicality of the body, objects and the space surrounding them. Bethany Collins examines the ambiguities of language, memory and identity in her painting. Abigail DeVille is a multidisciplinary artist who often uses found objects to explore material culture in urban settings. We asked Kevin, Bethany and Abigail to introduce their work and share a little bit about what inspires them.

Kevin Beasley I often consider what it looks like from the inside, as if to Born 1985, Alexandria, Virginia open the bag outwards really—spilling on your feet and seeping between your toes. Stupefied by how perceptive Kevin Beasley holds an MFA from Yale University (2012) one can be, I am humbled by this type of slippage that and received a BFA from the College for Creative Studies curls your stomach bile and how that fluid runs fervently— in Detroit (2007). Beasley creates sculptural installations still: It goes somewhere. Like an IV there is a transference composed of found materials and refuse. He also creates that I am enthralled by. Like passing ephemera from works in sound that are similarly invested in physical body to body and our hands rub and fingers graze. presence. Beasley’s works have been featured in recent Moving air, we can make eye contact. I am forever inter- exhibitions, including Fore at The Studio Museum in ested in approaching some type of sign/clue/reconcilia- Harlem (2012–13), Some Sweet Day at the Museum of tion of my relative distance to microcosms—equally so to Modern Art (2012) and An All Day Event, The End at outer space. It is all dense especially within its expanse. Danspace (2012). He will be participating in the 2014 The edges and ends of the body, the extremities, usually Whitney Biennial at the Whitney Museum of American Art. go first. The joints under this pressure of that density articulate a movement un-choreographed and impul- sively erratic—burst into the most form/full/generative realities. Like tearing a precious ligament into chewing gum or being spit at with your mouth open. Staking out in what is considered a vulnerable post. It fills your ears and places a hole in your throat—sinuses dripping and your head is heavy. Yet when I step back I notice this all happens in the corner of a room, curled up—breathing quietly. It takes place on the floor with a shirt and one shoe on. It is coated in red soil, or filled with foam, battened to provide comfort or crystallized with resin. It can wrap around a finger and I’ll press my lips against it. I like to meet halfway and find ourselves in conversation with our ears pointed—only then do I realize we are mal- leable/obscured versions of ill matter. Potentially illmatic.

Kevin Beasley Kevin Beasley Untitled (Cranial Brush), 2011 Untitled (husband skin), 2013 Courtesy the artist and The Butcher's Daughter Courtesy the artist Gallery, Ferndale, Michigan Winter/Spring 2014 6 Museum 7

Introducing the 2013–14 Artists in Residence

Organized by Dana Liss, Curatorial Intern

Introducing the 2013–14 Artists in Residence

Bethany Collins I am interested in the unnerving possibility of multiple Born 1984, Montgomery, Alabama meanings, dual perceptions and limitlessness in the seemingly binary. Drawing repeatedly allows me to Bethany Collins holds an MFA from Georgia State fully understand objects in space, while defining and University (2012) and a BA in Studio Art and Visual redefining my own racial landscape. Journalism from the University of Alabama (2007). For me, racial identity has neither been instantly Collins is a painter who focuses on dual perception formed nor conjured in isolation. Rather, identity entan- and multiplicity in the seemingly binary. Her works gles memory: actual and revisited, cultural and historical, have been exhibited in solo and group exhibitions at individual and collective. Through the dissolution of notable venues throughout the United States, includ- dichotomies and exploration of language, this work ing the Museum of Contemporary Art of Georgia and recalls moments in the formation of my racial identity the Hammonds House Museum. Collins was recently as black and biracial. And each reworked mark is yet accepted into the Viewing Program at The Drawing another attempt to navigate the binary paradigm of Center in New York. race in the American South. “White Noise,” my language-based series, begins with unsettling statements or probing questions and eventually ends with equally unsettled compositions of chalk on chalkboard. Through a slow and tediously deconstructive process, the resulting textual forms resemble the destructive path of a bomb, a cloud of hovering chalk dust, an astrological occurrence or, possibly, a field of white noise. As with my entire body of work, “White Noise” continues to evoke a longing for what author Rebecca Walker refers to in her autobiography as “a memory that can remind me at all times of who I definitely am . . . the black outline around my body that everyone else seems to have.”

Top Bethany Collins “Do People Ever Think You’re White?” III (from the “White Noise” series), 2012 Private collection

Bottom Bethany Collins "(Unrelated)" (from the “White Noise” series), 2012 Private collection Winter/Spring 2014 8 Museum 9

Introducing the 2013–14 Artists in Residence

Top Bethany Collins “Do People Ever Think You’re White?” III (from the “White Noise” series), 2012 Private collection

Bottom Bethany Collins "(Unrelated)" (from the “White Noise” series), 2012 Private collection Winter/Spring 2014 10 Museum 11

Introducing the 2013–14 Artists in Residence

Abigail DeVille I am an archaeologist looking for clues in contemporary Born 1981, New York, New York society for the infinite and eternal. In my work I am looking to reconcile two spatial relationships, the claustro- Abigail DeVille holds an MFA from Yale University (2011), phobic spaces of urban interiors and the infinite expanse where she received the Alice Kimball Traveling Fellowship. of the universe. Through the poetry of everyday experi- DeVille received her BFA from the Fashion Institute of ence and American history, I create black holes— Technology and recently completed a residency at the room-sized sculptures that speak to different strands in International Studio & Curatorial Program. Through brico- American society’s material culture. Black holes are lage, painting and sculpture, DeVille engages with mate- containers that are laden with forgotten information; rial culture through found objects. Her work straddles two the absence of light, power and knowledge; and the conceptual frames: the infinite expanse of the universe harbinger of historical inaccuracies. I use celestial forms and the claustrophobic space of the urban environment. to think about our place in history, which links us to the DeVille’s work has been in exhibitions at the New Museum, beginning of time. Garbage contains the material history Contemporary Arts Museum Houston, Bronx Museum of of the present and links to the past. For my time at the the Arts and Institute of Contemporary Art in Philadelphia. Studio Museum, I intend to create room-size installations that speak to the material culture of Harlem and its four- hundred-year history through the trash found in its streets today. There are many sites of contention in New York’s complex history. One site of interest is the African burial ground near East 126th Street and the Willis Avenue Bridge, where the Metropolitan Transit Authority has a bus depot. Another is the African-American community named Seneca Village, which existed in the 1820s in today’s Central Park. These sites hold information that is vital to understanding African-American culture, contribution and displacement through its communities in the early days of New York.

Abigail DeVille Abigail DeVille Haarlem Tower of Babel, 2012 Street Life: A Vortex (detail), 2012 Courtesy the artist Courtesy Pinchuk Art Centre, Kiev Photo: LaToya Ruby Frazier Photo: Sergey Illin Winter/Spring 2014 10 Museum 11

Introducing the 2013–14 Artists in Residence

Harlem Summer Harlem Summer Postcards 2013 Postcards 2013

Paulette Henk Corin Hewitt Lisa Oppenheim Justine Reyes Expanding the Walls participant, born 1996 Born 1971, Burlington, Vermont Born 1975, New York, New York Born 1978, Upland, California Fiorello H. Laguardia High School, Lives and works in Richmond, Lives and works in New York, New York Lives and works in New York, New York New York, NY Virginia and East Corinth, Vermont African Flag, 2013 Thank you, Thank you, Thank you, On Gratitude, 2013 Church of Mama, 2013 Untitled, 2013 This image is part of a series of photograms titled Church of Mama is a photograph of artwork I’ve This image was shot in late May 2013 on the corner of “On Gratitude,” in which I simply lay bags down on encountered many times while walking through the 125th Street and Adam Clayton Powell Jr. Boulevard. photographic paper, and allow the imprint of the bag streets of Harlem. Harlem is especially important to I was attracted to it as a collage of layered formal, politi- to be made as light passes through it. In the darkroom me as an artist because it is a hub of culture and cal, social and commercial histories. The monochrome I have created rich, deep colors and jewel-like tones architecture and is, by my own definition, a colorful images of Martin Luther King Jr., Adam Clayton Powell Jr., to create the feeling of a precious object and play on area of inspiration. The street vendors making livings Barack Obama, Abraham Lincoln and historic Harlem are the idea of turning trash into treasure. in Harlem sell these beautiful pieces of artwork that foregrounded by the vendor inside the cart and a vibrant This bag was found in Harlem, near Lenox Avenue may not have been recognized by the professional art image of a falafel sandwich. The image contains an abut- and 123rd Street. Growing up in New York, I’ve watched world. These artists work to produce ideas that some- ment of images and objects along with political idealism Harlem change throughout the years. Large chain times do not make it into museums, and are in return and commercial reality. I also like how the cart becomes stores are increasingly replacing locally owned busi- giving those walking by on the way to a work a quick a stoop for another vendor as he sells his various goods. nesses, and the bags that I have been collecting are art gallery show. There is much to be discovered in also disappearing with the influx of these corporate the art world, and it is a privilege to walk through the retailers. In an effort to “go green,” these bags are being streets of Harlem and encounter such beautiful pieces phased out of use, and slowly they will eventually dis- of work out in the open. appear from our daily lives. I want to create a record of these disappearing objects, which are so tied to American consumer culture. Winter/Spring 2014 1212 Museum 1313

Harlem Summer Harlem Summer Postcards 2013 Postcards 2013

Harlem Fall/Winter Harlem Fall/Winter Postcards 2013–14 Postcards 2013–14

Elia Alba Malik Gaines Zoe Leonard Julie Quon Born 1962, New York, New York Born 1973, Visalia, California Born 1961, Liberty, New York Born 1980, New York, New York Lives and works in Queens, New York Lives and works in New York, New York Lives and works in Brooklyn, New York Lives and works in New York, New York

Will I See Nina Simone Today?, 2013 Two Curators in the Workplace, 2013 My kindergarten class photo, 2013 Unit #2C, West 138th Street, 2013

Walking along 125th Street, you find many T-shirt ven- My work tends to look at social contexts, particularly insti- When I was invited to make a postcard for the Studio Whether they are for sale or just open to the public dors. Most of the shirts say “I Heart Harlem” or “Harlem tutions and the affective relations they house. When I Museum, I knew I wanted to do something about grow- for touring, otherwise private areas in Harlem to USA” or “Michael Jackson,” and there are plenty with the think of the Studio Museum, I think of a location, a mis- ing up in Harlem. I considered photographing the house which I have gained access sparked an interest in Obamas. This array, however, was completely different. sion, a space, a collection and, most importantly, specific I grew up in, or the library on West 125th Street where I investigating the present, past and future of these It containes many iconic images and slogans, and even people who have brought their subjectivities to the checked out so many books. But I kept coming back to spaces. From hidden courtyards and well-appointed a couple you wouldn’t associate with Harlem, such as project of the institution. Some of my best friends are my school pictures, in what they reveal of that time and townhouses to empty apartments, I sought to Che Guevara. What struck me was that I really wasn’t Studio Museum curators. When invited to make a Harlem the world outside their frames. document the spirit and character of these spaces looking at a T-shirt stand, but rather a brief and con- Postcard, my first thoughts were of genres of street pho- I settled on the photo from kindergarten, 1968. before time and change alter their landscapes. densed history, the cultural and political legacy of the tography and a kind of portraiture that presents Harlem As young children in the 1960s, we do not yet under- black community. From baseball’s Jackie Robinson, to as a situation. I decided to move that idea inside, into the stand what it means to have our picture taken. We are jazz’s John Coltrane, to singer Nina Simone, to televi- curatorial offices of the Museum, using my decade-long bemused, unfocused—our gazes drift off in different sion’s Good Times, these iconic figures symbolize a relationship with the institution as a vantage from which directions. Today I have a moment of sympathy for the community and draw countless tourists through Harlem, to view the invisible operations of affective labor. An office photographer, and wonder how he (or she? I doubt it) wondering “Will I See Nina Simone Today?” window to 125th Street connects the people to the loca- wrangled a class this large into formation. Our faces tion, the mission to the space, and sheds light on the lived are unperformed. We are gathered in front of this flag, relationships among the black art workers that animate a not yet knowing what it stands for, or what we would remarkable institution. come to think of it in time. Winter/Spring 2014 14 Museum 1515

Harlem Fall/Winter Harlem Fall/Winter Postcards 2013–14 Postcards 2013–14

Will I See Nina Simone Today?, 2013 Two Curators in the Workplace, 2013 My kindergarten class photo, 2013 Unit #2C, West 138th Street, 2013

Carrie Mae A World of Weems Her Own

by Franklin Sirmans

Carrie Mae A World of Weems Her Own

by Franklin Sirmans

Carrie Mae Weems’s work in photography and video since the 1980s cuts a wide, important swath across the discussion of contemporary art. One aspect of her artistic production that deserves greater attention is the performative nature of her work, encompassing staged sets to the insertion of her body in the photograph. The rich history of performance and its prevalence in art since the 1960s have become a dynamic vein of interest in the past few years, as museum departments devoted exclusively to performance and a plethora of exhibitions have come to the fore.1 Although her acting is done in front of a camera and not a live audience, Weems’s work represents a singular achievement and voice within the field. … In 1970, when she was seventeen, Weems went to San Francisco and joined Anna Halprin’s multiracial Dancer’s Workshop. Known for Carrie Mae Weems Untitled (Woman Standing Before avant-garde and experimental Commercial Billboard) dance, Halprin has worked with (from "The Louisiana Project" series), 2003 Courtesy the artist and such multidisciplinary artists as Jack Shainman Gallery, New York Trisha Brown, Yvonne Rainer, Merce Cunningham, and John Cage. While Weems’s interest then was cifically in those works in which In 1976 Weems moved to New York. almost thoroughly defined by dance, Weems is also the central subject or “Even as a girl of 14, I knew I was the open, experimental nature of performer, the actress. Even if she going to live in New York,” Weems Halprin’s workshop had a profound was born to be a dancer, the act of said recently.2 Having been given a effect that became evident only dancing taught her how to perform. camera for her twenty-first birthday later. As much as there is an innate Surely, her early experiences as a two years before, she enrolled in a facility for storytelling in Weems’s dancer gave her the nurturing aspect photography class at The Studio work, there is also a natural sense of practice to go along with a natural Museum in Harlem. The course and awareness of the body (her own sense for using her body to carry a proved decisive for her commitment Carrie Mae Weems The Louvre (from "The Museum Series"), body) that comes from a deeper range of emotions with subtle ges- to photography. Her community of 2006–present place than one that is learned—in tures that are frozen in the frame of friends and artist peers opened up Courtesy the artist and Jack Shainman Gallery, New York the work in general, and more spe- a still photograph. from Janet Henry and Dawoud Bey— Winter/Spring 2014 18 Museum 19 both teachers in the education her intimate relationship with the that I do it with my body.”5 In both Dreams Weems walked the studios department of the Studio Museum— male painter Diego Riviera. the photographs taken in front of of Cinecittà in Rome, famous as to a circle of artists including the classical structures in Rome and the main studios for Italian postwar photographers Anthony Barboza Dreaming in Cuba (2002) signaled in the Museum Series, Weems cinema. It is as if Weems is con- (in whose studio she assisted in another change in Weems’s style. stands like a monumental sculpture fronting the entire subject of mod- 1978), Ming Smith, Adger Cowans, Whereas the settings of the earlier to be reckoned and dealt with in ern and contemporary Italian film, and the older statesman Roy works were confined to single the confines of those structures she architecturally and historically. As is DeCarava. By 1978 Weems had rooms, and each panel of the series stares down. suggested by Weems’s artistic out- begun Family Pictures and Stories subtly differed, allowing the text to put to date, always pushing into (1978–84), her first real body of carry the story, Dreaming in Cuba In 2008 Weems made Constructing new and different paths, challeng- work, which she worked on for and The Louisiana Project (2003) are History: A Requiem to Mark the ing herself in order to challenge almost the next six years.3 much more cinematic in style—that Moment, in which her place as a her viewers, the artist continues to … is to say, they tell stories via multiple director took on a much more signifi- evolve. While her physical body as After the struggle and triumph of images and suggest sprawling narra- cant role. Drawing on archival film a performer within her work is an creating the Kitchen Table Series, tives since their geography is and photographic images, the work important part of her oeuvre, her Weems’s next projects—Sea Islands defined by architecture.4 In fact, they reenacts historic moments, such as concerns are larger than that of Series (1991–92) and Slave Coast do not need texts at all, since every “the tragedy of Hiroshima,” “the first women or blacks. In photography, and Africa (both 1993)—eliminated frame carries a narrative. The stories major blow” (John F. Kennedy and installation, and video, Weems the figure completely in favor of are told in vignettes, and each series his wife just before he is killed), roams, dreams, and helps us see landscapes. Though those land- evokes a time and a place in the past “the assassination of Medgar, Martin, the world beyond definition. scapes appear haunted, and location that has left a terrible stain on the Malcolm,” and “the capture of takes on an almost personified pres- present landscape—the sugarcane Angela.” Rather than playing a pri- 1. RoseLee Goldberg pioneered early ence, there is nothing but the spec- fields of Cuba and the stately man- mary role as a character in these discussions of performance as a category sions that slaves built in Louisiana. images, she used students at the unto itself. Through her annual project ter of lives lived. In 1997 Weems’s of exhibitions under the rubric Performa presence in the image returned in Both series continue to explore the Savannah College of Art and Design. every fall in various spaces in New York City, she continues to be the preeminent voice Framed by Modernism, a collabora- The Assassination of Medgar, Malcolm, terrain of the Afro-Atlantic. These students, who in the main had in the field. tive piece done with the painter and Martin (from the "Constructing History: not yet been born when these impor- A Requiem to Mark the Moment" series), 2006 2. Dawoud Bey, “Carrie Mae Weems,” Bomb Robert Colescott, who was nearly Courtesy the artist and Jack Shainman Gallery, With Roaming (2006) and the tant historic moments took place, 108 (Summer 2009), http://bombsite.com/ thirty years her senior. Colescott, New York Museum Series (2007–present), “through the act of performance . . . issues/108/articles/3307. Weems combined her interest in the [are] allowed to experience and to 3. Roy DeCarava (1919–2009), the American known for big, bold, brash, expres- photographer who collaborated with sionistic paintings about race, sex, structures of history (its monuments, connect the historical past of the Langston Hughes on the book The and American history, appears in the a T-shirt with his suspenders down which the artist contends and must museums, and other institutions) present—to the now, to the Sweet Flypaper of Life and the first with herself in the landscape. Now moment.” Constructing History is a African-American photographer to win a triptych as Weems’s foil. Gray-haired and no shoes: Is something else perform. To what extent does an art- Guggenheim Fellowship, was awarded and bearded, Colescott, the painter going on during this studio visit? ist’s “performance” determine the she is no longer acting but is func- series of multiple photographs—a the National Medal of Arts in 2006. in his studio with a painting in the Two artists coming to terms with reception of her art, and how will his- tioning as an omniscient observer format in which Weems has demon- Barboza, Smith, and Cowans, like Weems, in the mode of the Rückenfigur, the strated her mastery—and a video were heavily influenced by this master background, holds his head in one themselves and the perceptions of tory interpret that art? The same year, of photography. hand while a naked Weems leans a wider art world? How did they get Weems continued in the same vein trope identified with the early nine- excerpted from the action that took 4. The curator Andrea Barnwell Brownlee into a corner in the distance. Text at to a point where they reckoned with with Not Manet’s Type (1997), which teenth-century German painter place on the constructed sets. organized a Carrie Mae Weems exhibition Caspar David Friedrich, as can be The mise-en-scène of Constructing with these two bodies of work in 2004 the bottom of the paintings reads: themselves through the eyes of pictures Weems as a woman, an artist at the Spelman College Art Gallery in “certain social conventions”? Since contemplating her place in the world seen in Monk by the Sea, in which History represents Weems’s most Atlanta, Georgia. Seduced by one another yet bound by the work in the end is Weems’s, is of Édouard Manet, Pablo Picasso, the figure looks out into the land- complex video to date, and her work 5. Bey, “Weems.” certain social conventions You framed Colescott actually the model? He Marcel Duchamp, and Willem de scape, suggesting either a domi- in this medium is growing and has the likes of me & I framed you, But we had painted similar scenes, such as Kooning. In five pictures taken in a nance of the landscape by humans become more prominent since she Reprinted with permission from Carrie Mae Weems: Three Decades of Photography and were both framed by modernism & or the puny insignificance of human- made Italian Dreams in 2006, when Beauty Is in the Eye of the Beholder. bedroom, her room, the woman Video, ed. Kathryn E. Delmez (New Haven: even though we knew better, we con- As in most of Weems’s perfor- moves from standing in the first two ity in nature. In the Museum Series, she was a fellow at the American Yale University Press, 2012). Copyright © tinued that time honored tradition of mance-based work, an overall ambi- frames, to sitting propped against the Weems places herself before major Academy in Rome. 2012 Frist Center for the Visual Arts. arts institutions. She has said: “Much the artist & his model. guity means that each viewer per- bed, to sitting on the bed, and, finally, Franklin Sirmans is the Terri and Michael ceives the images differently. At the to lying on her back on the bed, of my current work centers on power As with Roaming, the subject matter Smooke Department Head and Curator of and architecture. . . . I’m trying in my and the psychological space of Contemporary Art at the Los Angeles County They are Weems’s photographs, but heart of this work is the visible pro- nude. The last frame carries a text Museum of Art. in them she portrays the ubiquitous cess of negotiation—with the mar- written over the surface of the image humble way [to] connect the dots, to Italian Dreams are far from the Carrie Mae Weems: The Museum Series model, a nude to be gazed on by ketplace, the system of criticism that embraces as a hero Frida Kahlo, confront history. . . . It’s essential African diaspora, Weems’s formative On view January 30–June 29, 2014 the male artist. Colescott is wearing that defines her and her art—with who held her own in art history and in that I do this work and it’s essential space in her artwork. In Italian Winter/Spring 2014 18 Museum 19 both teachers in the education her intimate relationship with the that I do it with my body.”5 In both Dreams Weems walked the studios department of the Studio Museum— male painter Diego Riviera. the photographs taken in front of of Cinecittà in Rome, famous as to a circle of artists including the classical structures in Rome and the main studios for Italian postwar photographers Anthony Barboza Dreaming in Cuba (2002) signaled in the Museum Series, Weems cinema. It is as if Weems is con- (in whose studio she assisted in another change in Weems’s style. stands like a monumental sculpture fronting the entire subject of mod- 1978), Ming Smith, Adger Cowans, Whereas the settings of the earlier to be reckoned and dealt with in ern and contemporary Italian film, and the older statesman Roy works were confined to single the confines of those structures she architecturally and historically. As is DeCarava. By 1978 Weems had rooms, and each panel of the series stares down. suggested by Weems’s artistic out- begun Family Pictures and Stories subtly differed, allowing the text to put to date, always pushing into (1978–84), her first real body of carry the story, Dreaming in Cuba In 2008 Weems made Constructing new and different paths, challeng- work, which she worked on for and The Louisiana Project (2003) are History: A Requiem to Mark the ing herself in order to challenge almost the next six years.3 much more cinematic in style—that Moment, in which her place as a her viewers, the artist continues to … is to say, they tell stories via multiple director took on a much more signifi- evolve. While her physical body as After the struggle and triumph of images and suggest sprawling narra- cant role. Drawing on archival film a performer within her work is an creating the Kitchen Table Series, tives since their geography is and photographic images, the work important part of her oeuvre, her Weems’s next projects—Sea Islands defined by architecture.4 In fact, they reenacts historic moments, such as concerns are larger than that of Series (1991–92) and Slave Coast do not need texts at all, since every “the tragedy of Hiroshima,” “the first women or blacks. In photography, and Africa (both 1993)—eliminated frame carries a narrative. The stories major blow” (John F. Kennedy and installation, and video, Weems the figure completely in favor of are told in vignettes, and each series his wife just before he is killed), roams, dreams, and helps us see landscapes. Though those land- evokes a time and a place in the past “the assassination of Medgar, Martin, the world beyond definition. scapes appear haunted, and location that has left a terrible stain on the Malcolm,” and “the capture of takes on an almost personified pres- present landscape—the sugarcane Angela.” Rather than playing a pri- 1. RoseLee Goldberg pioneered early ence, there is nothing but the spec- fields of Cuba and the stately man- mary role as a character in these discussions of performance as a category sions that slaves built in Louisiana. images, she used students at the unto itself. Through her annual project ter of lives lived. In 1997 Weems’s of exhibitions under the rubric Performa presence in the image returned in Both series continue to explore the Savannah College of Art and Design. every fall in various spaces in New York City, she continues to be the preeminent voice Framed by Modernism, a collabora- The Assassination of Medgar, Malcolm, terrain of the Afro-Atlantic. These students, who in the main had in the field. tive piece done with the painter and Martin (from the "Constructing History: not yet been born when these impor- A Requiem to Mark the Moment" series), 2006 2. Dawoud Bey, “Carrie Mae Weems,” Bomb Robert Colescott, who was nearly Courtesy the artist and Jack Shainman Gallery, With Roaming (2006) and the tant historic moments took place, 108 (Summer 2009), http://bombsite.com/ thirty years her senior. Colescott, New York Museum Series (2007–present), “through the act of performance . . . issues/108/articles/3307. Weems combined her interest in the [are] allowed to experience and to 3. Roy DeCarava (1919–2009), the American known for big, bold, brash, expres- photographer who collaborated with sionistic paintings about race, sex, structures of history (its monuments, connect the historical past of the Langston Hughes on the book The and American history, appears in the a T-shirt with his suspenders down which the artist contends and must museums, and other institutions) present—to the now, to the Sweet Flypaper of Life and the first with herself in the landscape. Now moment.” Constructing History is a African-American photographer to win a triptych as Weems’s foil. Gray-haired and no shoes: Is something else perform. To what extent does an art- Guggenheim Fellowship, was awarded and bearded, Colescott, the painter going on during this studio visit? ist’s “performance” determine the she is no longer acting but is func- series of multiple photographs—a the National Medal of Arts in 2006. in his studio with a painting in the Two artists coming to terms with reception of her art, and how will his- tioning as an omniscient observer format in which Weems has demon- Barboza, Smith, and Cowans, like Weems, in the mode of the Rückenfigur, the strated her mastery—and a video were heavily influenced by this master background, holds his head in one themselves and the perceptions of tory interpret that art? The same year, of photography. hand while a naked Weems leans a wider art world? How did they get Weems continued in the same vein trope identified with the early nine- excerpted from the action that took 4. The curator Andrea Barnwell Brownlee into a corner in the distance. Text at to a point where they reckoned with with Not Manet’s Type (1997), which teenth-century German painter place on the constructed sets. organized a Carrie Mae Weems exhibition Caspar David Friedrich, as can be The mise-en-scène of Constructing with these two bodies of work in 2004 the bottom of the paintings reads: themselves through the eyes of pictures Weems as a woman, an artist at the Spelman College Art Gallery in “certain social conventions”? Since contemplating her place in the world seen in Monk by the Sea, in which History represents Weems’s most Atlanta, Georgia. Seduced by one another yet bound by the work in the end is Weems’s, is of Édouard Manet, Pablo Picasso, the figure looks out into the land- complex video to date, and her work 5. Bey, “Weems.” certain social conventions You framed Colescott actually the model? He Marcel Duchamp, and Willem de scape, suggesting either a domi- in this medium is growing and has the likes of me & I framed you, But we had painted similar scenes, such as Kooning. In five pictures taken in a nance of the landscape by humans become more prominent since she Reprinted with permission from Carrie Mae Weems: Three Decades of Photography and were both framed by modernism & or the puny insignificance of human- made Italian Dreams in 2006, when Beauty Is in the Eye of the Beholder. bedroom, her room, the woman Video, ed. Kathryn E. Delmez (New Haven: even though we knew better, we con- As in most of Weems’s perfor- moves from standing in the first two ity in nature. In the Museum Series, she was a fellow at the American Yale University Press, 2012). Copyright © tinued that time honored tradition of mance-based work, an overall ambi- frames, to sitting propped against the Weems places herself before major Academy in Rome. 2012 Frist Center for the Visual Arts. arts institutions. She has said: “Much the artist & his model. guity means that each viewer per- bed, to sitting on the bed, and, finally, Franklin Sirmans is the Terri and Michael ceives the images differently. At the to lying on her back on the bed, of my current work centers on power As with Roaming, the subject matter Smooke Department Head and Curator of and architecture. . . . I’m trying in my and the psychological space of Contemporary Art at the Los Angeles County They are Weems’s photographs, but heart of this work is the visible pro- nude. The last frame carries a text Museum of Art. in them she portrays the ubiquitous cess of negotiation—with the mar- written over the surface of the image humble way [to] connect the dots, to Italian Dreams are far from the Carrie Mae Weems: The Museum Series model, a nude to be gazed on by ketplace, the system of criticism that embraces as a hero Frida Kahlo, confront history. . . . It’s essential African diaspora, Weems’s formative On view January 30–June 29, 2014 the male artist. Colescott is wearing that defines her and her art—with who held her own in art history and in that I do this work and it’s essential space in her artwork. In Italian Winter/Spring 2014 20 Museum 21

Spring When the Stars Begin to Fall: Spring When the Stars Begin to Fall: 2014 Imagination and the American South 2014 Imagination and the American South Organized by Thomas J. Lax, Assistant Curator

When the Stars Begin to Fall: Imagination and the American South queries the category of “outsider” art in relationship to contemporary black art and life. The various terms to describe “outsider” artists—folk, visionary, vernacular— are not only inadequate, but have been used as shorthand to proscribe a limited sense of regionalism and history to those categorized under these terms. Despite the different cultural reference points and contexts between black artists who are self-taught and those that are academically trained, there are sev-

eral points of contact that have recently emerged between these sometimes- Rodney McMillian distinct art worlds: In addition to an interest in performance and craft, many A Song for Nat (video still), 2012 Courtesy Susanne Vielmetter of the artists in the exhibition make use of everyday and found materials, and Los Angeles Projects Georgia Speller construct informal compositions that often reference specific sites and envi- Untitled, 1985 Collection Souls Grown Deep Foundation ronments. What’s more, the artists in this exhibition refer to the American South as both a mythological place of origin for African-American history and a contemporary, globally-inflected space. This exhibition grapples with what this projection of Southern-ness means for contemporariness—and what placing artists within the elastic geography of the South, real and imagined, reveals about the worlds these artists construct. Born throughout the United States, all of them make spaces or autonomous universes using the South as a point of departure—and sometimes an ultimate destination. Since the beginning of the twentieth century, artists of African descent have looked to and constructed the South as a site of origin and a place of continued possibility. Imbued with a sense of memory and newfound hope, the “South” is an idea that is at once a stand-in for history and a harbinger of restitution. Freighted in the cultural imagination with a sense of loss, a gothic sensibility and irrefutable past-ness, the South has nonetheless been conceived by artists as a futuristic stronghold in which the history of America’s historical wrongdoing might be reconciled. Borrowing its title from an African- American spiritual referenced by artist Romare Bearden and scholar W.E.B. Du Bois, When the Stars Begin to Fall alludes to the day’s dawn: a transition, a morning and mourning, an end and a new beginning. Rather than a survey or reconstruction of artistic practices from the South, When the Stars Begin to Fall creates its own topography, bringing together work, from 1970 to the present, by an intergenerational group of artists. The more than thirty artists in the exhibition include individuals both living and deceased who worked predominantly in the United States, and worked in a variety of artistic genres, media and disciplines. When the Stars Begin J.B. Murray When the Stars Begin to Fall: Untitled, c. 1978–88 Imagination and the American South to Fall includes both extant works and new works conceived specifically Courtesy Cavin Morris Gallery, New York On view March 27–June 29, 2014 for the exhibition. Situating the work within both the artists’ social worlds and Family of J.B. Murray and the ways in which their work has lived in the world, the exhibition asks: What happens when the world of fantasy enters reality? Winter/Spring 2014 20 Museum 21

Spring When the Stars Begin to Fall: Spring When the Stars Begin to Fall: 2014 Imagination and the American South 2014 Imagination and the American South Organized by Thomas J. Lax, Assistant Curator

by Kimberly Drew, Communications Assistant

from the library. When they landed black archetypes and insisted that in Harlem years later, they launched blackness transcended tradition. a lasting friendship. Finding solace in Murray’s writing created nuance in their like-mindedness, they grew a space of monolithic blackness. close over coffee dates, and soon His contrarian ideals unapologeti- began to discuss the “black aes- cally turned apathetic solidarity on thetic,” the blues and their roles in its head. For example, while many literary history. revered Malcolm X’s distaste of the The breadth of Murray’s roles was “house Negro,” Murray insisted on an ever-expanding. Though he is now alternative understanding of history. known primarily for his texts, he was He wrote, “as a general rule, the also an amateur photographer. In house slave seems to have brought fact, two of his photographs are held infinitely more tactical information in the collection of The Metropolitan from the big house to the cabins Museum of Art. Both images depict than any information about subver- the block between 131st and 132nd sive plans he ever took back.” streets at Lenox Avenue, and served In honoring Albert Murray, one Albert Murray during an interview at the as studies for Romare Bearden’s cannot underestimate his critique of Washington Hilton in Washington, D.C., May 24, 1974 iconic The Block (1971). Aside from the Black Arts Movement. We might Courtesy The Washington Post via aiding Bearden in his studies, Murray wince at his remarks about other Getty Images Photo: Craig Herndon was known to help the artist select black authors, until we understand titles for works, and often ghost- how he used blues as a foil for wrote for him. In 1978, Henry Louis romanticized tales of blackness. Gates Jr. asked Bearden to teach a In an interview in American Heritage lecture on African-American art at from 1996, Murray said, “We Albert Murray was born in 1916 in Yale University. Bearden suggested invented the blues; Europeans Nokomis, Alabama. An essayist, that Murray teach the class, and invented psychoanalysis. You invent critic, novelist and adviser, he dedi- when Murray declined the offer, what you need.”1 In Murray’s prac- cated his career to revealing how Bearden delivered lectures written tice, he exercised his need to cele- black culture and American culture by Murray anyway. brate bluesmen. In Stomping the are inextricably intertwined. His leg- Amid the Black Arts Movement, Blues (1976), Murray describes the acy includes defining the “blues aes- Murray took a route different from way that music has a “stylistic code thetic,” counseling Romare Bearden that of well-known figures such as for representing the most difficult and being Ralph Ellison’s right hand. Nikki Giovanni, Larry Neal and Amiri conditions, but also provides a strat- Murray’s name is almost synony- Baraka, who demanded black poems egy for living with and triumphing mous with the career of Ellison, his and a black world. Throughout his over those conditions with dignity, partner in consciousness. Their affin- literary career, Murray also critiqued grace, and elegance.” ity started with streams of date- black authors such as Richard Wright Representation, research and stamped library slips during their and James Baldwin, who he claimed audacity were the tenets for his college years. While the pair studied created a cliché view of black life. writing and the way he lived his life. at the Tuskegee Institute, they often In his acclaimed book The Omni- found each other’s names penned Americans (1970), Murray challenged 1. Tony Scherman, “The Omni-American,” into books they’d each checked out black nationalist rhetoric, dissected American Heritage, September 1996, 73. Winter/Spring 2014 22 Beyond 23 Beyond In Memoriam Albert Murray

by Kimberly Drew, Communications Assistant

Elsewhere Elsewhere

by Thelma Golden, Director and Chief Curator

Wangechi Mutu: A Fantastic Journey October 11, 2013–March 9, 2014 Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum Brooklyn, New York brooklynmuseum.org

Brooklyn’s own (by way of Nairobi) Wangechi Mutu is the focus of a knockout solo exhibition at the Dawit L. Petros: Sense of Place Former Studio Museum artist in resi- Dawit L. Petros Carrie Mae Weems: Three Decades Carrie Mae Weems Brooklyn Museum that comprises Barella & Landscape #3, Osbourne, Kansas, 2012 Untitled (Man and mirror) (from the “Kitchen October 24, 2013–April 13, 2014 dence Dawit L. Petros will have his Image courtesy the artist and the Museum of of Photography and Video Table” series), 1990 more than fifty pieces, ranging from Museum of Fine Arts, Boston first solo presentation at the Museum Fine Arts, Boston January 24–May 14, 2014 Copyright and courtesy the artist and the her signature large-scale collages to Art Institute of Chicago Boston, Massachusetts of Fine Arts, Boston. Petros’s travels Solomon R. Guggenheim Museum videos and never-before-seen draw- mfa.org around the world are carefully docu- New York, New York ings. Mutu’s hybridized female figures mented through photographs, guggenheim.org are seductive yet terrifying, entreating videos, sculpture and installation. viewers to consider the ways in which His personal experiences of displace- This has been an exceptionally busy of media—from photography and femininity is embodied and informed ment and immigration inform his and exciting time for our dear friend video to audio recordings and texts. by social, political and cultural forces. interest in capturing and preserving Carrie Mae Weems, who was recently The Studio Museum is also excited the essence of a given place through bestowed with a MacArthur to exhibit a suite of Weems’s photo- Wangechi Mutu The Bride Who Married a Camel’s Head, 2009 images—a “sense of place,” as the Fellowship (aka the “Genius Grant”)! graphs concurrently with the Image courtesy Susanne Vielmetter Los Angeles exhibition’s title suggests. The New York presentation of the Guggenheim’s exhibition, in addition Projects; © Wangechi Mutu Photo: Mathias Schormann Frist Center for the Visual Arts to the selection of her works on survey examines the artist’s career view in Radical Presence: Black over the last thirty years in a range Performance in Contemporary Art. Winter/Spring 2014 24 Beyond 25

Elsewhere Elsewhere

by Thelma Golden, Director and Chief Curator

Wangechi Mutu: A Fantastic Journey October 11, 2013–March 9, 2014 Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum Brooklyn, New York brooklynmuseum.org

Elsewhere Elsewhere

Trenton Doyle Hancock: 2013 Carnegie International Bared Bones: Ebb and Sore October 5, 2013–March 16, 2014 April 26–July 20, 2014 Carnegie Museum of Art Contemporary Arts Pittsburgh, Pennsylvania Museum Houston ci3.cmoa.org Houston, Texas camh.org An exciting season of surveys is already underway in Pittsburgh, Houston’s hopping! I’m super excited with more in store over the next few for two new exhibitions at the months here in New York! The 2013 Contemporary Arts Museum Houston. Carnegie International opened in In celebration of CAMH’s sixty-fifth October to rave reviews. The exhibi- anniversary, the six-part exhibition tion includes the work of Joseph Outside the Lines celebrates new Yoakum, South African photographer modes of abstraction in painting. Zanele Muholi and Henry Taylor Director Bill Arnig, Senior Curator (whose last appearance at the Studio Valerie Cassel Oliver (who organized Museum was in Body Language), Radical Presence) and Curator Dean and offers a robust programming Daderko will present two exhibitions schedule. The latest installment of each, based on different themes. For the Whitney Biennial is the last in the example, Black in the Abstract Part I: historic Breuer Building on Madison Epistrophy and Black in the Abstract Avenue and the first engaging three Part II: Hard Edges/Soft Curves (curated different curators (MoMA’s Chief by Cassel Oliver) feature Richard Curator of Media and Performance Mayhew, Sam Gilliam, Kianja Strobert, Stuart Comer, the Institute of

Trenton Doyle Hancock Rashid Johnson, Candida Alvarez, Contemporary Art Philadelphia’s Henry Taylor St. Sesom, 2006 members of AfriCOBRA (Kevin Cole, Associate Curator Anthony Elms, Huey Newton, 2007 Courtesy the artist and Collection of Martin and Rebecca Eisenberg; James Cohan Gallery, New York James Phillips, Frank Smith), 2012 Wein and Professor and Chair of the Courtesy the artist, Blum & Poe, Prize winner Jennie C. Jones, current School of the Art Institute’s Painting Los Angeles and UNTITLED, New York artist in residence Abigail DeVille and and Drawing Department Michelle many others. Grabner), who will select works for Outside the Lines Drawing is integral to 2007 Wein separate mini-exhibitions on three October 31, 2013–March 23, 2014 Prize winner Trenton Doyle Hancock’s floors. Current artist in residence Contemporary Arts singular, fantastical work, so it comes Kevin Beasley will be included along- Museum Houston as no surprise that a major examination side former artists in residence Whitney Biennial 2014 Houston, Texas of this part of his practice is coming to Terry Adkins and Dave McKenzie, March 7–May 25, 2014 camh.org light in his hometown of Houston! taisha paggett (whom you'll remem- Whitney Museum of American Art Candida Alvarez Heavily influenced by comics, mythol- ber from Fore), Dawoud Bey, New York, New York dadadahlia, 2005-08 whitney.org Courtesy the artist ogy and music, this collection of works My Barbarian, reaches from Hancock’s childhood HOWDOYOUSAYYAMINAFRICAN?, Taisha Paggett drawings to years worth of his sketch- Jacolby Satterwhite and a new collab- Decomposition of a Continuous Whole (performance still), 2009–12 books, collages and other ephemera. orative project with David Hammons. Photo: Scott Rudd Winter/Spring 2014 26 Beyond 27

Elsewhere Elsewhere

Ed Clark October 11, 2013–March 9, 2014 Art Institute of Chicago Chicago, Illinois artic.edu

Ed Clark, an early experimenter with shaped canvases, will have a solo presentation of his work at the Art Institute of Chicago, where he studied from 1947 to 1951. Like many black artists, Clark expatriated to Paris, where he pushed the boundaries of his painting practice, which came to incorporate sweeping brushstrokes of saturated pigments, collaged elements and irregular forms. This exhibition also com- memorates Clark receiving the Art Institute’s Legends and Legacy Award, an honor recognizing living African-American artists whose careers span fifty years or more.

Ed Clark Untitled, 1957 Courtesy the Art Institute of Chicago

Take It or Leave It: Institution, The first large-scale exhibition to exam- Fred Wilson We’re thrilled to announce the next Love and Loss in the Milky Way, 2005 Image, Imagery, Ideology ine, in tandem, two modes of produc- Courtesy the artist and Pace Gallery, venue for Radical Presence! February 9–May 18, 2014 tion that defined art made in the 1980s New York Hammer Museum and 1990s: institutional critique, the Radical Presence: Black Los Angeles, California strategy of considering the roles and Performance in Contemporary Art hammer.ucla.edu practices of museums; and appropria- July 24, 2014–January 4, 2015 tion, the practice of borrowing and Walker Art Center recycling imagery from sources others Minneapolis, Minnesota than the artists themselves. This genera- walkerart.org tion of artists—including Adrian Piper, Felix Gonzalez-Torres and Fred Wilson— sought to critique the power structures and systems of valuation within the art world and beyond. Their very important explorations still reverberate today. Winter/Spring 2014 28 Beyond 29

Elsewhere Elsewhere

Ed Clark October 11, 2013–March 9, 2014 Art Institute of Chicago Chicago, Illinois artic.edu

Ed Clark Untitled, 1957 Courtesy the Art Institute of Chicago

Studio Visit Oscar Murillo Studio Visit Oscar Murillo

by Naima J. Keith, Assistant Curator

When I met Colombia-born, London- for example, is a real-world refer- based artist Oscar Murillo at his ence, the meaning of which studio in northeast London on the extends into notions of privilege, last day of the Frieze Art Fair in access and the understanding of October 2013, he had just come the body in different social strata. from a Bikram yoga class. Unable to Murillo’s work displays an evi- complete those grueling hot yoga dent pleasure in making. The artist’s classes myself, I admitted that I hand is everywhere: in the mono- much prefer a glass of wine and a types he creates on his studio floor, good meal to exercise. We chuckled, in the hand-stitching that joins the acknowledging that both were panels of his canvases and in the needed after the openings, events cast-concrete globes that encom- and dinners surrounding a London pass studio rubbish. This recy- art fair. It is hard to believe that it cling—including every part of the had been a full year since I first met raw materials, including wrappers Oscar, well before the rousing art and broken fragments—is a way of market sales and just days before the redeeming refuse into material, opening of the Studio Museum’s Fore but the process also carries a pow- in November 2012. After I heard erful political charge. Physical pro- about the paintings in his solo proj- cesses and their wider societal ect with Stuart Shave Modern Art at significance in relation to labor the Independent art fair in New York, come back time and again in we arranged to meet uptown at the Murillo’s work. His insights into Studio Museum. I quickly learned labor and social groups are crystal- that Murillo’s work extends beyond lized in titles such as 145 hours I painting, but across a wide range of clocked in this week (2013) and media and techniques, including nothing gold can stay (2013). In printmaking, sculpture, installation, addition to the wider implications video and events. The materials of Murillo’s works, meaning devel- Murillo uses often inhabit his studio ops through the labor that goes for long periods of time, where they into making the various compo- accumulate traces from work under- nents that constitute the works, taken around them. This eventually through the chemical reactions that imbues the finished art works with a occur to unstable materials or sur- sense of time and labor. Murillo’s faces such as polished copper, work indirectly addresses social rela- and via the relationships between tions and privilege, things that are people involved in his events, obliquely reflected in his titles, such who share food, music and play. as his recent solo exhibition Dinner at the members club? Yes!! I’ll have a black Americano first pls (Carlos/ Oscar Murillo Ishikawa, 2013). Murillos’s use of Vita the problem of digesting something that’s bigger than you can handle? #1 (installation view), 2013 Coco coconut water packaging, Courtesy David Zwirner, New York/London Winter/Spring 2014 30 Beyond 31

Studio Visit Oscar Murillo Studio Visit Oscar Murillo

by Naima J. Keith, Assistant Curator

Studio Visit Oscar Murillo A Beautiful Saya Woolfalk Thing Tote Bag

While his paintings receive much attention, Murillo insists that his installations, such as the one for his latest show, Oscar Murillo: If I Was to Draw a Line, This Journey Started Approximately 400 km North of the Equator at South London Gallery, frame his paintings; one is sublimi- nally aware of the painterly elements in his installations. For his first major solo show at a British public institution, Murillo transformed the main gallery space into a studio-like environment, displaying stitched canvases, film, drawings, sculptures, tables and floor pieces made from masses of pulped Biro drawings. Upon seeing this gallery size installation, one is inclined to conceive of his practice as an archaeological study of personal and social identity, as explored through objects. Color, for example, is always carefully con- trolled, from the browns of plywood to the white of plaster pots and blue collars made from old tin cans. The overall effect is the attendant melan- choly of a crumbling ruin, an abandoned workplace. Murillo’s installations thus allow for the logic of the Oscar Murillo Pick one up for only $25 in This limited-edition bag, designed by artist Saya Woolfalk, features Chimera paintings to extend outward, and perla de oro, 2013 the Museum Store or at (2013), a tone-on-tone print of a bobbin lace–inspired pattern, and is avail- prevent the seeing of the paintings Courtesy David Zwirner, New York/London studiomuseum.org/shop able exclusively at the Museum Store! in precious or formal ways. Artist Saya Woolfalk is fascinated by human cultural and physical hybridity. According to Murillo, the paintings spreading outward into the real is of a process, just another way A master of mythology and anthropology, she creates a lens for larger come about with an abandoned, that qualitative judgments are harder of working. societal issues in a manner marked by her curiosity and observational skills. accidental congruity, or at least to make; it is not a question of how Woolfalk was an artist in residence at the Studio Museum in 2007–08, the illusion of it, as their realism is good an artist Murillo is, because Oscar Murillo (b. 1986, Colombia) lives and works in London. He completed a BA in fine art at the and has been featured in numerous Studio Museum exhibitions and perfor- dependent on the sense they’ve Murillo’s art just is. In placing his University of Westminster, London, followed by an mances, including New Intuitions: Artists in Residence 2007–08 (2008) and been formed by the impersonal paintings on the floor, Murillo seems MA in painting at the Royal College of Art, London. Recent solo exhibitions and projects include those The Bearden Project (2011–12), as well as in museums and galleries around hand of chance and contingent to be acting against his paintings’ at Isabella Bortolozzi, Berlin; Art Basel; Carlos/ the world. Her first solo museum exhibition, The Empathics, was on view at circumstance, the perception that status as expensive commodities, Ishikawa, London; MAMA Showroom, Rotterdam; the Montclair Art Museum in New Jersey from September 28, 2012, to January they are vulnerable relics that seem and instead emphasizes that the Rubell Family Collection, Miami; Serpentine Gallery, London; and Museo de Arte Moderno 6, 2013. She is currently working on a solo exhibition that will open at the to have been pulled directly from paintings are mere offshoots of a de Medellín, Colombia. He is represented by Chrysler Museum of Art in Norfolk, Virginia, in 2014. the street. The disadvantage of larger practice—just manifestations David Zwirner Gallery in New York and London. Winter/Spring 2014 32 Beyond 33

Studio Visit Oscar Murillo A Beautiful Saya Woolfalk Thing Tote Bag

Back to the Sci-Fi Flick Back to the Sci-Fi Flick (Afro)Future Picks (Afro)Future Picks

by Malaika Langa, Finance Manager

In celebration of The Shadows Took Shape, Malaika Langa selects her picks for sci-fi films reimagining the future through a black cultural lens.

Space Is the Place (1974) Pumzi (2009) The Last Angel of History (1996) Cosmic Slop (1994) The Spook Who Sat by Director: John Coney Director: Wanuri Kahiu Director: John Akomfrah Directors: Reginald Hudlin, the Door (1973) “This music is all a part of another This Kenyan sci-fi film contemplates From a desolate waterlogged land- Warrington Hudlin and Kevin Director: Ivan Dixon tomorrow.” The quintessential the world after water resources have scape to the future, Akomfrah links Rodney Sullivan “Ain’t it groovy to be a spy?” The Afrofuturist film, Space Is the Place been depleted. With minimal dialog, Robert Johnson’s Delta blues to This series of vignettes introduced CIA’s token black agent embarks on uses immaculate design, temporal Pumzi offers a stark environmentalist Parliament’s Mothership Connection by George Clinton tackles race rela- a course of military uprising by train- leaps and the music of Sun Ra and message about a future in which as a Data Thief shifts through time, tions, religion and domestic ing and recruiting youths from His Arkestra to transport the black nature is a memory. Pumzi is on view connecting fragments from history violence. the inner city of Chicago and waging race to outer space. In a nod to in The Shadows Took Shape. to the black experience. The Last a guerilla war against the Unites Ingmar Bergman’s The Seventh Seal Angel of History is on view in The States, resulting in an alternate (1957), Sun Ra wagers in a card Shadows Took Shape. black history. game, with an urban overlord called The Overseer, for black morality and the future of the race.

The Brother from Afro Samurai (2007) and Afro Born in Flames (1983) The Wiz (1978) Parliament Funkadelic: Stranger: Bernie Worrell on Earth Another Planet (1984) Samurai: Resurrection (2009) Director: Lizzie Borden Director: Sidney Lumet The Mothership Connection (1976) (2005) Director: John Sayles Creator: Takashi Okazaki “The women’s army appears to be Dorothy, played by Diana Ross, has Director: Brian Blum Director: Philip Di Fiore After crash-landing on Earth, Director: Fuminori Kizaki dominated by blacks and lesbians.” never been south of 125th Street The mothership has landed and Described as the architect of elec- the Brother, played by Joe Morton, Starring Samuel L. Jackson, with In a near future, ten years after the in Harlem until a blizzard blows her Parliament tears the roof off with tronic music, virtuoso keyboardist wanders through MCMLXXX music by RZA, this monochromatic War for Liberation, two pirate radio to the Land of Oz. With a Motown futuristic stage sets and music from and composer Bernie Worrell is Harlem, a fugitive from slavery anime series follows Afro Samurai stations narrate the fight for wom- soundtrack and all-star cast, this rei- another planet in this monster profiled in this documentary that on his own world. as he avenges the death of his father en’s equality and civil justice in this magining of the L. Frank Baum classic concert from 1976, taped at the details his groundbreaking impact and attains the Number 1 Headband. feminist work. places Oz in an urban cityscape con- Houston Summit. on music. Afro Samurai: Resurrection is the fol- nected by a yellow brick road. low-up feature film. Winter/Spring 2014 34 Beyond 35

Back to the Sci-Fi Flick Back to the Sci-Fi Flick (Afro)Future Picks (Afro)Future Picks

by Malaika Langa, Finance Manager

In celebration of The Shadows Took Shape, Malaika Langa selects her picks for sci-fi films reimagining the future through a black cultural lens.

RAMM:�LL:Z�� The Armed Equation

by Martha Scott Burton, Summer 2013 Curatorial Intern

He was born in Far Rockaway, Queens, but RAMM:�LL:Z�� (1960–2010) is frequently characterized as an alien artist or outer-galactic intercessory figure—an urban philosopher who touched down to wage war. He began by tagging the A train with a group of artists who painted in a style known as “East Village wild style,” an illegible and dynamic graffiti script originally derived from the Gothic script of medieval manuscripts. But he reached far into other media as well. There was the twelve-inch single “Beat Bop,” a hip-hop touchstone created in collaboration with K-Rob and featuring cover art by on-again-off-again friend Jean-Michel Basquiat. His nasal voice and rapping style became known as “gangsta duck.” And, by all accounts, he rarely left his apartment and studio—the “Battle Station”—without assuming one of his twenty-two cosmic characters: elaborate and sometimes mecha- nized full-body suits with science fiction overtones. It became increasingly difficult to differentiate these personalities from the “real” RAMM:�LL:Z��— he combined his varied artwork into one life-as-performance or self-mythol- ogizing expression of his linguistic conclusions. The explanatory coefficient of RAMM:�LL:Z��’s work is his all-encompassing deconstructionist-type dual philosophies of Gothic Futurism and Ikonoklast Panzerism, as outlined in his treatise Ionic treatise Gothic Futurism assassin knowledges of the remanipulated square point’s one to 720° to 1440° (1979). Questioning the dominant linguistic system, he believed that the symbolic codes of alphabet formation had been manipu- lated between the fourth and nineteenth centuries, and separated from their original verbal formation (phonetics). RAMM:�LL:Z�� sought to revise the role and deployment of language in society. A battle was raging Ramm:�ll:z��, circa 1984 between letters and any standardizations enforced by the rules of alphabet; Courtesy the Suzanne Geiss Company, 1 New York the enemy was the written word’s “history of oppression.” “How can a Photo: Arno Vriends government be structured straight using a symbolic code subconsciously

Opposite remanipulated and its symbols do not belong to the verbal formation. To my Ramm:�ll:z�� in costume knowledge societies and disease culture symbols have violated universal Courtesy the Estate of Carmela Zagari Rammellzee symbolic laws and short circuited the electromagnetic code of the Roman letter symbols and others used to build a word, the definition of a word to build a society and then a government and a future educational process to complete universal transit system and manipulate (blood system).”2 Winter/Spring 2014 36 Beyond 37

RAMM:�LL:Z�� The Armed Equation

by Martha Scott Burton, Summer 2013 Curatorial Intern

RAMM:�LL:Z�� The Armed Equation My Harlem Daniel Tisdale

Organized by Martha Scott Burton, Summer 2013 Curatorial Intern

Daniel Tisdale is a conceptual artist, educator, publisher and activist who works primarily with photography and performance. The Radical Presence artist, who founded Harlem World, an online journal that documents the rich cultural life of Harlem, reflects on the two things he loves the most— Harlem and art.

Crack Is Wack, Keith Haring (1986), Go Photo Studio / James Swing Low, Alison Saar (2007), 128th Street and Harlem River Drive: VanDerZee Studio (1940s), 122nd Street, between St. Nicholas I love, love, love this wall. I first met Lenox Avenue between 122nd and Avenue and Frederick Douglass Haring when I worked at Interview 123rd streets: What I love about Boulevard: This memorial sculpture Magazine in the 1980s; he and Andy Harlem is that the history is so of Harriet Tubman from 2007 by Alison Warhol were hanging out in a stair- immediate, right where you stand. Saar is one of my favorite works in well between 32nd and 33rd streets. In these studios, many visual tech- Harlem. The piece silently pulls you in, It is wonderful to have this mural in niques were employed using props, much like the roots that flow behind Harlem for everyone to experience. architectural elements and cos- Harriet Tubman, which seem to push tumes in the tradition of the and/or pull the back of her dress. Ramm:�ll:z��: The Equation The In response to such compounded misuse, RAMM:�LL:Z�� believed that Victorian and Edwardian eras. Letter Racers (installation view), 2012 Keith Haring Allison Saar Courtesy the Suzanne Geiss Company, Roman-type letters would arm and liberate themselves from the power Crack is Wack, 1986 Swing Low, 2007 New York structures of European language. He understood graffiti as the full evolution Courtesy NYC Department of Go Photo Studio Courtesy NYC Department of Photo: Matthu Placek Parks & Recreation Photo: Kimberly Drew Parks & Recreation of the Roman-type letter, and wild stylism as a subconscious derivative of Gothic text, a means by which the letter was re-resisting the dominant orders. His recently unearthed armored “letter racers” are a three-dimen- Works Progress Administration There are many more masterpieces sionalized revolution, sculpted from found objects and previously hung murals at Harlem Hospital Center through Harlem, north and south, from the ceiling in battle formation. It is difficult to tell which letters are 1. Fan Zhong (quoting Carmela Zagari (1930s), Lenox Avenue and 135th and river to river. What are your Rammellzee), “Alternate Universe,” W 41.3 which—they symbolically challenge the accepted standards and functional- Street: This collection of murals is favorites? (Mar ity of the twenty-six-letter alphabet. Aligning with many canonical just monumental, and includes 2012): 188. Afrofuturist works, RAMM:�LL:Z�� used language as a resistor, a liberator, 2. “Excerpts from Ramm:�ll:z��’s Iconic Treatise masterpieces from the Harlem of Gothic Futurism.” post.thing.net, accessed a technology to transcend the Digital Divide. Control the language, Renaissance by Aaron Douglas, September 19, 2013, http://post.thing.net/ control the discourse, control the power. Charles Alston, Vertis Hayes, Alfred node/3086. D. Crimi, Georgette Seabrooke, Works Progress Administration murals at Harlem Hospital Center Jacob Lawrence and many others. Photo: Kimberly Drew

Winter/Spring 2014 38 Beyond 39

RAMM:�LL:Z�� The Armed Equation My Harlem Daniel Tisdale

Organized by Martha Scott Burton, Summer 2013 Curatorial Intern

Winter/Spring 2014 40 Features 41 Features Project Row Houses at Twenty

by Ryan N. Dennis Organized by Thomas J. Lax, Assistant Curator

Project Row Houses (PRH) was established in 1993 by change and the potential for a more positive, closely-knit seven young African-American artists who wanted to see community. Lowe describes the architecture as remind- positive change in Houston’s historic Third Ward, where ing him of the paintings of artist John T. Biggers, who used they lived. It was a year for proactive social change: Artist- shotgun houses as symbols of the African-American activists James Bettison, Bert Long, Jesse Lott, Rick Lowe, cultural landscape throughout his work. Lowe saw that Floyd Newsum, Bert Samples and George Smith were in the site could provide a powerful and accessible mate- ongoing conversations about how to positively trans- rial link to the African-American past, while also creat- form the Third Ward community. The concept for PRH, ing a setting where the work of contemporary African- however, didn’t take shape until Lowe took a bus tour of American artists could be produced and experienced. Houston’s “worst” areas with a group of politicians, city The other inspiration was German artist Joseph Beuys, planners, artists and activists. The last stop on the tour whose concept of “social sculpture” helped Lowe realize was the corner of Live Oak and Holman streets. There, a the role creativity can play throughout a community, block of shotgun-style houses from 1930 at abandoned, empowering all its members to think like artists. its neighbors struggling with drugs and prostitution. Since 1993, PRH has worked with more than 250 art- One next to the other, the houses appeared to welcome a ists through its Public Art Program. It provides space for

Lovie Olivia Radcliffe Bailey Jr. Material-lies (installation view), 2013 Sacred Grace (installation view), 1995 Round 39, October 5, 2013–March 2, 2014 Round 2: Our Doors Are Open, Courtesy Project Row Houses, Houston April 22–September 16, 1995 Photo: Alex Barber Courtesy Project Row Houses, Houston Winter/Spring 2014 40 Features 41 Features Project Row Houses at Twenty

by Ryan N. Dennis Organized by Thomas J. Lax, Assistant Curator

Winter/Spring 2014 44 Features 45

Previous Page Valerie Piraino Jessica Vaughn Jesse Lott Kenyatta A.C. Hinkle Notations (Walls and Floor) Right-of-Way-Acquisition (installation view), 2013 The Drawing Room (installation view), 1994 Kentifrican Museum (installation view), 2012 (installation view), 2013 Round 39, October 5, 2013–March 2, 2014 Round 1, October 15, 1994–March 12, 1995 Round 36, March 31–June 24, 2012 Round 39, October 5, 2013–March 2, 2014 Courtesy Project Row Houses, Houston Courtesy Project Row Houses, Houston Courtesy Project Row Houses, Houston Courtesy Project Row Houses, Houston Photo: Alex Barber Photo: Eric Hester Photo: Alex Barber projects to respond to the changing needs of the Third mous individuals who had once dwelled in the site’s houses Round 39: Looking Back, Moving Forward will be on view from October 5, 2013 through Ward community, explore the site and history of PRH and by directly drawing on the original walls, offering viewers March 2, 2014. Participating artists include Jamal Cyrus, Troy Gooden, Lovie Olivia, Valerie Piraino and Jessica Vaughn. The Round is curated by Ryan N. Dennis. Look- the historic Third Ward, and challenge traditional modes a glimpse into a forgotten but invaluable history. These ing Back, Moving Forward invited artists to examine PRH, its site and its 20 years of artistic production. Twice a year, the Public Art Program Rounds are just two examples of the many rich projects of history. Participating artists engaged with the PRH Archive, using its contents invites seven artists to create and curate site-specific instal- that have emerged there in recent years. as a springboard to create site-specific installations that touch on issues of place, memory, architecture and production. Embracing photography, audio, sculpture lations in the Art Houses located on Holman Street. These Art and creativity have always been the driving forces and performance, the installations will investigate the ways in which PRH provokes installations, known as “Rounds,” are sometimes curated for PRH as it strives to respond to issues and concerns meaning on local and national levels. As a project centered on dialogue and collabo- thematically, but at other times allow artists space to create voiced by the Third Ward community. In response to ration, Looking Back, Moving Forward aims to deepen community relationships and use the PRH Archive as a forum for addressing neighborhood shifts that are reshap- in very individualized ways. In 2008, for example, multime- the most pressing needs, PRH initiated an Arts Education ing behavior and understanding both inside and outside the Third Ward. dia artist Terry Adkins curated Thunderbolt Special: Program, the Young Mothers Residential Program

The Great Electric Show and Dance After Sam Lightnin’ (YMRP) and an affordable housing program (Row House Ryan N. Dennis joined Project Row Houses as the Public Art Director in October 2012. Hopkins to commemorate the life of and art of blues musi- Community Development Cooperation) between Prior to moving back to Houston, she worked at the Museum for African Art as Travel- cian Sam “Lightnin’” Hopkins. The Round showcased 1995 and 2003. ing Exhibition Manager, working on exhibitions including El Anatsui: When I Last Wrote to You about Africa, Dynasty and Divinity: Ife Art in Ancient Nigeria and Jane Alexander: Terry Adkins music, performance and video, and included installations PRH is still growing. It has expanded from the original Surveys (from the Cape of Good Hope). She received her MA in Arts and Cultural Manage- Upperville (installation view), 2008 by James Andrew Brown, Sherman Fleming, Charles Gaines block and a half to six blocks, and from twenty-two houses ment from Pratt Institute, where her research focused on the role of the artists as Round 29: Thunderbolt Special: The Great Electric Show and Dance After Sam Lightnin’ and George Smith. It highlighted Hopkins’s contribution to forty properties, including twelve artist exhibition and/ administrators and cultural producers through residencies and collaborative programming. Prior to that, she worked as a community organizer and Curatorial Assistant at Hopkins, October 11, 2008–March 1, 2009 Courtesy Project Row Houses, Houston to blues and the Third Ward, and ultimately compelled or residency spaces, seven houses for young mothers, office The Menil Collection in Houston, Texas. the city of Houston to recognize Hopkins with a historic spaces, a community gallery, a park, low-income residential plaque on PRH’s site. In 1995, artist Whitfield Lovell took a units and commercial spaces. As PRH moves forward, it different approach to utilizing the history of the art houses, aims to support and encourage interventions that extend choosing to create a space that memorializes and honors beyond the Art Houses, incubations and robust adult pro- the ancestors. Lovell’s installation, entitled Echo (1995), gramming that uphold the mission of PRH. used archival photographs to tell the story of the anony- Winter/Spring 2014 44 Features 45

by Lauren Haynes, Assistant Curator

In October 2013 I traveled to London for the first time. It was a busy time for art in the city and I was able to see works at both Frieze London, an annual art fair devoted to contemporary art, and 1:54, the first contemporary African art fair. I also visited several museums and galleries and saw a good number of pieces by artists whose work we’ve shown at the Studio Museum. It was also a great opportunity to check out some new and emerging artists and get a feel for the contemporary art scene across the pond. Here are some of my photos and the exciting things I saw. Winter/Spring 2014 46 Features 47 Lauren’s London Seen

by Lauren Haynes, Assistant Curator

Spectators in front of Mark Bradford’s Receive Hurvin Anderson Calls on Your Cellphone from Jail, 2013 1st Feb 71 (detail), 2013 Photo: Lauren Haynes Courtesy Thomas Dane Gallery, London

Brixton Art

I visited Brixton, an area with a large community of I saw a Kara Walker exhibition at the Camden Arts people of African and Caribbean descent. Brixton Centre, which featured recent works, including large Market has many parts, including street markets, shops graphite drawings, a video installation and silhouette and Brixton Village, a covered area with a lot of stores installations. Emerging artist Oscar Murillo’s work and restaurants where I spent a lot of time. Many of the was featured at the South London Gallery in his first shops sell African and Caribbean goods, and the restau- U.K. solo exhibition. At galleries across London, I saw rants feature cuisines from around the world—including new artwork by Hurvin Anderson, Mark Bradford and a small Colombian place that had really delicious food. Kehinde Wiley, as well as a two-person exhibition featuring the work of two former Studio Museum artists in residence, Njideka Akunyili and Simone Leigh. London Eye Sometimes it is hard to truly see art at art fairs because of the crowds, but they can still fun experi- I stayed in Southwark, home to the Tate Modern and other ences. It was lovely to run into so many Studio Museum great sites, including Shakespeare’s Globe Theatre, the friends, including former interns such as Zoë Whitley Dulwich Picture Gallery and London Bridge. The London (cocurator of The Shadows Took Shape), artists such as Eye, in nearby South Bank, is the tallest Ferris wheel in Lynette Yiadom-Boakye and many Studio Museum Europe. Installed in 1999, it is one of the city’s most popu- supporters. Fairs also allow for new discoveries and lar tourist destinations. The area around the London Eye chances to see new work by artists at various points is full of street performers and artists—it felt like many of in their careers. On this trip, I saw new works by Terry the popular tourist spots in New York. Adkins, Lorna Simpson, Murillo, Yiadom-Boakye and Romuald Hazoumè, among many others.

I really enjoyed getting to know London and seeing what the art scene there has to offer.

Previous Photos: Lauren Haynes Hurvin Anderson Top row, third image: Mark Bradford, Palm study iii (detail), 2013 courtesy White Box, London Courtesy Thomas Dane Gallery, London Bottom row, third image: Romuald Hazoumè, courtesy October Gallery, London Winter/Spring 2014 48 Features 49

Spectators in front of Mark Bradford’s Receive Hurvin Anderson Calls on Your Cellphone from Jail, 2013 1st Feb 71 (detail), 2013 Photo: Lauren Haynes Courtesy Thomas Dane Gallery, London

Brixton Art

I really enjoyed getting to know London and seeing what the art scene there has to offer.

One of the best parts of working at the Studio Museum is the opportunity to have amazing conversations with artists. I became familiar with Lynette Yiadom-Boakye’s work during her 2010–11 exhibition Any Number of Preoccupations and had the chance to learn even more when she was the inaugural participant in our program Studio Lab. Jennifer Packer came to the Museum as a 2012–13 artist in residence, and became a regular visitor to the Communications office, stopping by to chat on her way to refill her coffee mug. As I got to know Packer, I couldn’t help but notice the similarities between her and Yiadom-Boayke, not just in the most immediately obvious way— they are both women artists of African descent painting the body—but also because they share a truly deep engagement with the complex and complicated history of people painting people. And they both really, really love painting. I was honored to introduce them to each other and sit in on a lively conversation, which is excerpted here. Thanks to both Yiadom-Boakye and Packer for participating, and to Packer for preparing this excerpt.

—Elizabeth Gwinn, Communications Manager

Jennifer Packer: I’ve had many Lynette Yiadom-Boakye: For a long JP: I see the act of painting as being conversations about your work, and time I haven’t thought of my work as in the forefront, so portraiture people always express the simi- portraiture, and I don’t think of yours becomes an arbitrary label. When I larities they have found between our as portraiture either. I tend to think think of your work, I think of John paintings—first and foremost the a portrait is something very formal Singer Sargent’s paintings from idea of making a portrait. How do and specific, somehow, to a time and Venice or even Willem de Kooning— you talk about your relationship to a purpose—done for some practical the sort of unidentified bodies, with a portraiture? reason. There are people who con- sense of personhood that is attached founded that somehow, like the por- to location. traits that Francisco Goya did for the Jennifer Packer Spanish royal family. They weren’t Ivan, 2013 Courtesy the artist portraits. They were versions. Winter/Spring 2014 50 Features 51 Artist × Artist Lynette Yiadom-Boakye and Jennifer Packer

—Elizabeth Gwinn, Communications Manager

LYB: I spent a lot of time looking But I never say fetish. I always say at work that made sense to me on sensuality. I get from your paint- a purely painterly level, not really ing the sensuality of it, seeing that looking at the subjects. I looked at purple melt, he’s melting into the everything from Mark Rothko to surroundings and then there’s this Walter Sickert, their use of colors, defined foot—there’s almost a light and composition. That was wrinkle over the face that’s purely part of the reason it didn’t make that painterly and you don’t read him much sense to me to work with por- as being wrinkled but you read it traiture and have people sit for me, as the language of paint. We usu- because then it would become more ally get drawn into interesting but about that and not the act of painting. one-sided conversations about I think about the Sargent painting Dr. identity and placing us in the work. Samuel Jean Pozzi at Home [1881]. But what I want to know is the thing To me that painting is about how that makes you want to look at you make the color red work. paintings, disappear into them. You remember the materiality of JP: Some people don’t like to hear paint, and that to me is so much painters talk about working in such a what this is about. In a way, I feel practical and formal way, seemingly like I saw my subject matter a long outside of a conceptual framework. time ago, and I thought “damned if I do, damned if I don’t.” You make LYB: I generally finish the work very peace with certain readings of the quickly. So, in a way, I often end up work, questions and being pigeon- setting myself a kind of task of sorts, holed. More recently there’s this a problem to solve for the day. It’s question, “Why is everyone black?” often something that’s really simple The very simple answer is “Well, and practical and formal. Nobody what else would they be—black wants to hear that, but that’s what isn’t ‘other.’” It isn’t an odd detail. drives me. I talk about it in that way because those are concepts. What JP: I feel those questions come sets the paintings apart, somehow, regardless of how we represent are these touches. There is this sense bodies, those questions of a black of what you should be talking about, Jennifer Packer Lynette Yiadom-Boakye experience articulated in the work. that you have to attach very unnatu- Photo: Paul Mpagi Sepuya Courtesy the artist and I’m interested in a shared psycho- Jack Shainman Gallery, New York ral explanations to painting in order Photo: Marcus Leith logical experience in your work, to make it more. There are things I but not necessarily in a racialized want to happen conceptually that of insane conversations I had with ends—there’s still a sense that just LYB: Often that’s very deliberate. value, particularly some of the dark manner. I feel an emotional solidar- wouldn’t happen without the paint- my parents and my brothers as I was because a course ends doesn’t mean These are identities, but I think it paintings where the background ity between the works, how you ing know-how. growing up. There’s a way of thinking you’re ready. really goes beyond that. That’s why feels to be of the figure. It’s as if the perhaps free yourself to be repeti- I had developed by the age of nine I’ve used the term “super human.” body has the potential to emerge tious and make paintings that JP: Thinking about Goya, do you that is still with me now in terms of JP: There’s something like an idea There is a place for the personal and from the space of flesh itself. look similar. see yourself as being part of painting how I see my world, how I think or of ripening that I think is a lifelong some of the resonance in the work lineage? I’m thinking about the idea how I place things. Like nightmares endeavor. Painting isn’t always in the is the not-knowing. One of the rea- LYB: The abstraction is always LYB: That partly has something of a painting inheritance or a family I had as a child—if I look at some forefront of how we imagine or expe- sons I made a conscious decision not there. For me, and definitely for to do with purpose, signature and portrait, that you might be part of of my paintings I can see images of rience the work. I like the idea that to work from people I know is to get you, the process of painting is practicality. Certain works encap- that legacy? those nightmares as if they’ve never your figures don’t have identities, but around this idea of objectifying. building something out of colors sulate my practice quite well, so left me. I still go to the studio and they’re not impossible beings. There and marks. Often the figure doesn’t they tend to recur. Works have been LYB: I’m fascinated by history, but I make the same mistake in a painting is a definite tenderness in how the JP: Perhaps the body would be a arrive until the end, until I’ve put revisited many times and have a dif- never really think in terms of placing that I made in a drawing when I was faces are painted at times. It has the stand-in for just another being, not in all this history, groundwork ferent kind of punctuation. There myself in that. For me, painters are as eleven. When I think about training appearance of being a really intimate simply “blackness.” I like consider- and mapping. There’s something was something about that repeti- much of an influence as all the kind as an artist, I think it never really and personal thing. ing your color as relating to internal about oil paint, a slight fetish to it. tion that took me to another way Winter/Spring 2014 52 Features 53

of thinking—thinking through the like you’re moving forward. I think LYB: Yes, it is a moving target, but I senses or thinking out feelings, and that’s why I love to look at work that suppose I’ve never been that inter- allowing that to govern the work. is generous in some way because I ested in other artists’ masterpieces. feel like I’m always going to find it I’m often more interested in the JP: I think a lot about the privilege difficult. I think that’s all you can ever whole, the whole body of work, the of the gaze, the eye that looks upon really hope for—that there is a cer- whole journey. Recently there was the work with license to see every tain resonance. And then tomorrow an Édouard Manet show in London corner, to know all within a painting. perhaps that resonance will shift. and the work was just very human, I’m invested in the failure to connect and very full of flaws. I think those the gaze, as if to say, “this life is not of JP: We’ve both talked about throwing flaws are masterly. Sickert spoke very your life.” What is the removal of the paintings away. So we could discuss disparagingly about that whole genre direct gaze in some of your work? those discarded works as potential of what he called “drawing room failures. I don’t like to talk about fail- painting.” All his subjects were hook- LYB: It was about intimacy within ure as a real possibility without talk- ers and pimps and drunks. That’s why the painting. I was trying to see how ing about success in the same way. I think he really shifted my under- imperative that gaze is and what hap- A painting can have resonance—not standing of what painting was for. pens when you remove it altogether. on a scale of one to ten—this is an He was so much about a vision, and I felt that it made them much more eight and hopefully the next one will what’s so visionary about this work introspective, an inward-looking be a nine, and then when you’re fifty is that you look around and under- environment. It took a long time for years old, it’ll be a ten. But look- stand the world or the life around me to feel comfortable having the ing forward to the moments when you. You interpret it in the artwork, figure looking forward because I felt you’ve made something that you are and whatever it has to be, it will be. like somehow it wasn’t enough. astounded by. It’s not about becoming mannered or elegant. It’s about doing something JP: I feel like painting is a really medi- LYB: I think that is a very personal that only you can do, frankly; regard- tative process, and the value of that thing and it’s never about massive less of how people might read it or can’t necessarily be assessed immedi- success. It becomes incredibly liber- compare it to other things, it’s a very ately. It’s sometimes difficult to say, ating to accept that the whole point clear filtering or very clear rendering “Okay, how has it changed me? How of the act of making art is striving of the world that you know and the have I changed through the process for something. If I ever felt like I’d world that you inhabit and the life of making?” Our social structure is so gotten there, I’d stop because there’s that you lead, the thing that you are. much about justifying your energy, nowhere else to go because I’ve done what productivity and purpose are. the painting of my life. Thinking So I think a lot about mastery. I don’t about a lifetime of painting and work, draw so I can become just slightly there will be peaks and troughs, and better at drawing. I’m invested in the you never really get there anyway. idea of making something extraor- So I don’t like to think in terms of dinary and using mastery as a way to masterpieces or mastery in that way. break through to that, potentially. The mastery you’ve been develop- I’m interested if you think of your ing will take shape in whatever way practice in that way. it needs to. I suppose that’s part of the good thing for me about letting LYB: I’m ambitious within my work, things go. but that ambition is not one where I’m setting myself up for a fall. I’ve JP: I like thinking of mastery as a never looked at another artist’s work moving target—I think there’s a and thought, “I want to get to that, window of time for paintings, and a or I want to be as good.” I never painting finished one day couldn’t believe in looking sideways, and have been made the day before or Lynette Yiadom-Boakye No Pleasure for Machinery (detail), 2013 when I talk about ambition, I’m talk- after. I think of mastery as being Courtesy Corvi-Mora, London and ing about making any sense of feeling time-specific. Jack Shainman Gallery, New York Winter/Spring 2014 54 Features 55

by Shanta Lawson, Education Manager

The teaching artists who have led sessions of Arts & Minds over the last four years have expertly created experiences that are carefully and thoroughly planned, yet allow for open-ended gallery conversations and art-making. Arts & Minds, a program designed for people with Alzheimer’s disease and other forms of dementia, and their caregiv- ers, yields magnificent works of art created by its participants, including acrylic paintings, ink drawings on paper, found-object sculptures and mixed-media collages. Workshops generally focus on a specific medium or process, and provide an opportunity for participants to explore the possibilities and nuances of a particular art material. At the end of each session, participants can choose to share their work with the group and talk about their creative decisions. The teaching artists here offer poignant reflections on their approach to the art-making workshops, and how the program has impacted them.

“I try to select motivations and materials that will be “I launch the activity by asking an open question, inviting accessible to all participants and reach them at their everyone to explore what the materials can ‘say.’ Art is a comfort level . . . I find myself dancing, singing, connect- language we can all speak . . . The quality of the conversa- ing participants’ comments to each other . . . I have also tion in the galleries and the energy and diversity of the noticed that working with the participants of this pro- participants is remarkable. Working with Arts & Minds gram week after week . . . we are a unit, discovering and makes palpable what art is ultimately about—human experiencing the artwork of the Studio Museum together experience.” and creating artworks of our own in a supportive and —Sarah Mostow, Teaching Artist creatively thriving environment.” —Hollie Ecker, Teaching Artist

“I am careful to think about what art-making materials “Although the same materials are available to everyone, and processes would deepen and enrich the ideas that they can use them in highly individual ways . . . I always were raised in the galleries . . . After all is said and done, try to put the participants at ease, creating a welcoming what is most important is not so much what the partici- atmosphere that draws us all together. The actual materi- pants remember, but how they feel—I want everyone to als we use are important in this regard; their tangibility feel positive when they leave the museum.” helps to directly stimulate engagement.” —Ashley Bartlett, Teaching Artist —Virginia Vergara, Teaching Artist

For more information on Arts & Minds, visit artsandminds.org Winter/Spring 2014 56 Features 57 Mind Matters Conversations with Arts & Minds Teaching Artists

by Shanta Lawson, Education Manager

For more information on Arts & Minds, visit artsandminds.org Winter/Spring 2014 58 Features 59 Mothership Connections

by Zoë Whitley

The Shadows Took Shape cocurator Zoë Whitley interviews London-based artist Harold Offeh, one of the artists featured in the Studio Museum’s Fall/Winter 2013–14 exhibition.

Zoë Whitley: “Well, all right, starchild / Citizens of the HO: In 2006, I developed a project, The Mothership universe, recording angels / We have returned to claim Collective, for the South London Gallery. The project the pyramids / Partying on the mothership / I am the used the Mothership from George Clinton's Funkadelic, mothership connection.” Those are the opening lines of originally a UFO stage-show prop and now preserved in “Mothership Connection” by Parliament-Funkadelic. the Smithsonian Institute in Washington, D.C., as frame- The Shadows Took Shape is in many ways about how con- work for a series of workshop “encounters” between the temporary artists are returning to claim Afrofuturism public and an array of artists whom I invited to develop for a new generation. How do you define “Afrofuturism” ideas responding to futurisms and utopian visions. in your own practice? While the project had many manifestations, the framework set up by Clinton and Sun Ra allowed audiences to Harold Offeh: This is a great question. I find engage with the real power of the sci-fi genre: In imagining “Afrofuturism” as a term both interesting and problem- the future you mirror and articulate the present. The slave atic: the cultural anxiety and necessity that comes from ship/space ship became interesting to me in relation to the having to racialize a term like “futurism.” But what I do metaphor of the “mothership,” as a vessel for the trans- like is its indefinability, as a catch-all term used to cover portation of not just people but also ideas and cultures. a range of practices, it feels quite liberating. As a term The slave ship becomes the conduit that brings together a it’s asking you to define what it could be. greater part of American culture. Obviously the historical context is awful, but the slave ship gives birth to African- ZW: One way you have defined it in the past was, in taking American—or just American—culture. It’s this cultural on the role of both artist and curator, compellingly you transformation that I find intriguing with regard to its use drew upon the influence of George Clinton and Sun Ra, in Afrofuturist narratives. The Drexciyan slave ship myth and also explored the history of black Atlantic by making cycle is the apotheosis of this. parallels between slave ship and space ship . . . ZW: What is it about Sun Ra in particular that resonates Harold Offeh Covers. After Betty Davis. for you as an artist and performer? They Say I'm Different. 1974, 2013 Courtesy the artist Winter/Spring 2014 58 Features 59 Mothership Connections

by Zoë Whitley

The Shadows Took Shape cocurator Zoë Whitley interviews London-based artist Harold Offeh, one of the artists featured in the Studio Museum’s Fall/Winter 2013–14 exhibition.

Harold Offeh Covers. After Funkadelic. Maggot Brain. 1971 (V2), 2013 Courtesy the artist Living History Narratives of the South

by Hallie Ringle, Curatorial Assistant

HO: Kodwo Eshun [of The Otolith Group, also featured in ZW: Yes, in the performances so central to your work, As a native North Carolinian, I am The Shadows Took Shape] describes Sun Ra as an “auto- you often take on both male and female roles. How drawn to the narratives of people didactist”—a self-creator. He brings his own being into does this embodiment or disembodiment relate to who return home to the South after reality through the telling of his narrative. I find that your practice? living elsewhere. Perhaps that has to wonderfully inspiring. I also love how his vision(s) mani- do with my own biography. As of May, fest across a number of media, music, costumes, film, art, HO: Firstly, with regard to performance, I see perfor- for the first time in my life, I am living etc.: He lives the performance. I love the German term mance as an expanded form. It’s not a medium like north of the Mason-Dixon Line. Gesamtkunstwerk, “the total work of art.” Sun Ra embod- painting or sculpture. [Used as] a verb, [it’s] an action I grew up with Cheerwine, “y’all” and ies this. or gesture. It can exist across a series of media and have sticky weather, only to trade it all In 1972, Sun Ra made a film, the extraordinary Space Is multiple outcomes. That I find incredibly liberating. for brunch, Metrocards and a winter the Place, directed by John Coney and set in 1970s Oakland. What becomes important is how one defines strategies coat. Fortunately, narratives of the Sun Ra And His Arkestra land with a mission to spread the in relation to specific situations and contexts. South are common enough to quell word that urban blacks unwelcome in America should seek For me, art and a performative approach afford me my homesickness. Like me, these refuge and, dare I say it, emancipation beyond the stars. an opportunity to learn. My work in The Shadows Took writers create a South as much as The film itself is an amazing hybrid of lo-fi sci-fi-meets- Shape is my attempt to explore the cultural resonance of they remember one. In my imagina- blaxploitation-meets-political broadcast-meets-extended a series of images and inhabit those images, physically. tion the food is a little better, the proto-music video. The central moment of the film for me A bit like a crap version of method acting, I try posit myself people a little kinder and their vowels is when Sun Ra appears in a youth club. Oakland’s black in a situation in order to understand it better. It’s absurd a little longer. Likewise, in many ghetto youth question him and whether he is “for real.” and a bit dumb, but it provides a playful way into cultural narrative accounts of the South, His reply is poignant and insightful: “I’m not real. I’m just references that I hope opens up a dialogue. the people live lives rooted in both like you. You don’t exist, in this society. If you did, your peo- tradition and technology. The written ple wouldn’t be seeking equal rights. You’re not real . . . So Harold Offeh studied at the University of Brighton and the Royal College of Art, London. and spoken accounts of artists such we’re both myths. I do not come to you as reality. I come to He lives in London and works in Leeds, where he is a senior lecturer in Fine Art at Leeds as Lonnie Holley and Kara Walker, you as a myth because that’s what black people are: myths.” Metropolitan University. His recent exhibitions include: In your face, Showstudio.com, both featured in When the Stars Begin London (2012); Glamourie, Project Space Leeds (2012) and Garden of Reason, Ham House In this instance, Sun Ra’s fantastical narrative takes and Gardens, Richmond (2012). to Fall: Imagination and the American on a bitter truth. Underneath the shiny capes and South, reveal a construction of the kitschy Egyptian get-up is a sophisticated articulation South that is simultaneously very of the black American narrative: social and political real—rooted in fact and historical disenfranchisement. events—and imagined as a site of But like a lot of utopian visions, it’s not without its prob- living history. Lonnie Holley lems. Sun Ra’s world, for all its totalizing, is incredibly male. Blown out Black Mama’s Belly, 1994 T. Marshall Hahn Collection, High Museum of Art Winter/Spring 2014 60 Features 61

Harold Offeh Covers. After Funkadelic. Maggot Brain. 1971 (V2), 2013 Courtesy the artist Living History Narratives of the South

by Hallie Ringle, Curatorial Assistant

In his written narrative, “The Best ences in Florida, at Disney World, that Almost Happened,” accessed and his return to the Birmingham, through the Souls Grown Deep Alabama, in the Deep South. Of this Foundation website, Lonnie Holley return, Holley writes, “I had lived the Studio Jr. repeatedly refers to Alabama as exist- best of life until I came back home to ing as if it were encapsulated in a past Birmingham. Coming home took me century rather than modern day. to seeing what my mama and them “My mama and them were still living needed.” The dual meaning of the in the 1800s, with no running water. last sentence illustrates this polarity So I had thought, What’s wrong? Here between here and there. Having grown in 1972, I found my mother living in accustomed to such living conditions a . . . 1800 setting in the 1970s.”1 In during his youth, Holley could not this description of his family’s home, have distanced himself to “see” the Holley constructs a scene of the antiquated living conditions of his South that physically reflects a scene relatives or “see” to assisting them from the past, as he describes a living without the training he received dur- situation that was at least a century ing his travels. outdated and mentions no plans for Similarly, Walker’s recounting change. Holley’s recollection of his of her childhood implies that the dif- mother’s living situation is, at its ference between the West Coast and core, based on a difference from the South was so drastic that it changed living situations he has come to know her perception of race. The artist’s outside of Alabama. perceptions of race relations in Similarly, artist Kara Walker California, as multicultural accep- describes a South that is entrapped tance, is explicitly contrasted with by its own history. Born in California, understandings of race in Atlanta, Walker moved to Atlanta at the age where blackness is “loaded” and of thirteen. During an interview with “all about forbidden passions and the Museum of Modern Art, Walker desires,” both of which are antiquated discussed her upbringing stating, identifications of race. In Walker’s “When I was coming along in Georgia, narrative, it is clear that the artist’s I became black in more senses than assertion that the South is “all about a just the kind of multicultural accep- history that’s still living” is an under- tance that I grew up with in California. standing formed in relationship to her Blackness became a very loaded experiences in California. subject, a very loaded thing to be— As told through our narratives, all about forbidden passions and Holley, Walker and I all understand desires, all about a history that’s still the South, in region and culture, as living, very present . . . the shame different than the North, Midwest and Kara Walker 8 Possible Beginnings or: The Creation of of the South and the shame of the West. It is this common understand- African-America, a Moving Picture by Kara E. South’s past . . .”2 Whereas Holley’s ing and belief of dissimilarity that Walker (video stills), 2005 Copyright and courtesy the artist and Sikkema description was of a physical living makes the South so distinct and war- Jenkins & Co., New York situation, Walker describes the rants the many Southern narratives. South’s cultural construction, in which the past is repeated through 1. Lonnie Holley “The Best that Almost Happened,” Souls Grown Deep Foundation, race relations and social structures. accessed October 15, 2013, http:// Though neither Holley nor Walker soulsgrowndeep.org/artist/lonnie-holley. explicitly states how they came 2. Kara Walker, “Conversations with Contemporary Artists,” Museum of Modern to these conclusions, both tacitly Art, last modified 1999, http://www.moma. describe the South as a place created org/interactives/projects/1999/conversations/ in opposition to other regions of the kw_f.html. United States. In Holley’s case, there is a direct tension between his experi- Winter/Spring 2014 62 Studio Jr. 63

ArtLooks Keeping an Eye ArtLooks Keeping an Eye on the Future on the Future Coloring Page

by Gerald L. Leavell II, Stacey Expanding the Walls/Youth Programs Coordinator Robinson

ArtLooks, one of the Studio Museum’s three programs specifically designed for teenagers, promises to give the great value to me in the future. PR: No. We all know technology is This issue’s coloring page is created young artists glimpses into the lives of professional artists. Students participate in exposure visits with promi- DJing was for sure something I loved. evolving faster than ever—it’s by artist Stacey Robinson! He is an nent artists, discover new techniques for creation and investigate other aspects of the arts, such as trademark- I feel it’s a responsibility either way, advancing as we speak. As a young MFA candidate and Teaching ing, copyrights and branding. whether in the intrinsic fulfillment or artist and entrepreneur, my use of Assistant studying in the visual stud- I flipped the usual concept a little and questioned Naeem Rigaud, who participated in several ArtLooks and the need to influence others around media technology should be well- ies program at the University at Hands On programs at the Studio Museum while he was a student at Benjamin Banneker Academy in Brooklyn, you through your artwork or craft. rounded and used effectively to Buffalo. His work examines race, to get an idea of the life of a young, emerging artist. Rigaud, who recently changed his first name to Pharaoh, The artists in our society should use properly promote myself and my identity, science fiction and popular is a nineteen-year-old Brooklyn native currently attending the University at Buffalo. their creative talents to influence business moves, and build a solid culture via the culture of and change the worldviews of oth- network. Afrofuturism. ers. Besides the turntables, the Gerald L. Leavell II: This is your mation on the organization’s events GLL: What was your most valuable camera/video recorder is my GLL: In closing, can you recall any Robinson exhibits and lectures about sophomore year in college, right? and programs. I’m a part of the Torch ArtLooks experience? How has primary medium. remarkable artists or arts profession- black comics and self-publishing. In what ways has your second year Leadership Certificate Program. your relationship with the Museum als you’ve met—and perhaps how In his current exhibition, Black Kirby, been better than your first? Currently, a fellow artist and I are in continued since your participation GLL: What have you done to lay they impacted you? with University at Buffalo professor the process of putting together a in ArtLooks? down a foundation to achieve John Jennings, they examine the Pharaoh Rigaud: Correct. It’s amaz- performance and artist showcase in those goals? PR: In my time here at University at appropriation of pop culture aesthet- ing how time flies. Before I know it, which we’ll highlight the wide range PR: My most valuable ArtLooks Buffalo, I’ve met tons of great arts ics and remix them in an effort to I will be out of college, living the life of university talent, from rappers experience was when all of the PR: I’ve created a vision board that professionals, from John Jennings celebrate, critique society and ask I envisioned. Being a sophomore and dancers to poets, musicians and Expanding the Walls candidates includes photographs of what I want to Stephen Marc. Most importantly, “what if” questions through the definitely has its perks. Most impor- painters. It will be a cultural platform went into the one of the galleries my future to look like. It’s placed in I’ve learned that, regardless of creations of comic creator Jack tantly, I have that first-year experi- for the diverse student body on and interpreted and analyzed the a position where every time I enter whether one has a liberal arts degree Kirby. Robinson is married with two ence under my belt that I can utilize campus. works on display. The Studio and leave the room, I see it. It serves or major in the art field, one can still children and has previously worked in numerous ways. Coming from a Museum remains my cultural base as a constant reminder of what I’m graduate and make a decent living as a photojournalist, graphic small, predominantly black high GLL: You’ve always struck me as in Harlem. It continues to serve working toward. by simply following one’s passion. designer and independent comic school to a large, culturally diverse creative and a leader. as an artistic outlet and resource. publisher. university, the assimilation with other GLL: Are studio visits and meeting cultures was a learning experience PR: An artist is simply one who can GLL: Can you pinpoint when you with contemporary artists and other of its own. Over the last year, I use his or her creative prowess to decided to take on the responsibil- arts professionals parts of your edu- learned what it’s like to function with demonstrate and create art. I don’t ity of being an artist? Do you even cation and development? other races, and what it’s like to live view the world like most people in see it as a responsibility? with other cultures. I was able to my age group. The way I grew up, PR: Yes, of course. Meeting with meet lots of wonderful people and the cultural immersion, the music I PR: The first time I laid hands on these different art professionals build great networks that I continue listen to and the many positive indi- my father’s turntables and record brings something new to the plat- to establish. viduals I’ve come across have all collection. I had to be around six form and gives me new perspec- played a role in shaping my world- years old when I found myself tives. Each artist has something GLL: What are you studying? Are view. I believe it’s important to step spending more time in my father’s different to offer that I may not get you doing anything interesting on out of one’s own neighborhood and studio than I did sitting and watch- from another. It’s important to be campus? understand there’s a much bigger ing cartoons. At that point, open-minded to ideas from these world out there. There are many I learned something new and I various professionals. PR: I’m a media studies major with things I have yet to experience, and knew what would be my escape a concentration in production and as an artist I plan to use my creativity and my way of expressing myself. GLL: Do you limit your use of media film. I’m affiliated with the Black and talents to experience a life that I was too young to feel the need to and technology? Student Union as publicity coordina- can allow me to change the lives be responsible, but I knew then tor, so I promote and spread infor- of others. and there it would be something of Pharaoh Rigaud Photo: Gianna Aragona Winter/Spring 2014 64 Studio Jr. 65

ArtLooks Keeping an Eye ArtLooks Keeping an Eye on the Future on the Future Coloring Page

by Gerald L. Leavell II, Stacey Expanding the Walls/Youth Programs Coordinator Robinson

Kids Book Picks Kids Book Picks

by Elan Ferguson, Family Programs Coordinator and Teaching Artist

As an experienced educator and teaching artist for twelve years (exclusively teaching art to children from two to six years old for the last six years), I have learned the importance of reading and the use of children’s books with my programs. The goal of all of my lessons is to support classroom curriculum and reinforce coordination, fine motor and problem-solving skills with the use of art, materials and tools. But reading at the beginning of les- Russell and the Lost Treasure sons helps strengthen listening, written and illustrated vocabulary, visual inquiry and stage- by Rob Scotton sequencing skills. Books help We Had a Picnic This Sunday Past I Like Myself! Rainbow Stew The Tin Forest engage young audiences and excite Russell and the Lost Treasure is by Jacqueline Woodson by Karen Beaumont written and illustrated by Helen Ward minds to the steps that are neces- about a curious little sheep who illustrated by Diane Greenfield illustrated by David Catrow by Cathryn Falwell illustrated by Wayne Anderson sary to complete a work of art. finds a treasure map and goes on Here is a list of five books I have an adventure to find gold. Instead We Had a Picnic This Sunday Past, I purchased I Like Myself! a year or so Cathryn Falwell is one of my favorite The Tin Forest is one of my favorite used in various schools and institu- of gold, he finds a working camera written by prolific author after my daughter’s birth because of the author/illustrators. Her stories are stories because it teaches so much tions during my years of teaching, that leads him to the greatest trea- Jacqueline Woodson, is a charming illustrations. After I read it to her for the fun to read and the illustrations about the power of creative think- along with some project ideas. sure of all. Without revealing the recollection of an imperfect family first time, I was very pleased with my depict people of all colors in fun, ing and problem solving. The story ending, I will say this story is an picnic. Woodson is very good at purchase and knew I would be using the beautiful ways. I enjoy Rainbow takes place in a garbage dump excellent way to introduce photog- creating relatable characters and book in my teaching. Stew for its use of good food, color filled with things no one wants and raphy to a young audience. silly dialogue that is engaging and Building confidence is not a hard task and richly collaged images. an old man alone with a dream. I have used it to teach basic fun to reenact. We Had a Picnic for toddlers. Although they may behave Rainbow Stew is a delightful story With some good ideas, hard work camera techniques and vocabu- This Sunday Past is about family shyly around new people, most little ones written in verse about a grandfather and dedication, he makes some- lary, such as background, portrai- and how we relate to one another. (when in safe, loving environments) are and his grandchildren making stew. thing of the available materials to ture, foreground, props and frame. Great projects to do with fearless and full of confidence. What I like They go into the garden to look for make his dream a reality. In addition, I have used it as an this book include family trees, about this book is that it assists with the carrots, tomatoes and eggplant— I have used this story to stress introduction to well-known photog- mapping of family (around the city, language of what one may like about all kinds of yummy veggies for their the importance of taking positive raphers, such as James VanDerZee country and/or world), family one’s self, and what one may do if some- rainbow stew. action to improve one’s space, and Gordon Parks. portraits, story building and other one else disagrees with one’s wonderful- This book is good for teaching problem solving, making art from activities that deal with food, ness. It’s a fun, rhythmic read that plays the names and colors of different found or recycled materials and family and togetherness. with the possibilities of being imperfect vegetables and fruits, color mixing, planting seeds to show the impor- and loving that. printmaking and vocabulary sur- tance of nature. The story is very Fun projects to do with this story are rounding primary and complemen- empowering and beautifully illus- self-portraits, “me” collages and other tary colors and collage. Moreover, trated. Some pages can be used as self-themed endeavors that allow stu- Falwell has placed a wonderful rec- “look and find,” allowing children dents to examine themselves, their pref- ipe for rainbow stew in the back the opportunity to look closely at erences and their special attributes. of the book so you can enjoy eating the illustration to find drawings your colors! hidden within. Winter/Spring 2014 68 Studio Jr. 69

Kids Book Picks Kids Book Picks

by Elan Ferguson, Family Programs Coordinator and Teaching Artist

DIY Abstract Afrofuturistic DIY Abstract Afrofuturistic Sculpture Sculpture

by Elan Ferguson, Family Programs Coordinator and Teaching Artist

What does the future look like to you? In the Fall/Winter 2013–14 exhibition, You will need: The Shadows Took Shape, we look at Afrofuturism. Afrofuturism explores • Cardboard boxes, cereal science fiction and fantasy through an African-American perspective. boxes, etc. In this project, we will create a three-dimensional abstract spaceship— • Patterned paper but the fun doesn’t stop there! After you complete the DIY project, make • Clear tape your own version of an Afrofuturistic three-dimensional sculpture and take • Scissors a photo. Email photos of your creations to [email protected] • Glue (older children with and we will post in an article on the Studio Museum blog! supervision can use a glue gun) • Pencils Step 1 Step 2 Step 3 Cut shapes from the reused card- Use these cutouts to trace the same Use glue to attach the patterned board you have collected. You will shapes onto the back of the pat- paper to the cardboard shapes. need two diamonds, two rectangles, terned paper. Then cut those shapes Let the glue dry. two small triangles and three circles. out of the paper.

Vocabulary

Abstract: Expressing ideas and emotions by using elements such as colors and lines without attempting to create a realistic picture

Afrofuturism: A genre (or type) of visual art and writing that explores and imagines science fiction, fan- Step 4 Step 5 Step 6 tasy, the future and technology Glue the two diamond-shaped Use glue to attach the rectangles to Now that the diamonds and rectan- through black culture pieces together, with the patterned the bottom center of the diamonds gles are one piece, use glue and paper on the outside. to hold them above the base. Let the clear tape to attach your sculpture to Sculpture: Forming an image or glue dry a little longer this time. one of your circles to use as a base. representation of from solid material into a three-dimensional work of art Step 7 Glue the other two circles to each side of the diamond/rectangle piece. The circles should be centered and right on top of where the rectangles and the diamonds attach. Then use clear tape to attach one side of each small triangle to each side of your sculpture. Place them a little below the circles on the front and back. Winter/Spring 2014 70 Studio Jr. 71

DIY Abstract Afrofuturistic DIY Abstract Afrofuturistic Sculpture Sculpture

by Elan Ferguson, Family Programs Coordinator and Teaching Artist

Vocabulary

Abstract: Expressing ideas and emotions by using elements such as colors and lines without attempting to create a realistic picture

Neighborly The Laundromat Project Neighborly The Laundromat Project Interventions Interventions

by Lee Ann Norman

Harlem’s history is bursting with artistic innovation and people working together to deepen their connections to the community. Since 2007, The Laundromat Project (The LP) has worked to make art accessible to all regardless of income, background or experience by bringing free art programming to laundromats and community spaces. Through its artist The Laundromat Project’s teaching artist Maya residency program, The LP commis- Valladares presents a T-shirt-making workshop sions New York–based artists to col- at The Studio Museum in Harlem, 2011. Image courtesy The Laundromat Project laborate with community members on public art projects at their local Art-making workshop with The Laundromat Project’s 2013 artist in residence Shani Peters coin-ops. outside Clean-Rite on Lenox Avenue and 129th This summer, Shani Peters pre- Street, home of "The People's Laundromat Theater," 2013 sented “The People’s Laundromat Image courtesy The Laundromat Project Theater,” a micro–film festival at the Clean Rite Laundromat on Malcolm X Boulevard (Lenox Avenue) and 129th screening material that did not and Harlem history . . . so much!” The tunities to engage with art at the Street. Peters used two of Clean Rite’s consist of popular broadcasts or art-making that takes place at many Museum, on the street or at the laun- four television screens to loop more network television. Changing the of The LP’s ongoing, free drop-in dromat, The Laundromat Project than twelve hours of short films from programming on a community tele- workshops—including those held at encourages the idea that everyday thirty-two contributing artists working in vision from a popular show such as The Laundry Room coin-op located people can know the value of and cel- genres ranging from performance and the Wendy Williams Show to images nine blocks south of the Studio ebrate their own creativity. Art-making narrative to animation, comedy and like children playing in a park is risky; Museum and those that take place always results in a series of shared documentary. She encouraged com- Peters admits that initial reception at the Museum during Target Free pushes, pulls and negotiations. When munity involvement by hosting film dis- for the project was lukewarm. As res- Sundays—often serve as a catalyst neighbors share their creativity, they cussion groups, conducting art-making idents began to learn more about for wider discussions about culture, share their hopes, fears, desires and workshops and gathering feedback the endeavor—the television screens politics and daily life. “The People’s dreams—acts of transformation that through comment and rating cards. showing the clips were visible from Laundromat Theater” culminated shift art-making from a private act to Through her work in video, collage and the street—Peters observed that the with a red-carpet screening of the a public dialogue. printmaking, Peters challenges viewers films became an important motivator top-rated films, along with a panel to reconsider their relationships to pop- for people to strike up conversations discussion at the Schomburg with strangers, not only in the Clean Center for Research in Black Culture Lee Ann Norman is a writer and cultural maker ular media and media culture. interested in spaces that increase the reach of “The People’s Laundromat Rite, but also throughout the neigh- featuring community members and the arts in our everyday. She has planned and Theater” grew out of Peters’s desire borhood. “I’ve worked with lots of the filmmakers. presented programs with organizations such as Experimental Station (Chicago), Creative Capital to “reprogram” the television sets at people in different settings in Creating space for strangers to (New York) and the Art Institute of Chicago. a neighborhood laundromat by Harlem, but The LP has been the become neighbors through art-making Her writing, which includes vague fictions, diplomatic criticisms and factual diatribes, has most consistent and expansive has been vital to The LP’s work, mak- been featured in publications such as ArtSlant. [teaching experience] for me,” she ing it a natural fit for the Studio com, BOMB magazine and the Penn GSE journal The Wash & Fold Film Club discussion group says. “This project led to so many Museum’s education efforts that focus Perspectives on Urban Education. Norman earned meets outside Clean-Rite on Lenox Avenue and an MA in Arts Management from Columbia 129th Street, home of "The People's Laundromat discussions about the past and on encouraging dynamic spaces for College Chicago and an MFA from the School of Theater," 2013 future, Gil Scott-Heron, the Apollo creative exchange. By providing oppor- Visual Arts in New York. Image courtesy The Laundromat Project Winter/Spring 2014 72 Studio Jr. 73

Neighborly The Laundromat Project Neighborly The Laundromat Project Interventions Interventions

by Lee Ann Norman

Lesson Plan Moments in Movement Lesson Plan Moments in Movement

by Erin K. Hylton, School Programs Coordinator

Artwork Vocabulary Methods Senga Nengudi, Performance Piece, 1978 (on view in • Gravity: Gives weight to objects with mass, so 1. Pose the question to students: How can I capture my Radical Presence: Black Performance in Contemporary Art) objects fall when dropped fingers in a moment of movement? • Mass: Amount of matter in an object 2. Introduce the materials. Introduction • Weight: Force of gravity on object that can 3. Show example of demo provided in Studio. Senga Nengudi’s Performance Piece, a photographic be calculated from an object’s mass and the 4. Have students select a piece of cardboard and series that documents performer Maren Hassinger acti- acceleration due to gravity threading materials to plan their installation. vating one of Nengudi’s “RSVP” nylon mesh sculptures, • Performance Art: An action by an artist in which 5. Execute installation plan using hole punch, and provides educators with the opportunity to incorporate the elements of time, space, body and medium are then begin threading on cardboard using chosen performance art in their classrooms in a variety of disci- addressed. Performance art can happen with or adhesives. plines, including STEM (science, technology, engineering without the artist present, occur anywhere, for any 6. Ask students to think of the ways in which their and math), humanities and language. Through move- length of time, with or without an audience. fingers can interact with their installations. ment and performance, these images of performance It is often videotaped or photographed so a record 7. Have students document their partners’ interaction art provide a basis for discussion on engineering, cre- of the performance is created with the installation. ative problem solving and tradition, as well as art explo- • Installation Art: A site-specific art-work that ration. As students engage in the art-making process, transforms a space. Sometimes connected to they will gain experience with a threading technique, performance and video art investigate the construction of their own miniature • Threading: To pass a thread through the eye of a installations and explore relationships between space, needle or a space to create a particular pattern materials and gravity. Senga Nengudi Preparation Closure R.S.V.P. V, 1976 Objective The Studio Museum in Harlem; 1. Introduce vocabulary words and discuss the meaning 1. Display images captured during the process on a Students will investigate gravity and relationships purchase with funds provided by the of gravity, weight, mass, performance art, installation screen or as printed images. Acquisition Committee 03.10.22 between materials, as well as create artwork in which and threading. 2. Ask students to explain the choices they made in they express aspects of their own identities. 2. Display images of performance art and installation creating their performance art pieces. art, specifically Senga Nengudi’s Performance Piece 3. Discuss how gravity did or did not influence the as an example (through radicalpresenceny.com). success of the project. 3. Place packing tape and other adhesives at center of table. Leave space for work to develop. 4. Set out threading materials and cardboard, making sure students have a variety of string, yarn, rope or ribbon to choose from.

Senga Nengudi Movements in Motion demo Performance Piece, 1978 examples by Erin K. Hylton Courtesy the artist and Thomas Photos: Jonathan Gardenhire Erben Gallery, New York Photo: Harmon Outlaw Winter/Spring 2014 74 Studio Jr. 75

Lesson Plan Moments in Movement Lesson Plan Moments in Movement

by Erin K. Hylton, School Programs Coordinator

Education in Spotlight on Thurgood Marshall Education in Spotlight on Thurgood the Community Academy Lower School the Community Marshall Academy Lower School by Erin K. Hylton, School Programs Coordinator

The Education Department at The Studio Museum in Harlem is committed Erin Hylton: How many years have to using art as a tool for learning and developing a relationship between the Studio Museum and the youth and the creative arts. We work to increase students’ access to the arts Thurgood Marshall Academy Lower and encourage educators to use museums as tools for learning. Our school School [TMALS] worked together? programs use standards and goals developed through a logic model process. Programs and experiences at the Studio Museum are developed in col- Dawn Brooks DeCosta: The Studio laboration with teachers and staff from each school. Multi-session programs Museum has a long-standing part- can last two sessions, a semester or an academic year. Our goals for these nership with TMALS. More than ten programs are to make students more knowledgeable and informed about years ago I connected to the black art and culture, to integrate art into curricula and to show students Museum as an educator. When I that museums are accessible places—not barriers. transitioned to TMALS seven years Our strongest collaborations are with schools in our Harlem community. ago, I knew my students could ben- One example is the Thurgood Marshall Academy Lower School, an elemen- efit from the partnership. tary school with a mission grounded in the belief that all children can learn and have the fundamental right to reach their fullest, individual potentials. EH: What does the Museum offer to As a reflection of the African proverb, “It takes a village to raise a child,” your curriculum? the school values parent partnerships and collaborative efforts with various community-based organizations, businesses and other institutions. Principal DBD: Because we collaborate on Dawn Brooks DeCosta sat down for an interview to discuss the Studio curriculum, we can offer students Museum’s school collaboration. “experiences with learning.” EH: What is the Museum’s function EH: What would you like people to Dawn Brooks DeCosta has an M.Ed. in Educational Leadership from This means the students have in your school community? know about this collaboration? Teachers College, Columbia University; an MS in Fine Art Education from hands-on experiences, and there- Queens College; and a BS in Education from St. John’s University. She began fore develop a deeper understand- DBD: As the school grew to DBD: We’ve been involved for a teaching nineteen years ago and has worked for the New York Department ing, make connections to experi- become kindergarten through fifth long time, and we’ve stayed of Education for seventeen years. She has received numerous awards and ence and remember it for a long grade, the relationship with the together despite funding chal- recognition for her work, such as Teacher of the Year 1998, Heroes of time. This enhances everything— Museum has grown to involve all lenges. The commitment has Education Award 2002 (for her work with students involving the 9/11 trag- it involves thinking independently aspects of the school community stood and adapted to the school edy, highlighted on CNN’s “Through a Child’s Eyes”) and Outstanding and critically, solving problems and and culture, including exhibitions, community. The Studio Museum Educator 2002. Her Museum Ambassadors Program, parent/grandparent interacting with topic at hand. clubs and the parent association. is always committed to schools, workshops and student exhibits, has been highlighted in numerous publica- When I became principal after hav- despite anything else going on. tions. She has received various educational grants over the years. She EH: How important is this ing been the art teacher at TMALS, Partners can sometimes come designed an arts and literacy program, the Faith Ringgold Museum collaboration? I knew that partners, especially the with their own agendas, but the Ambassadors Program, that focuses on literacy and study of artists of the Studio Museum, could provide Studio Museum ensures that African diaspora. DeCosta is married, with four children and one grandchild. DBD: The relationship has grown opportunities for students to have the program benefits the school over time, and because of that it quality art experiences, even with- community. is more than just a service. The out an art teacher. The Studio The approach is different— Studio Museum is part of our Museum is one of the few cultural more than just a service provider, school, curriculum process and partners willing to work with the the Studio Museum is a true Photos: Erin K. Hylton planning for the year ahead. younger grades, specifically collaborator. And these opportunities span kindergarten. every grade level. Winter/Spring 2014 76 Studio Jr. 77

2013 Joyce Alexander Wein Artist Prize Friends Gary Simmons

Gary Simmons Hurricane, 2013 Courtesy Metro Pictures, New York

On October 28, 2013, Gary Simmons was awarded the licly for the first time at the Boston University Art eighth annual Joyce Alexander Wein Artist Prize at Gala Gallery just a few months after Joyce’s passing. 2013. Established by jazz impresario, musician and phi- Journalist Ed Bradley noted in the catalogue accompa- lanthropist George Wein, in memory of his wife Joyce, nying the exhibition that to his friends Joyce and a dedicated Trustee of The Studio Museum in Harlem, George, “collecting art was like collecting knowledge.” the Joyce Alexander Wein Artist Prize honors the legacy In keeping with Joyce’s support for living artists, of a woman whose life embodies a commitment to the the Joyce Alexander Wein Artist Prize recognizes and power and possibilities of art and culture. honors the artistic achievements of an African- Throughout her life, Joyce was deeply involved with American artist who demonstrates great innovation, philanthropy and the arts. Together, Joyce and George promise and creativity. Envisioned as an extension of created a brilliant collection of African-American art dat- the Studio Museum’s mission to support experimenta- ing from the 1920s to the 1990s, which was shown pub- tion and excellence in contemporary art, the Prize Friends 79

2013 Joyce Alexander Wein Artist Prize Friends Gary Simmons

Gary Simmons Hurricane, 2013 Courtesy Metro Pictures, New York

2013 Joyce Alexander Wein Artist Prize Gary Simmons Gala 2013

includes an unrestricted monetary award of $50,000. both high and low culture, images that are significant Gary Simmons was born in New York in 1964. He in terms of their obvious embrace of real and readable received a BFA from the School of Visual Arts in 1988 content as well as their allegiance to the power and and an MFA from the California Institute of the Arts in beauty of pure form.” 1990. After his tenure at CalArts, Simmons returned to Over the course of a career spanning more than two New York and set up a studio in a former school build- decades, Simmons has built this arsenal into a powerful ing, where he found himself clearing away blackboards and profound visual vocabulary that both leverages the to make space for his sculptures. Soon after, Simmons potency of familiar images and draws from imagined began his first series of chalk drawings on blackboards, spaces. A recent body of work draws on the artist’s life- focusing on the development of racial, class and cul- long passion for sports, and incorporates drawings of tural identities in educational settings. This work paved 1930s posters for historic boxing matches between the way for Simmons’s signature “erasure” technique, Joe Louis and Max Schmeling. These and other works in which he smudges his chalk drawings with his hands are featured in the comprehensive monograph Gary or body, rendering their imagery ghostly and uncertain. Simmons: Paradise (2012). While Simmons is widely known for these works, he has In addition to his 2002–03 solo show, co-organized often defined himself as a sculptor and has consistently by the Studio Museum and the Museum of worked across media, from wall drawings and sky writ- Contemporary Art Chicago, Simmons has been fea- ing to found objects and fiberglass. tured in Studio Museum exhibitions including The “Simmons came of age aesthetically in the 1990s Bearden Project (2012), Collected. Vignettes (2011), and his work represents the fluid hybridity of that time,” 30 Seconds Off an Inch (2009–10) and Collection in wrote Thelma Golden in the exhibition catalogue for Context (2008). His work has been widely exhibited Gary Simmons (2002). “He entered this cacophonous around the world, including in one-person exhibitions conversation with an arsenal of images that refer to at the Modern Art Museum of Fort Worth; the Bohen Foundation, New York; and the Philadelphia Museum of Art. His work is in the collections of the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Jennie C. Jones, Gary Simmons, George Wein, The Studio Museum in Harlem extends gratitude to the businesses and the Museum of Modern Art, New York; the Philadelphia Glory Van Scott, Lorna Simpson, Leslie Hewitt, individuals on the following pages for their generous support, which contrib- Museum of Art; the San Francisco Museum of Modern Glenn Ligon, Thelma Golden uted to the overwhelming success of Gala 2013, where we raised nearly Art; the Studio Museum; the Whitney Museum of $1.6 million. Gala 2013 celebrated 40 years in Harlem and presented the American Art, New York; and the Walker Art Center, Photos: Julie Skarratt eighth annual Joyce Alexander Wein Prize to Gary Simmons. Minneapolis, among others. Simmons’s commitment to creating work in public spaces is evidenced by two major commissions, Reflection of a Future Past (Black) (2009) for NewYork-Presbyterian Hospital and Blue Field Explosions (2009) for AT&T Stadium in Arlington, Texas, home of the Dallas Cowboys.

Gary Simmons Courtesy Metro Pictures, New York Winter/Spring 2014 80 Friends 81

2013 Joyce Alexander Wein Artist Prize Gary Simmons Gala 2013

Gary Simmons Courtesy Metro Pictures, New York Winter/Spring 2014 82 Friends 83

Gala 2013 Gala 2013

Joyce and Ira Haupt. II Peggy Byrd Dr. Sean T. Mitchell and Saya Woolfalk Carol Sutton Lewis Tren'ness Woods-Black Ashley Shaw-Scott and David Adjaye

Susan and Ahmed Akkad Tracy Reese and Byron Lars Pamela Joyner Carol Sutton Lewis, Teri Trotter, Jacqueline Bradley, Michael Woodson, Teri Woodson, Peg Alston and Willis Burton Kathryn Chenault, Amelia Ogunlesi Darrell Walker Debra Lee Kathryn C. Chenault Nicole Murphy, Crystal McCrary, Rita Ewing Kenneth Chenault, Kathryn Chenault, Lise and Michael Evans Iris Apfel and Duro Olowu Marie-Josée Kravis, Henry Kravis

TABLES LLP / Patricia Blanchet Gladstone Gallery Marcus Mitchell & Courtney Lee-Mitchell David Rockefeller Leah Shepherd Benefactor The Estée Lauder Companies Inc. Joyce & Ira Haupt, II Eileen Harris Norton Komal Shah Kathleen Tait Valentino D. Carlotti – Goldman, Sachs & Co. GenNx360 Capital Partners T. Warren Jackson, DIRECTV / Charles E. Simpson, Jim & Marilyn Simons John Silberman Angela Vallot & James Basker Kathryn C. & Kenneth Chenault Agnes Gund Windels Marx Lane & Mittendorf, LLP Michael S. Smith Wells Fargo Private Bank Darden Restaurants, Inc. / Jacqueline L. Bradley John B. Hess Miyoung Lee & Neil Simpkins INDIVIDUALS Janice Savin Williams Mitzi & Warren Eisenberg ING, U.S. / Rhonda Mims Shaun Caley Regen Patron Supporter Tren’ness Woods-Black Carol Sutton Lewis & William M. Lewis, Jr. Macy’s and Bloomingdale’s Verizon Communications Anonymous Ariel Investments, LLC Zubatkin Owner Representation, LLC News Corp Raymond J. McGuire & Crystal McCrary George Wein Charles N. Atkins Aliyyah Baylor Amelia & Adebayo Ogunlesi Rodney M. Miller Xerox Foundation Melva Bucksbaum & Raymond Learsy Darwin Brown Donor Samuel I. Newhouse Foundation Inc. Morgan Stanley Lisa & Dick Cashin Columbia University Answorth A. Allen MD Jose Tavarez and Holly Phillips M.D. / Bank of Morgan Stanley Urban Markets Group Donor Malaak Compton-Rock Tom Heman Ann & Steven Ames America Merrill Lynch Ron Perelman and Anna Chapman Amy & Joseph Perella Charitable Fund Tamara Harris Arthur J. Humphrey, Jr. Art Production Fund Ann Tenenbaum & Thomas H. Lee Jerry Speyer & Katherine Farley Francisco L. Borges John Haskins Jack Shainman Gallery Willis Burton Teri & Lloyd Trotter / GE Foundation Target The City University of New York Pamela J. Joyner Chris & Nyssa Lee Peggy Byrd / One Solution Viacom / BET Networks Pippa Cohen Ann Walker Marchant Marian Goodman Gallery Norma Jean Darden Patron Con Edison May & Samuel Rudin Family Foundation, Inc. Ruthard C. Murphy, II Ronald & Judith Davenport American Express Supporter Lisa E. Davis, Esq. / Frankfurt Kurnit Klein & Selz Mr. & Mrs. Philip Milstein Amber & Charles Patton Rebecca & Jack Drake Bloomberg ARES Management LLC EmblemHealth David Monn Peg Alston Fine Arts Rita M. Ewing Jacqueline L. Bradley Douglas Baxter / The Pace Gallery halley k harrisburg & Michael Rosenfeld Movado Group, Inc. Mr. & Mrs. Timothy D. Proctor, Esq. Darrell Gay Frank & Nina Cooper / PepsiCo Boeing Company HBO Edward Tyler Nahem Fiona & Eric Rudin Robert Gober Peggy Cooper Davis & Gordon J. Davis / Venable GE Asset Management Bernard I. Lumpkin & Carmine D. Boccuzzi Rusty O’Kelley Jean & Martin Shafiroff Alexander Gray & David Cabrera Winter/Spring 2014 82 Friends 83

Gala 2013 Gala 2013

Joyce and Ira Haupt. II Peggy Byrd Dr. Sean T. Mitchell and Saya Woolfalk Carol Sutton Lewis Tren'ness Woods-Black Ashley Shaw-Scott and David Adjaye

Gala 2013 Members

Thelma Golden, Kate Levin Jacqueline Bradley, Clarence Otis Joseph and Amy Perella

Brittany Wunsch, Calvin Otis James Simmons Constance White, Vanessa Bush

Kara Walker Kehinde Wiley, Bernard Lumpkin, Clifford Owens Amelia and Adebayo Ogunlesi

The Museum’s Membership Marla Guess Nicole Awai Joshua Guild & Carla Shedd Joe M. Bacal & Anne Newman Program has played an important Marieluise Hessel Yona Backer role in the institution’s growth for Barbara Jakobson Jo-Anne L. Bates Elizabeth Szancer Kujawski Linda K. Beauvil more than forty years. Thank you to Daniel S. Loeb & Margaret Munzer Loeb Wayne Benjamin all the following who helped main- Harriette & Edgar Mandeville Ann & Jonathan Binstock Robert L. Marcus Hilary Blackman tain our ambitious schedule of exhi- Gay McDougall Barbara Boyd bitions and public programs during Anthony Meier William R. Brown Dr. Kenneth Montague E. Maudette Brownlee, Ph.D. the 2013 season. Eileen Harris Norton Johanne Bryant-Reid Janice Carlson Oresman Edward Blake Byrne Corporate Members Lacary Sharpe Anne B. Cammack 2x4, Inc Lyn & E. Thomas Williams Elaine Carter American Express Deborah Cates JPMorgan Chase Associate Aygul Charles New York University Cynthia D. Adams Rodney Clayton Pfizer, Inc. Daryl & Rodney Alexander Patricia G. Coates Pillsbury Winthrop Shaw Pittman LLP Jennifer Arceneaux Garland Core, Jr. Peggy & John Bader Lynda & Raymond Curtis SPECIAL MEMBERSHIPS Jemina R. Bernard Ronald and Linda Daitz Studio Society Barbara J. Bloemink Tyrone M. Davenport Gerald and Gwen Adolph Daniel Brathwaite Carlton Davis Drs. Answorth and Rae Allen Reginald Browne & Dr. Aliya Browne Sasha Dees Atty. Darwin F. Brown Randolph C. Cain Ellyn & Saul Dennison Jonathan Caplan & Angus Cook Valerie Cooper Thelma & David Driskell Veronica Chambers Tanya Crossley Mary Deupree Anne Delaney & Steve Stuso Charles Davis Georgia E. Ellis Sarah and Derek Irby Sally Dill Toni G. Fay Noel Kirnon & Michael Paley Marquita & Knut Eckert Katherine Finerty Celia & Henry McGee Regina Felton, Esq. Susan & Arthur Fleischer, Jr. Alessandra Carnielli / Pierre and Novella Ford Jack A. Fogle Tana Matisse Foundation Arti & Harold Freeman Patricia Freeman Cheryl Russell Louis Gagliano & Stefan Handl Ryann Galloway Elizabeth D. Simmons Ira Goldberg Richard Gerrig Francis H. Williams Arthur I. Golden Charlynn & Warren Goins Antoinette Young Lea K. Green, Esq. Carol and Arthur Goldberg Steven Henry and Philip Shneidman Alvia Golden GENERAL MEMBERSHIP Charla Jones Rita Green Benefactor Phyllis L. Kossoff Denise L. Greene Anonymous Peter D. Lax Joan Greenfield Douglas Baxter and Brian Hastings Kerry James Marshall & Cheryl L. Bruce Geraldine Gregg Elizabeth & Scott Corwin Ernest Mensah Maxine Griffith Lea K. Green / Christie’s Marsha E. Simms Sophia Crichton Stuart Agnes Gund Marcus Mitchell & Courtney Lee-Mitchell Robert & Patricia Gwinn James F. Haddon Suzanne Slesin Candice Taylor-Horvath Sondra A. Hodges Edward Nahem Leon L. Haley George W. Haywood & Cheryl J. Haywood David Teiger Mr. & Mrs. Larry Thompson Tina & Lawrence Jones Amy and Joe Perella William A. Harper Steve Henry & Philip Shneidman Maria Weaver Watson / Interactive One Gabrielle & Alexander Uballez Melva Bucksbaum & Raymond Learsy Ron Person Reginald D. Harris Joan & George Hornig Kate Whitney & Franklin A. Thomas The William and Diana Romney Gray Family Gwen & Peter Norton Tracey & Phillip Riese Sanjeanetta Harris June Kelly & Charles Storer Donna Williams Foundation Connie & Jack Tilton Vivian D. Robinson Alfonso Holloman Jayme Koszyn Beth Zubatkin Ingrid & Stan Savage Dorothy D. Holloway Hope Knight Contributions Jason Stanley & Njeri Thande Frances and Jeffrey Horne Nancy L. Lane Andrea Rosen Gallery Donor Fabienne Stephan Johnnie R. Jackson Richard & Ronay Menschel Jimmy Arnold Ellen Brathwaite Roger C. Tucker III Marsha Y. Jackson Spencer Brownstone Joel & Isolde Motley Jamilah Barnes Creekmur Gwen & Arnold Webb Debra A. James Heather Rae Byer Angela K. Mwanza - UBS Private Wealth Galerie Lelong Barry Jamison Constance Caplan Management Sunny & Brad Goldberg Supporter Barbara Johnson Margarett Cooper Anonymous Carl E. Johnson Mr. & Mrs. Kevin & Jacqueline Nickelberry Kiss the Sky Productions, Inc. Dana Cranmer Malaika Adero Benjamin F. Jones Paula Cooper Gallery Leonade D. Jones Trust Elizabeth De Cuevas Peg Alston Robert M. Jordan Kim Powell Loida N. Lewis Robert Durst Barbara E. Anderson Letitia Jowosimi R & B Feder Charitable Foundation Glenn D. Lowry Sherman Edmiston III Dr. Janna Andrews Mitchell Karp & Jonathan Bregman Erica & Antonio Reid J. Macarena-Avila Mia Enell & Nicolas Fries Richard Armstrong Wayne H. Kelton Deborah Roberts & Al Roker Ian B. MacCallum, Jr. Nadja Fidelia Novisi Atadika Mary M. Kresky The Ronald & Jo Carole Lauder Foundation Virginia Robinson Cindy Sherman Elza Rohan Sharpe Winter/Spring 2014 84 Friends 85

Gala 2013 Members

Thelma Golden, Kate Levin Jacqueline Bradley, Clarence Otis Joseph and Amy Perella

Brittany Wunsch, Calvin Otis James Simmons Constance White, Vanessa Bush

Kara Walker Kehinde Wiley, Bernard Lumpkin, Clifford Owens Amelia and Adebayo Ogunlesi

Members Members

Marguerite Lathan Donna Ashe Harriet M. & Charles Weiss Allison Ecung Willie Logan Sippio Small James D. Lax, M.D. Ard Berge and Alisa LaGamma Amanda Fuller and Steve Whigham Sandra M. Epps Whitney Love Davon Snipes Jeffrey A. Leib Yaëlle Biro Ernestine F. Willis Peter Erickson Carrie Lowery Barry Stanley Pierre Levai Lindy Blassingame Robert & Barbara Willner Gertrude F. Erwin David S. Lucas Jennifer E. Stern Dixie Lincoln-Nichols Edith Boyd Diane Wilson Ruth Fine Karen Lumpkin Ethel Terrell Joyce Lowinson, M.D. Michèle & Joseph Brazil Ann Fluser Darryl J. Mack Susann Thomas Frank C. Mahon Frederick & Leslie Bright Individual Silvia Forni Ruben Mahboobi Lloyd E. Thompson Maureen Mahon Paule Bros Jeanette Adams Vilma E. France Andrea Mahon Anthony Todman Daisy W. Martin YT Cabrera and D. Sanchez Emma Amos Jacqueline Francis Suzanne McClelland John D. Treadwell Sheila Ann Mason-Gonzalez George Calderaro Keith D. Amparado Tiffany Frasier Autumn D. McDonald Rick Ulysse Michael McCollom Jesse Owens and Lael Chappell Frank Anderson James E. Frazier Julie McGee Susanna G. Vapnek Cheryl & Eric McKissack Robert Clemons & Riina Okas Julie Anderson Alex Friedman Jannie McInnes Josef Vascovitz James & Vanessa McKnight Nancy L. Clipper Valerie Anderson Linda Galietti Christine McKay Karen E. Venzen / KevKreations Rodney McMillian Velma L. Cobb Charles A. Archer, Esq. / EDCSPIN, Inc. Janet Gardner, DBA The Gardner George McKinley Martin Sametta Vick Sal Miele Kevin R. Curry & Abdou Seye Mary Ellen Arrington Documentary Group Mary B. McRae Carolyn Wade Cerisa Mitchell Alvaro A. Dalton George Arterberry Ervin J. Garrison Sonia Mendez Jackson Ernestine Washington Angeline Monroe-Mayo Kay Deaux & Sam Glucksberg Dr. Kenneth Ashley Christa Giesecke Jeanne-Marie A. Miller Valerie Washington Isolde McNicholl Motley & Joel W. Motley Karole Dill Barkley & Eric J. Barkley Lee Autry Lyndon K. Gill Gary Mizel Diane Weathers Lucienne Muller Ellen M. Donahue Grace H. Ayanru, M.D. Pearl Gill Abdul Kareem Muhammad Joy Wellington Madeline Murphy Rabb Russell J. Drake and Rebecca C. Drake Janeen Azare Michael C. Gillespie Eunice H. Murphy Louise West Robert Newman Celia Dunn Jacqueline A. Bailey Drew Gilmore Mary J. Murphy Doris D. White Nell Painter Vincent Falls Gawanya Baity Marilyn T. Glater Jeanine Myers L. H. Whitehead Jonathan W. Parker Darrell & Helen Forbes Fields Hilary M. Ballon Lucy Godwin Eileen Newman Michelle Joan Wilkinson Sharon Parker Lolita & Thomas Garvin, Jr. Ray Anthony Barrett Caren Golden Derek G. Nichols Diane Williams CCH Pounder-Koné Kristen B. Glen Gloria Batiste-Roberts Edward Gordon-Berroa Jide Ojo Hubert Williams Martin Puryear & Jeanne Gordon Constance E. Golding & C. Ellen Golding Thelma V. Beale Jo-Ann Graham Ayodele Oti Bobbie Willis Kellie Jones and Guthrie Ramsey Deborah L. Gould, M.D. Carolyn Bell Gail Gray Regina Page Samuel Wilson, Jr. Donville Reid Deborah Pilgrim Graham & Kenneth R. Graham Daniel Berger, M.D. Cheryll Y. Greene Jeremiah Pam Hilda L. Wradge Sande Robinson Henry A. Grimes Nils Bernstein Beth R. Greenwald Monica Parham William Seraile, Ph.D. Ruth Eisenberg & Greg Hendren Rosemary Blake Constance Grey Shannel Parker Senior John Silberman Geoffrey Hendricks & Sur Rodney Julia Boland Bleetstein Therese A. Griffin Trupti Patel O’Neal Abel Kenneth Sills Minnie & Brent Henry Regina Boyer Augusta Grubb Sandra M. Payne Beverly C. Abisogun Laura Skoler Mari Iki & Martin Maguss Carolyn A. Brown Janice Guy Javier Peral Kojo Ade Judith W. Smith Al-lyce Eloise James Farrah Brown Tracie D. Hall Olivia E. and Paul Bruce Perkins Ann B. Armistead Seton Smith Denise Jones & Dennis Jordan Cathleen Campbell Susie W. Hampton Rochelle Perlman Jimmy Arnold Kimberly Snead Amy B. Kuhn & Stuart L. Rosow Milton G. Campbell Robin Hayes Avon Pinckney Anna R. Austin Clara R. Stanton Kimberly P. & Roderick E. Lane Oslene C. Carrington Clemens Heiderhoff Valerie Pinckney-Williams Frederic H. Bacon Ernest L. Swiggett Connie Lee Nia Chambers Lesley Heller Nancy Delman Portnoy Wanda Baker-Smith Salim I. Talib Rosalyn Lee & Beverly Tillery Gulzar R. Charania Herbert Henry Jennifer Prince Lillian M. Bartok Julian Taub Dawn Lille Edythe C. Cherry Janet O. Henry Sheila W. Quarterman Nubia Beazer Beatrice Thomas Nashormeh and Delroy Lindo Liz Christensen Valerie Hepburn Ann Ranniar Dolores H. Bedford Joseph Thompson J. Macarena-Avila Scott Clugstone Donaldson Hill Landon Reid Elizabeth T. Bolden Ellie & David B. Tweedy Tulis McCall Mike Cohen Marilyn Holifield Valerie A. Rhodes Bertha Brandon Alexa Verme Robin J. Miller Pippa Cohen Camara Holloway Ayinde Ricco Barbara A. Braxton Clara C. Villarosa Erica Motley Holly Delany Cole Demetria Irwin Kenneth W. Richardson Lavonnie Brinkley Margo & Anthony Viscusi Suzanne Y. Ogunsanya Norman Cole Curtiss Jacobs Mary E. Riley Burtt Brown Carolyn & Ed Wagner Antonio & Jeanne Orrantia Paula Coleman Erica M. James Ayana M. Rivers Laura D. Brown-Sands Edward Walrond Robert E. Penn Sheryl Colyer Michael A. James Floree Roberson Beverly Bryer Olivia & Carey White Gloria C. Phares & Richard Dannay Nedra Janice Cook DéVon Johnson Reginald Roberts Jean Bunce Merrin L. White Jane Ratcliffe Erica Corbin Michelle Johnson Caralene Robinson Larry Burton Ben Widdicombe Guy Roberts Nicole Cosby Robert O. Johnson & Ann M. Menting Corane Robinson Maryanne Byington Gilbert S. Williams, Jr. Francisco & Hope Rodriguez Kimberly Cowart Patricia Jones Gregory Jean A. Rock Janice L. Bynum Jeanne Willis Anna & Wolfgang E. G. Saxon Chris V. Davis Dorothy Elizabeth Kennedy Verraine Rock Diana Cagle Betty Wilson Elza Rohan Sharpe Sylvia de Cuevas Klaus Kertess Nada Rowand Flossie Canada Hugh A. Wilson Carla & Edward Slomin Alice M. Dear Eugene H. Knox Bobby Savinis Allison Carter Shirley Woodson Eileen E. Smith-Grant & Robert D. Grant Dennis Decker Antoinette Lamb Margaret Scott Sadie & Roberto Codling Douglas Zywiczynski Ira Statfeld Bunny Dell Lara Lauchheimer Abukarriem Shabazz Milton Collins Alan Stricoff Jessica DeMattos Lee Lawrence Ellen Shaffer Charlotte H. Crawford Family/Partner Laura Sweeney Edward Dew Marie LeDoux Regina Shanklin Brent Crayton Vernona Adams Carla & Cleophus Thomas Kathleen A. Dill Mary Ann Lee Daryl Shore Carl F. Davis Brenda Aiken Thompson William L. Thompson Louise S. Dockery Gregory Lenhardt Stefanie Siegel Diane D. Dean Barbara Andalcio Edith Van Slyck & James R. Hammond Danielle Dowrich Jerome M. Lewine Danielle Siegelbaum Veronica DeLuze Beverly J. Anderson Tshombe Walker Lori Dunston Linda A. Lewis Adelaide E. Simms D. DePrator Lisa Applebaum & George Haddad Tamara Waye Lonti Ebers Lynn Lieberman Andrea C. Skinner Joan Deroko Winter/Spring 2014 86 Friends 87

Members Members

Members Supporters 2013

Susan C. Dessel Robert Oba Cullins Alexis Neider The Board of Trustees and Director Joyce & Ira Haupt, II $5,000 to $9,999 Guy L. deVeaux Theodore V. O’Kelly Alfie Ravenell Mr. & Mrs. John B. Hess Ruthard C. Murphy II Evelyn Dill Dr. Ademola Olugebefola Desiree Rucker of The Studio Museum in Harlem Jerome Foundation Drs. Answorth and Rae Wright-Allen Dorothy H. Divins Oluyemi Omowale Julia Sergeon extend deep gratitude to the Anna Chapman and Ron Perelman Raquel Chevremont Baylor & Corey M. Baylor Gwen Dixon Benjamin W. O’Nealos Vanessa Sergeon Tracy Maitland / Advent Capital Management Judia E. Black Betty Donerson Paul O’Neil Kathleen C. Tolar donors who supported the Museum May and Samuel Rudin Family Foundation Burrell Communications Joan M. Eastmond James T. Parker Salem Tsegaye from July 1, 2013 to June 30, 2013. MetLife Foundation Nicole A. Bernard / Fox Audience Strategy George D. Everette Stephen Pearlman Adejoke Tugbiyele Eileen Harris Norton Columbia University Lucille Eversley Robert Perree Dr. Nombasa Williams $500,000 & above Corine V. Pettey Rebecca & Martin Eisenberg Theodore C. Fair Muriel Z. Pivalo Anthony Young The Andrew W. Mellon Foundation Marva Smalls / Viacom Melissa & Robert Soros Barbara Flemmings Giselle King Porter Ford Foundation Katherine C. Farley & Jerry I. Speyer Funny or Die Media, LLC Marilyn Gailliard Hortense L. Powell The Studio Museum in Harlem makes every The New York City Department of The Perelman Family Foundation, Inc. Alvin D. Hall Ellen Rose Gasnick Andrea Ramsey effort to ensure the accuracy of its lists of Cultural Affairs Lambent Foundation Arthur J. Humphrey, Jr. Frank Gimpaya Rita I. Reid members. If your name is not listed as you Tishman Speyer Properties, L.P. Zubatkin Owner Representation, LLC Elaine L. Greene Margaret A. Robbins prefer or if you believe your name has been $100,000 to $499,999 Reginald Van Lee Linda Johnson Rice & Mel Farr Iris Gumbs Virginia Robinson omitted, please let us know by contacting the Kathryn C. & Kenneth Chenault / Verizon Foundation Joseph and Joan Cullman Lovette W. Harper Donald Rubell Viacom, Inc. Foundation for the Arts Development Office at 212.864.4500 x244 American Express Susan Harrigan Christa Saffran Wells Fargo Joy of Giving Something, Inc. or [email protected]. Jacqueline Bradley & Clarence Otis, Jr. / Sheila Harris Dr. Jacqueline Ann Sawyer Darden Restaurants The Winston Foundation Pamela J. Joyner Olivia C. Hector Joyce Pomeroy Schwartz Council Member Inez E. Dickens, 9th C.D Xerox Foundation Nancy L. Lane Vivian D. Hewitt Gloria J. Scott Valentino D. Carlotti / Goldman, Sachs & Co. Melva Bucksbaum & Raymond Learsy Kathryn Holmes Wendy Simmons Brannen Raymond J. McGuire $10,000 to $24,999 Glenn Ligon Bonnie Hornstein Gwendolyn A. Simmons Mitzi & Warren Eisenberg Anonymous Dr. and Mrs. Michael L. Lomax James Herbert Howell Barbara O. Smith-Graves Morgan Stanley Luhring Augustine Gallery Bernard Lumpkin and Carmine D. Boccuzzi Jon Hutton Thomas Smithwick Speaker Christine Quinn and the Citigroup Marian Goodman Gallery, Inc. Joanne & Charles Isaac Edward L. Snyder New York City Council Pippa Cohen Julie Mehretu & Jessica Rankin Esther Jackson Thomas Southern Samuel I. Newhouse Foundation Inc. Peggy Cooper Davis & Gordon J. Davis NYC Board of Education Faith R. Jacobs Lillie Marie Stinsin Carol Sutton Lewis & William M. Lewis, Jr. Dedalus Foundation, Inc. Amber and Charles Patton Olga C. Jenkins Margaret E. Stokes Target Lisa E. Davis, Esq. / Frankfurt Kurnit Klein & Selz Lisa & Richard Perry Mabel E. Johnson Edward Esty Stowell, Jr. Ann Tenenbaum & Thomas H. Lee Teri & Lloyd Trotter / GE Foundation Cheryl & Philip Milstein Pat J. Johnson Fred Sweets The Horace W. Goldsmith Foundation Godfrey R. Gill Karen M. Proctor Cynthia G. Jones Tamara D. Tabb The New York State Council on the Arts Lise & Michael Evans Michael S. Smith Hettie Jones Charles Tarver, Sr. / Black Art Gravity Tank, Inc. Lois & Roland Betts Natalie B. Jones Beverly Taylor $50,000 to $99,999 halley k harrisburg & Michael Rosenfeld The David Rockefeller Fund William Jones Howard Terry Agnes Gund HBO / Henry McGee The Margaret & Daniel Loeb Susan C. Joseph Muriel F. Thomas Bank of America JPMorgan Chase Third Point Foundation Ronald June Gloria B. Thompson Holly Phillips M.D. and Jose Tavarez/ Marie-Josée & Henry Kravis Dawanna Williams Lois M. Kahan Inez B. Vanable Bank of America Merrill Lynch Nyssa & Chris Lee Jason Wright Ernece B. Kelly David Walters Bloomberg Philanthropies Miyoung Lee & Neil Simpkins Patricia King Sylvia Waters Con Edison Lily Auchincloss Foundation, Inc. $1,000 to $4,999 Regina M. King Winona Watson ING, US / Rhonda Mims Marcus Mitchell & Courtney Lee-Mitchell Anonymous Beth M. Lawrence Eva Welch Jacques and Natasha Gelman Trust Amy and Joe Perella Charitable Fund Debra Tanner Abell, M.D. Susan Lawrence Judith Whitehead Joan S. Davidson & Neil S. Barsky New York Football Giants, Inc. Alexander Gray Associates LLC Sandra Lee Barbara M. Wilson Joyce and George Wein Foundation New York University Andrea Rosen Gallery James N. Lewis Doris M. Wilson Booth Ferris Foundation Pfizer, Inc. Charles A. Archer, Esq. / EDCSPIN, Inc. Janice Livingston Dolores Winfrey Macy’s and Bloomingdale’s Deryck A. Palmer and Mats G. Carlston Arent Fox LLP Eleanor Lowe Aaron Woods III Rodney M. Miller Shaun Caley Regen Ariel Capital Management, LLC Delores E. Mack Doris D. Wooten National Endowment for the Arts Robert Lehman Foundation, Inc. Nancy Armstrong Susan E. Madigan Ruth C. Wright Amelia & Adebayo Ogunlesi Tamara Harris Robinson Art Production Fund Frank B. Marshall III Elizabeth Young Nina & Frank Cooper / Jeanne Greenberg Rohatyn & Charles N. Atkins Dynna Martin Pepsi-Cola Beverages North Americas Nicolas S. Rohatyn Clarence & Jackie Avant Laine Massey Student Surdna Foundation Sikkema Jenkins & Co. Avon Foundation for Women Carmen Matthew Bukola Afolayan The Estée Lauder Companies, Inc. James H. Simmons III Janine & Lyndon Barrios Shirley McCain Sherley Belizaire Teri & Lloyd Trotter / Marsha E. Simms Angela Vallot & James G. Basker Eugene McCray Delia Burnett GenNx360 Capital Partners Marilyn & Jim Simons Joeonna Bellorado-Samuels / Dianne H. McDonald Charles Dey The Boeing Company Jack Shainman Gallery Erich Meyerhoff Malcolm Ebanks $25,000 to $49,999 The City University of New York Jemina R. Bernard Herman Milligan Uraline S. Hager Gladstone Gallery The Cowles Charitable Trust Ann & Jonathan Binstock Phoebe Morris Allison Janae Hamilton Douglas Baxter / The Pace Gallery The New York Community Trust BMO Capital Markets C. Moultrie Peter Alan Harper Debra L. Lee / BET Networks The Studio in a School Association Terri & Alvin Bowles Kay C. Murray Melody E. Harrison Ed Bradley Family Foundation / Nancy and Milton Washington Susan & Jonathan Bram Michael Myers, M.D. LaToya Hobbs Patricia Blanchet T. Warren Jackson / DirecTV & Charles E. Mara Brock Akil Isabel H. Neal Suzanne Johnson David Flemister / EmblemHealth Simpson / Windels Marx Lane & Yolanda & Alvin Brown Jeanne Nedd Karesha McGee GE Asset Management Mittendorf, LLP Dr. Aliya Browne & Reginald Browne Winter/Spring 2014 88 Friends 89

Members Supporters 2013

Supporters 2013 Supporters 2013

Peggy Byrd / TV One Crystal McCrary Nina & Ted Wells Vanessa Y. Perez, Ph.D. Charles Davis Harriette & Edgar Mandeville Charlita Cardwell Renee & David McKee Angela Westwater Patricia & William Pickens Meredith Fife Day Larry Mantello Carver Federal Savings Bank Spencer D. Means Janice Savin Williams & Christopher J. Williams Marquita & Knut Eckert Laura de Gunzburg Sheila Marmon Ronay & Richard Menschel Rhonda Adams Medina Donna Williams Kim Powell Ingrid L. De Jongh Catherine S. Marquette Christie’s Laura Michalchyshyn Sheena Wright & Gregg Walker Danyale A. Price Lisa Dennison Tamara McCaw Collegiate School Gregory R. Miller & Michael Wiener Zetlin Strategic Communications Suzanne L. Randolph & Charles A. Shorter, Jr. Joan Deroko Sheila McDaniel Malaak Compton-Rock & Chris Rock Milton and Sally Avery Arts Foundation Monica Zwirner Beverly and Raymond Ransom, M.D. Kameelah A. Dixon Sharon McFarland Cornish College of the Arts Marc Morial Andrea Rosen Gallery Louise S. Dockery Karesha McGee Saundra W. & Donald Cornwell Isolde McNicholl Motley & Joel W. Motley $500 to $999 S. Mona Sinha Michelle C. & Benjamin Duncan Elspeth Meyer Daryl & Steven Roth Foundation Angela Mwanza Anonymous Audrey Smaltz Lonti Ebers Anthony Meyers Dawn L. Davis & Mac LaFollette National Retail Foundation Dr. Shelley Fox Aarons & Philip E. Aarons Kimberly Snead Sonia Elliot Erica Motley Manhattan Borough President Scott M. Stringer National Urban League Allison Allen William S. Susman & Emily L. Glasser John E. Ellis, M.D. Ozier Muhammad Doris Duke Charitable Foundation / New York Council for the Humanities DD Allen Jane Sutherland George D. Everette Kay C. Murray Kathy Halbreich New York Dance and Performance Karen M. Alston Renée H. Sutton Barney Softness Sana Musasama Sally Dill Awards The Bessies Peg Alston Sylvia’s / Tren’Ness Woods-Black James E. Frazier New York Life Insurance Company Jack Drake Jacqueline & Kevin Nickelberry Jennifer Arceneaux Courtney and Scott Taylor Vincent Fremont Anne Newman & Joe M. Bacal Russell J. Drake and Rebecca C. Drake Paula Cooper Gallery Hope Atherton Candice Taylor-Horvath Darlene Gillard-Jones Edris E. Nicholls Elizabeth W. Easton Karen A. Phillips Ex-Officio Nadja Bellan-White The Audrey and Sydney Irmas Bobette R. Gillette Derek G. Nichols Anthony Edson Karen C. Phillips Marianne Boesky Charitable Foundation Eleanor & Lyle Gittens Nancy Novogrod Muna El Fituri Lorraine & Richard Price Michèle Lallemand Brazil The Philanthropic Initiative, Inc. Great Performances Alberto O. Ojo Sima Familant Jonelle Procope Debra Martin Chase Connie Rogers Tilton Marguerite D. Greene Bolanle A. Oyesanya Charlotte F. Ford R & B Feder Charitable Foundation Jocelyn Cooley Shirley M. Truman-Smith Geraldine Gregg Nell Painter Arti & Harold Freeman for the Beaux Arts Sophie Crichton Stuart Nicola Vassell Constance Grey James M. Palmer Steven Ganeless Tracy Reese Judith & Ronald Davenport, Sr. Wendy Washington Vernon W. Griffith Erica Papernik Dr, Henry L. Gates, Jr. Doreen Remen Tanji Dewberry Tiana M. Webb-Evans & Guka Evans Candace J. Groudine in memory of Olivia E. and Paul Bruce Perkins Robert Gober & Donald Moffet Tracey & Phillip Riese Suzanne T. Donaldson Constance White Michael Butter Ron Person Goethe-Institut New York Deborah Roberts Janine Dorsett Anita V. Wien Vimla Elizabeth Gupta Lee Autry Elaine Goldman Angela Robins Gabrielle & Keith Downing Pauline Willis Sarah Haga Howardena D. Pindell Goldman, Sachs & Co. Fiona & Eric Rudin Louise Eliasof Betty Wilson Shannon Hales Blondel Pinnock Diana and William Gray Phyllis A. Schwartz Galerie Lelong Fred Wilson Lovette W. Harper Muriel Z. Pivalo Lea K. Green, Esq. Annette Mitchell Scott & Wendell A. Scott Eboni S. Gates / TD Bank John Young William A. Harper Fannie Porter Anthony A. and Anne Cochran Grey Barbara Scott Gabrielle Glore Reginald D. Harris CCH Pounder-Koné Samuel L. Guillory Seavest Inc. Jan and Steven Golann $499 and below Leila T. Heller Paul & Melinda Pressler L. Camille Hackney Jean Shafiroff Sunny & Brad Goldberg Anonymous Gladstone E. Hinds Patricia Hayling Price James F. Haddon Jack Shainman Sandra Grymes Thorsten Albertz Illonka J. Hines Denise L. Quarles Harlem Park To Park Initiiative Kimberly Ayers Shariff Joyce Brayboy Emma Amos Angela Holton Razoo Foundation Harriett Ames Charitable Trust Cindy Sherman Alicia Hall Moran Rozlyn L. Anderson Flood Laura Hoptman & Verne Dawson Charles & Diana Revson Carla Harris & Victor Franklin Beatrice Sibblies Tiffany M. Hall June Anderson Thomas Jaffe Asha Richards George Haywood V. Joy Simmons, M.D. Harlem Brothers, Inc Jimmy Arnold Heather Jason Kenneth W. Richardson Tom Heman Sotheby’s Rosemarie Y. Ingleton, M.D. Susan Austin Olga C. Jenkins Jacqueline A. Roberts Steven Henry and Philip Shneidman Suzanne Slesin & Michael Steinberg Sarah and Derek Irby Jennifer Baltimore Francis Greenburger Torrence Robinson Alexandra & Paul Herzan Bonita & Kevin Stewart Jim Neuberger and Stambler Timothy Baum Rony & Catherine Shimony Virginia Robinson Carole Hopson Nicole & Michael Stewart Neuberger Foundation Christopher Bertholf Dr. Christopher A. Johnson Vivian D. Robinson Joan & George Hornig Margaret E. Stokes Lorrie King & Edbert Morales Monica Bertran Patricia R. Johnson Desiree Rucker Thelma & A. C. Hudgins Kathleen M. Tait Anthony Korner Rosemary Blake Cynthia G. Jones Carol & Aaron B. Russell James Cohan Gallery David Teiger Kathryn McAuliffe & Jay Kriegel Cynthia Blanchard Leonade D. Jones Pancho Savery Toby D. Lewis Philanthropic Fund The James A. & Mary H. Bell Charitable Jenny Laird Linda Blumberg Louise Jones William Seraile, Ph.D. Johnson & Johnson Foundation Lehmann Maupin Gallery Jean C. Bond William Jones Elza Rohan Sharpe Vernon E. Jordan, Jr. The John F. Kennedy Center for the Ian B. Mac Callum, Jr. & Lissa Mac Callum Mahen & Luca Bonetti Robert M. Jordan Sonnia Shields Karsch Capital Management, L.P. Performing Arts Liliahn Majeed Lisa Bonner Susan C. Joseph Calla L. Siegel June Kelly & Charles Storer Movado Group, Inc. Robert L. Marcus Ellen Brathwaite John R. Keene Joshua M. Siegel Demetrio Kerrison Lisa & Dick Cashin Cheryl L. Bruce & Kerry James Marshall Sabine Breitwieser Wanda Kemp-King & Hubert King Xaviera Simmons Hope Knight & Steven Umlauf The Robert Mapplethorpe Foundation Morgan Martin Erika Irish Brown Erika M. Kennerly Jonathan B. Simon Gail & George Knox The Ronald & Jo Carole Lauder Foundation Diane & Adam Max Sarah Buttrey Sherri Kent Charles Sine Courtney Lee-Mitchell Kate Whitney and Franklin A. Thomas Ginger McKnight-Chavers and Alicia R. Bythewood Klaus Kertess Buzz Slutzky Cindi Leive Norma & John T. Thompson Kevin G. Chavers Carla Camacho Khandi Alexander Sippio Small Myrdith Leon Time Warner, Inc. Anthony Meier Veronica Chambers Erika Klauer Henrietta M. Smith Richard H. Levy UBS Maryanne Mott Evelyn Clarke Terese Laughrey & Eric Suttman Judith W. Smith Loida Nicolas Lewis Upper Manhattan Empowerment Zone Lucy Wallace Eustice / Mz Wallace Sadie & Roberto Codling in memory of Margarett Cooper Keisha Smith Dorothy Lichtenstein Development Corporation Isobel H. Neal Susanna Coffey Margaret & Tilden J. Lemelle Mary Alice Smith Susan & Glenn Lowry Rima Vargas-Vetter Deborah Needleman Nicole Cosby Marjorie A. Lewis Howard & Sharon Socol Shirley Madhère, M.D. Gordon VeneKlasen Monique Nelson Holland & John Cunningham René Lumley-Hall Galia Solomonoff The Walker Marchant Group Carrie Mae Weems & Jeffrey Hoone Janice Carlson Oresman Linda Daitz Eve MacSweeney Susan M. Sosnick Lehmann Maupin George Wein Saundra Parks Monica Azare Davenport Maureen Mahon Valeria T. Spann Winter/Spring 2014 90 Friends 91

Supporters 2013 Supporters 2013

Supporters 2013 Membership Join today! Info Becoming a member has never been easier.

Erana Stennett The Studio Museum in Harlem makes every Ardelia & Ronald L. Stewart effort to ensure the accuracy of its lists of Charles Stone supporters. If your name is not listed as you Susan Sutherland prefer or if you believe that your name has been Ernest L. Swiggett omitted, please let us know by contacting the Michael Tate Development Office at 212.864.4500x221 or Wilbert Tatum [email protected]. Beverly Taylor Ann Temkin The Prudential Foundation Matching Gifts The Rockefeller Foundation Brenda & Larry Thompson Milton A. Tingling Karen A. Toulon Truist / Angela M. Knight Jacqueline Tuggle Gabrielle M. Uballez Kevin V. Walkes Ernestine Washington Eugene H. Webb Stephanie Weber Margaret N. Weitzmann Michele Morris Weston Yolanda White L. H. Whitehead Celia & Landon H. Wickham Photo: Scott Rudd Emil K. Wilbekin Lyn & E. Thomas Williams Eleanor D. & James D. Williams, Sr. Bobbie Willis Individual $50 ($25 for Student/Senior) Associate $250 Barbara M. Wilson (Fully tax-deductible) ($220 tax-deductible) Audrey Woods — Free admission to the Studio Museum for one — All the preceding benefits plus: Deborah C. Wright — Personalized membership card — One complimentary Studio Museum David W. Wyckoff — One-year subscription to Studio exhibition catalogue — Invitations to exhibition opening receptions In kind — 20% discount on exhibition catalogues Donor $500 2x4, Inc. published by the Studio Museum ($450 tax-deductible) Pillsbury Winthrop Shaw Pittman LLP — 15% discount on all Museum Store purchases — All the preceding benefits, plus: Harlem Flo floral atelier — Invitations to member shopping days with — Invitations to behind-the-scenes tours and additional discount offers throughout the year talks with art connoisseurs and curators — Free admission or discounted tickets — Two complimentary guest passes for to all Studio Museum educational and family and friends public programs — Special discount at select local Benefactor $1,000 Harlem businesses ($900 is tax-deductible) — Annual recognition in Studio — All the preceding benefits, plus: — A visit and/or tour of a private collection Family/Partner $75 — An invitation to a special gallery tour with (Fully tax-deductible) a Museum curator — All the preceding benefits, plus: — Free admission for two guests when — Free admission to the Studio Museum for accompanied by a Studio Museum member two adults (at the same address) and children — Seasonal listings of relevant exhibitions under eighteen years of age locally and internationally — Personalized membership cards for two

Supporter $125 (Fully tax-deductible) — All the preceding benefits, plus: — Member privileges of the North American — Reciprocal Museum Program, allowing free or member admission and discounts at hundreds of museums across the United States — Free admission for one guest Winter/Spring 2014 92 Friends 93

Supporters 2013 Membership Join today! Info Becoming a member has never been easier.

Mr. Ms. Mrs. 1 Year Address General Info Museum Hours Renewal 144 W. 125th St. New York, NY 10027 T 212.864.4500 Thursday and Friday, noon–9 pm; Gift (between Malcolm X and Adam C. F 212.864.4800 Saturday, 10 am–6 pm; Name of membership holder Powell Jr. boulevards) Sunday, noon–6 pm. Membership Media Contact Benefactor $1,000 Admission 212.864.4500 x213 The Museum is closed to the public Name of additional member (Family/partner level members and above) Donor $500 Suggested donation: $7 (adults), [email protected] on Monday, Tuesday and Wednesday Associate $250 $3 (seniors and students). but available for school and group Public Programs Info Supporter $125 Free for members and children tours by appointment on these days. 212.864.4500 x264 Address Family/Partner $75 (12 and under). For more information on scheduling [email protected] Individual $50 a tour, visit studiomuseum.org Student $25* Follow us on social media! Membership Info City State Zip Senior $25* studiomuseum 212.864.4500 x221

[email protected] Studio Society

Work Phone Home Phone Studio Society $1500 Studio Society $2500 W 132th St

*(Student/Senior Membership will not be By Bus: Email Address 125th Cross-town: processed without a copy of a valid ID) W 131th St BX15 M60 M100 M101 American Express W 130th St Please do not make my name, address and other information Up/Downtown available to third-party providers. MasterCard M3 M10 Visa Please list as Anonymous. M2 M7 W 129th St E 129th St M102 M1

I have enclosed my check (make check Municipal Garage W 128th St E 128th St payable to The Studio Museum in Harlem)

W 127th St Name of cardholder

5th Ave

Malcolm X Blvd

W 126th St A C Address 2 3 B D Jr Blvd Powell Clayton Adam 4 5 6 W 125th St

Address State Zip W 124th St

Work Phone Home Phone W 123rd St

7th Ave

Lenox Ave Lenox

Lexington Ave Lexington

Park Ave Park

Madison Ave » MAIL TO Douglass Blvd Frederick W 122nd St

Card Number Expiration Date The Studio Museum in Harlem Marcus Garvey Park W 121st St 144 W. 125th St. New York, NY 10027 W 120th St

Signature St Nicholas Ave Nicholas St W 121st St Winter/Spring 2014 94 Friends 95 Membership Yes! I want to be a member Visitor Information Form of The Studio Museum in Harlem.

[email protected] Studio Society

Work Phone Home Phone Studio Society $1500 Studio Society $2500 W 132th St

I have enclosed my check (make check Municipal Garage W 128th St E 128th St payable to The Studio Museum in Harlem)

W 127th St Name of cardholder

5th Ave

Malcolm X Blvd

W 126th St A C Address 2 3 B D Jr Blvd Powell Clayton Adam 4 5 6 W 125th St

Address State Zip W 124th St

Work Phone Home Phone W 123rd St

7th Ave

Lenox Ave Lenox

Lexington Ave Lexington

Park Ave Park

Madison Ave » MAIL TO Douglass Blvd Frederick W 122nd St

Card Number Expiration Date The Studio Museum in Harlem Marcus Garvey Park W 121st St 144 W. 125th St. New York, NY 10027 W 120th St

Signature St Nicholas Ave Nicholas St W 121st St Winter/Spring 2014 96

In Memoriam Ann Jackson

It is with a heavy heart that we share the news of Ann Jackson’s passing. Ms. Jackson loved the Studio Museum and had been a volunteer with us for over thirty years. We wish her a peaceful journey home and offer our deepest condolences to her family and those who, like us, loved her dearly.

Ann Jackson Photo: Scott Rudd Studio Magazine Board Of Trustees This issue of Studio is underwritten, Editor-in-Chief Raymond J. McGuire, Chairman in part, with support from Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Rodney M. Miller, Treasurer Creative Director Teri Trotter, Secretary The Studio Museum in Harlem is sup- Thelma Golden ported, in part, with public funds provided Jacqueline L. Bradley Managing Editor by the following government agencies and Valentino D. Carlotti Jamillah James elected representatives: Kathryn C. Chenault Joan S. Davidson Copy Editor The New York City Department of Cultural Gordon J. Davis, Esq. Samir Patel Affairs; New York State Council on the Dr. Henry Louis Gates, Jr. Arts, a state agency; National Endow- Design Sandra Grymes ment for the Arts; Council Member Inez Pentagram Arthur J. Humphrey, Jr. E. Dickens, 9th Council District, Speaker George L. Knox Printing Christine Quinn and the New York City Nancy L. Lane Allied Printing Services Council; Manhattan Borough President Dr. Michael L. Lomax Scott M. Stringer; and New York Council Original Design Concept Bernard Lumpkin on the Humanities. 2X4, Inc. Tracy Maitland Dr. Amelia Ogunlesi Studio is published two times a year The Studio Museum in Harlem is deeply Corine Pettey by The Studio Museum in Harlem, grateful to the following institutional Ann G. Tenenbaum 144 W. 125th St., New York, NY 10027. donors for their leadership support: John T. Thompson Reginald Van Lee Copyright ©2014 Studio Magazine. Bloomberg Philanthropies Hon. Kate D. Levin, ex-officio Booth Ferris Foundation All rights, including translation into other Karen A. Phillips, ex-officio Ed Bradley Family Foundation languages, are reserved by the publisher. Ford Foundation Nothing in this publication may be Jacques and Natasha Gelman Trust reproduced without the permission of the The Horace W. Goldsmith Foundation publisher. Lambent Foundation Cover Image: Margaret A. Cargill Foundation Wanuri Kahiu Pierre and Tana Matisse Foundation Pumzi (video still), 2009 The Andrew W. Mellon Foundation Courtesy Focus Features Africa MetLife Foundation First Short Film Program Rockefeller Brothers Fund Inside Back Cover Image: Surdna Foundation Joe Minter Target Housewife, 1998 The Andy Warhol Foundation for Courtesy Souls Grown Deep Foundation the Visual Arts Joyce and George Wein Foundation Wells Fargo The Winston Foundation Winter/Spring 2014 Winter/Spring Magazine in Harlem Museum The Studio

The Studio Museum in Harlem Magazine Winter/Spring 2014