Summer 2008 Summer Studio/

The Studio Museum in Harlem Ma∂azine/ Summer 2008 SMH Board of Introducin∂ From the Director Trustees turin∂ Alani Bass , Mi∂uel Calderon, Target Free Cat Chow and Felicia Me∂∂inson; Chairman Sundays! StudioSound with Rich Medina; and Raymond J. McGuire See pa∂es Eye Notes, featurin∂ the work of Vice-Chair our youn∂est “artists in residence,” Carol Sutton Lewis 36–38! the hi∂h school participants of our Treasurer Expanding the Walls pro∂ram. Re∂inald Van Lee Secretary The Studio Museum in Harlem Ma∂azine / Summer 2008 Anne B. Ehrenkranz

year, Leslie Hewitt, Tanea Richard- Gayle Perkins Atkins son and Saya Woolfalk ener∂ize the Jacqueline L. Bradley Museum’s ∂alleries (and the pa∂es Kathryn C. Chenault 02 What’s Up / Kehinde Wiley / R.S.V.P. / New Intuitions / A Portrait of the Artists / Eye Notes / Harlem Postcards / Gordon J. Davis of this ma∂azine) with their new work Susan Fales-Hill Four Decades 18 Projects on View / Rich Medina / Black is Beautiful 20 Upcomin∂ Exhibitions / Barkley L. Hendricks in New Intuitions. I am thrilled that In these pa∂es you will see addi- Dr. Henry Louis Gates, Jr.

they share the ∂alleries this sum- tional excitin∂ features hi∂hli∂htin∂ Sandra Grymes 24 Feature / Allison Saar’s Swing Low 26 Elsewhere / Phantom Sightings / Salad Days / 1968: Then and Now / Yoruba / VanDerZee Mussenden Donna Courtesy / 1932 / Summer 2008 Studio mer with The World Stage: Africa, alumni of our foundational pro∂ram, Joyce K. Haupt A People’s Geography / Nicholas Hlobo / The 7th Gwan∂ju Biennale / RECOGNIZE! / The Poetics of Cloth / The Essential Lagos ~ Dakar, a solo exhibition by includin∂ Alison Saar (1983–84) and Arthur J. Humphrey, Jr. This year (2008–09) marks the Geor∂e L. Knox Art of African Textiles / Scene in America / Aaron Dou∂las / Kori Newkirk 32 Commissioned / Katonya 36 Target Free Wardell Milan II (2006–07). Also, I am fortieth anniversary of The Studio Nancy L. Lane thrilled to offer you a sneak peek at Sundays! 39 Education and Public Pro∂rams 43 Profile / Elaine Pedlar 44 Colorin∂ Pa∂e 46 3Qs / Paula Wilson Museum in Harlem. Over the past Dr. Michael L. Lomax our newest artist-in-residence initia- four decades, the Museum has Tracy Maitland 47 Studio Visit / Nina Chanel Abney 48 Feature / Contemporary Revolutionary 52 Studio Fiction / Brian Keith Jackson tive, the benefit print series. Leslie,

Rodney M. Miller Band leading Leader Band achieved so much, and one of the / Tanea and Saya, workin∂ with master Eileen Harris Norton 54 Feature / Sketches of Harlem: Wardell Milan II 58 Feature / A Voyeur's View from Lan∂ston’s Block 62 Profile / accomplishments of which we are printer Jean-Yves Noblet, have Dr. Amelia O∂unlesi most proud is the amazin∂ success Corine Pettey Harlem Redux 63 Special Project / Benefit Print 64 Special Events / Luncheon 66 Development News / Members created a limited-edition trio of of our Artist-in-Residence pro∂ram. Charles A. Shorter, Jr. prints that will be available for pur- 2007—08 / Member Spotli∂ht / UMEZ Grant 69 Museum Store / Introducing: By Hand Clothin∂ Early participants have ∂one on to Ann Tenenbaum chase this summer. achieve iconic status, and recent John T. Thompson VanDerZee James Michael Winston ∂raduates are takin∂ the contempo- 2001–02 artist in residence Kehinde Finally, this summer we launch a new rary art world by storm. This sum- ex-officio Wiley. The exhibition features new and excitin∂ partnership that prom- Hon. Kate D. Levin mer’s exhibitions and this issue of paintin∂s from his travels last year to ises to expand and enrich our edu- ex-officio Studio are positively brimmin∂ with Ni∂eria and Sene∂al. cational and public initiatives. Target Karen A. Phillips fantastic work by past and present Free Sundays at the Studio Museum artists in residence. Studio launches July 20 with free admission Editor-in-chief and pro∂rams every Sunday! Ali Evans Mana∂in∂ editor See you around and definitely Tiffany Hu uptown… Editor at lar∂e Lea K. Green Copy editor Samir S. Patel Roundin∂ our summer exhibitions Art Direction and Desi∂n are R.S.V.P., in which Rashawn Griffin The Map Office, New York (artist in residence 2005–06) has Thelma Golden Ori∂inal Desi∂n Concept The annual Artist-in-Residence created a new work in response to Director and Chief Curator 2x4, New York exhibition is always one of the most Sen∂a Nen∂udi’s work R.S.V.P. V anticipated and excitin∂ hi∂hli∂hts Printin∂ (1976); Collection in Context: Four Cosmos of the Studio Museum season. This Decades; Harlem Postcards, fea- Communications, Inc.

The Studio Museum in Harlem is supported, in part, with public funds provided by the followin∂ Thelma’s photo / Studio is published three times ∂overnment a∂encies and elected representatives: Timothy Greenfield-Sanders a year by The Studio Museum in Harlem, 144 W. 125th St., The New York City Department of Cultural Affairs; Upper Manhattan Empowerment Zone Devel- Cover Ima∂e/ New York, NY 10027. Copy- opment Corporation; New York State Council on the Arts, a state a∂ency; Council Member Inez E. Kehinde Wiley ri∂ht © 2008 Studio Ma∂azine. Dickens, 9th C.D.; Speaker Christine Quinn and the New York City Council; Assemblyman Keith L. T. Place Soweto (National Assembly) All material is compiled from Wri∂ht, 70th C.D. throu∂h New York State Office of Parks, Recreation and Historic Preservation; and 2008 sources believed to be reliable, Manhattan Borou∂h President, Scott M. Strin∂er Courtesy the artist and but published without respon- Deitch Projects, New York sibility for errors or omissions. Studio assumes no responsibil- This issue of Studio is underwritten, in ity for unsolicited manuscripts or part, with support from Bloomber∂ photo∂raphs. All ri∂hts, includ- The Studio Museum in Harlem is deeply ∂rateful to the followin∂ institutional donors for their in∂ translation into other lan∂- leadership support: ua∂es, reserved by the pub- Bloomber∂ MetLife Foundation lisher. Nothin∂ in this publication Carne∂ie Corporation of New York Nimoy Foundation may be reproduced without the Citi∂roup Foundation The Scherman Foundation permission of the publisher. The Horace W. Goldsmith Foundation The Peter Jay Sharp Foundation Please email comments to Graham Foundation for Advanced Studies Tar∂et [email protected]∂. in the Fine Arts Time Warner, Inc. JPMor∂an Chase Foundation The Wachovia Foundation Robert Lehman Foundation The Winston Foundation Pierre and Maria-Gaetana Matisse Foundation Chanelle Joseph / Into The Unknown / 2008 3 Studio / Summer 2008 01/ Kehinde Wiley 03/ Kehinde Wiley Rubin Singleton Dogon Couple What’s Up 2008 2008 Courtesy the artist and Courtesy the artist and Deitch Projects, Deitch Projects, The World Stage: Africa New York New York 02/ Kehinde Wiley Matar Mbaye Lagos ~ Dakar 2008 Courtesy the artist and Deitch Projects, July 17–October 26, 2008 New York

02 03

The World Stage: Africa, Lagos ~ Dakar is Kehinde Wiley received a BFA from the San Francisco Art Institute Wiley’s (b. 1977) first solo exhibition at The Studio in 1999 and an MFA from the Yale School of Art in 2001 Museum in Harlem and features ten new paintin∂s before becomin∂ an artist in residence at the Studio from his multinational “The World Sta∂e” series. Museum. His work is represented in the collections of Wiley is known for his stylized paintin∂s of youn∂, several museums, includin∂ the Walker Art Center in urban, African-American men in poses borrowed Minneapolis, Brooklyn Museum, Denver Art Museum from ei∂hteenth- and nineteenth-century Euro- and Vir∂inia Museum of Fine Art. Recently, his work has pean fi∂urative paintin∂s, a practice he started in been featured in exhibitions in Bel∂ium, Los An∂eles, the early 2000s while an artist in residence at the Chica∂o and Ohio. Ð Studio Museum.

Over the last two years, Wiley has expanded his project by livin∂ and workin∂ abroad; he temporarily relocates to different countries and opens satellite studios to become familiar with local culture, history and art. His “The World Sta∂e” series is the result of these travels. Wiley’s first trip was to China, where he placed his models in poses based on Chinese propa∂anda art from the Cultural Revolution. The World Stage: Africa, Lagos ~ Dakar, or∂anized by Christine Y. Kim, features paintin∂s from Wiley’s next stops, Sene∂al and Ni∂eria. For this exhibition, Wiley’s models mimic historical public sculptures from Dakar, Sene∂al, 01 and La∂os, Ni∂eria. 5 Studio / Summer 2008 Catalo∂ue Excerpt The World Stage: Africa Lagos ~ Dakar Kehinde Wiley from "Africa Never Looks Back from the Place from Which We See It: Kehinde Wiley on the World Sta∂e" By Tavia Nyon∂’o

Wiley’s project, I su∂∂est, should not be misunderstood extends the possibilities for black representational as some sort of collective rescue of the black male ima∂e. practice by ruinin∂ the myth of an innocent black-on- Nothin∂ so static or monolithic subsists on his canvases. black ∂aze—not so much refusin∂ the possibilities See 70!Page What he sees—or, at the very least, what he shows—are black of black heroism as exultin∂ in the exposure of its mecha- men with a ran∂e and ambi∂uity of looks: thin and muscu- nism. A performative intertext to Wiley’s paintin∂s lar, fly and homely, free or forced, dressed up or simply can be found in contemporary house ball competitions, dressed, and posin∂ with that cocked chin and da∂∂er- a black queer subculture that celebrates a form of in-the-eyes, haplessly ∂rimacin∂ or just lookin∂ blank. The resilient improvisation in response to homophobic and flatness of Wiley’s technique evokes but usually evades anti-black a∂∂ression. Like the “realness with a twist” photorealism, and anonymizes the returned ∂aze, which cate∂ory in such competitions, in which contestants ori∂inates not from the illusory depths of a burdened soul, master and then subvert the codes of street machismo, but from the elsewhere that, to Lacan, is the spur and the dialectic of pose and performance in Wiley’s portraits prompt of desire. As is well known, Wiley’s subjects as- celebrates the subcultural survival skills that upend sume poses drawn from pictorial (and now monumental) ri∂id either/or, true/false thinkin∂ patterns. Heroism traditions, poses that sit upon their bodies either awk- resides less in the pose than in the facility with which one wardly or aptly, but always in a manner that fore∂rounds can twist into or out of it. Ð both choice and artifice. In so hi∂hli∂htin∂ the alienatin∂ Tavia Nyon∂’o is an assistant professor of Performance Studies at New York nature of representation, his paintin∂s support Lacan’s University, where he teaches courses in black and queer art, cultural history and claim that “you never look at me from the place from performance. He has been an invited speaker locally and internationally in both academic and museum settin∂s. He has published essays and reviews in Social which I see you.” It is our desire to suffuse these ima∂es Text, Yale Journal of Criticism, Women and Performance, TDR and Radical History with a virtual subjectivity that produces the very poses Review. His first book, The Amalgamation Waltz, will be released by the University of Minnesota Press in 2009. into which the sitters then must step. Our wish for repre- sentative identities repeatedly and creatively misfires.

Wiley’s portraits don’t so much heroize as expose our impulse to heroize, keepin∂ the question of the model- painter transaction insistently in the frame. This is esp- ecially evident in the revolutionary kitsch of “The World Sta∂e: China,” in which postmodern pastiche nervously summons the ∂hosts of the Cultural Revolution. But from his early technique of pickin∂ up sitters on Harlem’s 125th Street, to the neo-Warholian principles under which his ∂lobal studio now operates, Wiley’s paintin∂s have continually left traces of commercial and interper- sonal exchan∂e in full view. Such traces intensify and reorient the question of the ∂aze, and invite us to reconsider the ∂aze in the fuller, more phenomenolo∂ical sense evoked by Hardy. Wiley’s recurrent themes of passin∂, posin∂, fraudulence and exposure invite a more capacious conceptualization of the ∂aze, less as a fixed and privile∂ed perspective and more as Lacan’s rovin∂ and evasive counterpart to our over-the-shoulder ∂lances, rovin∂ “from sta∂e to sta∂e.” Wiley’s work 7 Studio / Summer 2008 01/ Sen∂a Nen∂udi 02/ Rashawn Griffin R.S.V.P. V Untitled (detail) What’s Up 1976 2008 The Studio Museum in Courtesy the artist Harlem; purchase with Photo: Collier Schorr R.S.V.P. funds provided by the Acquisition Committee 03.10.22 Courtesy Thomas Erben July 17–October 26, 2008 Gallery, New York

01 02

Sen∂a Nen∂udi (b. 1943) is a truly multidisciplinary has always been international in scope—absorbin∂ R.S.V.P. V (1976) by Sen∂a Nen∂udi, from her series deeply invested in creatin∂ objects from an abstract or artist whose career has covered dance, sculpture, aesthetic lessons from Brazil, Japan and west of nylon mesh sculptures, “Répondez s’il vous plaît.” concrete art tradition. installation, video, text and performance. In the mid- Africa—and much of her conceptual practice has yet Nen∂udi created these works, also known as “panty hose 1970s, Nen∂udi was one of the first artists—alon∂ to be unpacked. pieces,” as reflections and expressions of the elasticity R.S.V.P. is desi∂ned to encoura∂e fresh thinkin∂ about with David Hammons, Lorraine O’Grady and Houston and malleability of women’s bodies. contemporary art objects with lastin∂ resonance. While Conwill—to exhibit at the Just Above Midtown This summer, the Studio Museum will present R.S.V.P., noddin∂ to the cultural moment of Nen∂udi’s panty hose Gallery, the first African-American owned and the first in an innovative exhibition series that pairs Former artist in residence Rashawn Griffin creates a pieces, this project will evoke thou∂ht about the formal operated ∂allery in New York. Yet Nen∂udi was both the work of an artist in our permanent collection with new work in response to Nen∂udi’s. Griffin’s work, like and conceptual lon∂evity of R.S.V.P. V, and what makes her a key part of and a foil to the Black Arts Movement new work by another artist, created specifically for the Nen∂udi’s, is marked by emotional use of humble work relevant and prescient in 2008. Ð of the 1960s and 70s. Nen∂udi’s challen∂in∂ work exhibition. Fittin∂ly, the inau∂ural exhibition will feature materials, such as food and fiber. Both artists are 9 Studio / Summer 2008 01/ Tanea Richardson 03/ Leslie Hewitt 05/ Saya Woolfalk Untitled (Loom) (detail) Riffs on Real Time Self (adolescent – pink) What’s Up 2008 (1 of 10) and Self (adolescent – blue) Courtesy the artist 2006 – 09 2008 Photo: Marc Bernier Courtesy the artist Courtesy the artist New Intuitions: 2007—08 Artists-in-Residence Photo: Marc Bernier 02/ Tanea Richardson 04/ Leslie Hewitt In Protection of Our Bodies Riffs on Real Time 06/ Saya Woolfalk 2008 (2 of 10) Cartography of No Place Leslie Hewitt, Tanea Richardson, Saya Woolfalk Courtesy the artist 2006 – 09 2008 Photo: Marc Bernier Courtesy the artist Courtesy the artist July 17–October 26, 2008 Photo: Marc Bernier

03 04

01 02

The Studio Museum’s mezzanine ∂alleries will be fabric work as traditional women’s labor and the way transformed by three bodies of new work and site- in which our understandin∂ of certain bodies is limited by specific installations in New Intuitions. Leslie Hewitt, lan∂ua∂e. Saya Woolfalk’s handcrafted, rainbow-colored Tanea Richardson and Saya Woolfalk have markedly utopian world, No Place, is the basis for her on∂oin∂ distinct practices, but each artist insists on raisin∂ pseudo-ethno∂raphic and psychoanalytic project. questions about our accepted ways of seein∂ reality. No Place will be presented as a tableau, enablin∂ view- ers to enter a space that blurs the distinction between A Frequency alum, Leslie Hewitt creates photo∂raphic viewin∂ a scale representation of No Place actually works that explore how appropriated pictures preserve visitin∂ the site. vernaculars but create new meanin∂s in new contexts. 06 She will also present a three-dimensional structure New Intuitions takes its title from the poet Adrienne Rich, that brin∂s her photo∂raphic arran∂ements into “real” who, quotin∂ Antonio Gramsci, posits that cultural shifts space, as well as a new body of ∂ouache drawin∂s on only happen when artists’ ima∂inary and fantastical wood panel that depict ima∂e fra∂ments appropriated creations act as a mirror to society. For Hewitt, Richard- The Artists-in-Residence pro∂ram and annual exhibition are presented with the from her memory archive. Tanea Richardson’s three- son and Woolfalk, the tools of fantasy, ima∂ination and support of the New York State Council on the Arts, a state a∂ency; Milton and Sally Avery Arts Foundation; R & B Feder Charitable Foundation for the Beaux Arts; dimensional forms make a surreal escape from the re-contextualization shape a world that is not at all forei∂n, Greenwall Foundation; Jerome Foundation; Robert Lehman Foundation; Nimoy two-dimensional restrictions of paintin∂. Crafted from but is one in which our lived experiences are seen anew. Ð Foundation; The Helena Rubinstein Foundation; and by endowments established 05 by the Jacob and Gwendolyn Lawrence Trust and Andrea Frank Foundation. lush textiles and bound with telecommunication wires and cables, Richardson’s forms reflect upon both 11 Studio / Summer 2008 A Portrait of the Artists 2007–08 Artists-in-Residence Leslie Hewitt, Tanea Richardson, Saya Woolfalk

Is this even possible? I don’t know. It’s how I feel. It keeps Name an artist who has influenced you the me connected to my sense of humanity. most recently. TR: I like usin∂ my studio windows for people watchin∂. LH: Writer Henry Dumas I enjoy bein∂ surrounded by so much liveliness. SW: Candida Alvarez (artist in residence, 1984–85) SW: I like that on 125th Street commercial, political, a painter, mentor and friend creative and personal lives are visibly intertwined. What’s next? What music do you listen to while you’re workin∂ LH: Rotterdam and Haarlem, the Netherlands, for in the studio? research, and Houston for studio time and enrichment. LH: A random shuffled top seven from my playlist: Some- TR: Life times, I Feel Like a Motherless Child, Sun Ra; Please Pardon SW: Continue to ima∂ine the possibilities of No Place and Me, Chaka Khan; Yoga (Massive Attack Remix), Bjork vs. strive to make ∂reat art Tricky; Rest Enough (Song to Mother), Archie Shepp; Two Can Win, J Dilla; Mood, Miles Davis; Let’s Get It On, Marvin Artist Bios Gaye (Chopped and Screwed). Leslie Hewitt TR: I usually listen to everythin∂, thou∂h lately I’ve been Born 1977, Saint Albans, NY fond of film scores and 1980s/90s music. Lives and works in New York, NY SW: I listen to audiobooks. Education

Photo: Ray Llanos What ∂ad∂et could you not live without? 2004 MFA, Yale University, New Haven, CT TR: Laptop 2000 BFA, Cooper Union for the Advancement of SW: My computer Science and Art, New York, NY

Left to Ri∂ht: Saya Woolfalk, Tanea Richardson, Leslie Hewitt What is your favorite thin∂ to do after completin∂ Tanea Richardson Born 1977, Los An∂eles, CA LH = Leslie Hewitt TR = Tanea Richardson SW = Saya Woolfalk What is the most interestin∂ exhibition you’ve a work of art? Lives and works in New York, NY seen recently? TR: Be∂in workin∂ on another piece. One word to describe your work? LH: Actually it is in the form of a ma∂azine, Bidoun, SW: Go to the country. Education LH: Syncopation OBJECTS/ Issue 14, Sprin∂-Summer 2008 2007 MFA, Yale University, New Haven, CT TR: Layered TR: WACK! Art and the Feminist Revolution Finish the sentence: Black is . . . 2000 BS, Stanford University, Palo Alto, CA SW: Heartfelt SW: Darwin’s Garden: An Evolutionary Adventure, LH: . . . expansive. 1999 BFA, Stanford University, Palo Alto, CA His Life with Plants in the library ∂allery at the New York TR: . . . beautiful. What is the title of the last work you completed? Botanical Garden SW: . . . a deep part of my family and my history. Saya Woolfalk TR: Untitled Born 1979, Gifu City, Japan SW: No Place (pre)Construction What do you most like about bein∂ on 125th Street? If you could have dinner with anyone, dead or alive, Lives and works in New York, NY who would it be? LH: The street is densely complicated. It’s populated in a Education LH: I can’t decide between these two . . . Gustave Courbet What artworks have had a profound influence on similar fashion. Harlem is undeniably supple. Life here is 2004 MFA, School of the Art Institute of Chica∂o, Chica∂o, IL and Frantz Fanon. your work? full of contradictions, some of which are really scary and 2001 BA, Brown University, Providence, RI TR: My ∂reat ∂reat ∂reat ∂reat ∂reat ∂randparents LH: La Noire De . . . (1966), a film by Ousmane Sembène; painful, while others show resilience and love. I see it like a 2001 BFA, Brown University, Providence, RI Vivre Sa Vie (1962), a film by Jean-Luc Godard; Too Obvi- microcosm of the state of our consciousness in America SW: My paternal and maternal ∂randfathers, ous (1996), a sculpture by David Hammons; and Untitled (and ∂lobally). It plays out like a Technicolor film each day Joseph Woolfalk and Minoru Kawamura (1992), a billboard by Felix Gonzalez Torres on the ten-block stretch of 125th Street. Thou∂h spannin∂ SW: Brazilian artist Ly∂ia Clark’s The I and the You: the full width of Manhattan, this seemin∂ly small site is Clothing/Body/Clothing extremely stimulatin∂ yet unbearable at the same time. 13 Studio / Summer 2008 01/ Tempestt Watson 03/ Sofia Flores 05/ Michelle Fi∂ueroa 07/ Christina Paredes Mysteriously Unidentified Tainted Crooked Arms Retro Kids 02 What’s Up 2008 2008 2008 2008

02/ Nicole Rodri∂uez 04/ Christeen Penon 06/ Ivan Forde Eye Notes Solitude Cognate Souls Light Headed 2008 2008 2008 Expanding the Walls Student Exhibition July 17–October 26, 2008

The youn∂ photo∂raphers in this year’s Expanding the Walls exhibition, Eye Notes, approach documentary art in a variety of ways as they present their work alon∂side a selection of James VanDerZee’s classic Harlem portraits. Expanding the Walls is an ei∂ht-month, photo∂raphy-based pro∂ram that uses the VanDerZee archive as a sprin∂board for conversation 02 03 and art-makin∂. Continuin∂ the influential artist’s exploration of community, identity, history and culture, each of this year’s par- 01 ticipants examine their relation- In an a∂e of camera-phone snapshots, ever-chan∂in∂ MySpace pa∂es ships to these endurin∂ themes and homemade YouTube videos, these youn∂ creators carefully consider throu∂h subjects that ran∂e from how ima∂es acquire meanin∂, move in virtual and physical space and can retro kids, public housin∂ and be reshaped by an active author. Usin∂ many techniques, includin∂ fi∂uration, reenactments, to transracial surrealism and abstraction, they offer personal truths and perspectives. relationships, memory and per- formin∂ bodies. Privile∂ed to be custodian of a si∂nificant portion of VanDerZee’s photo- ∂raphic archive, The Studio Museum in Harlem offers hi∂h school students 04 05 Respondin∂ to the themes of reality access to an intri∂uin∂ le∂acy throu∂h Expanding the Walls: Making and ima∂ination, as well as publicity Connections Between Photography, History and Community. Now in its and privacy, implied by VanDerZee’s ei∂hth year, the pro∂ram and annual exhibition continue to be impassioned work, each Expanding the Walls considerations of VanDerZee’s timeless themes, as well as testaments participant shares a particular way of to the Studio Museum’s commitment to community education, extendin∂ seein∂. They reflect on the chan∂es the dialo∂ues be∂un so many years a∂o on these very streets. to photo∂raphy’s social role since VanDerZee’s pre-di∂ital time, and The artists in this year's pro∂ram are Alani Bass, Michelle Fi∂ueroa, pause to think over their relationships Sofia Flores, Ivan Forde, Chanelle Joseph, Christina Pardes, Christeen Penon, to visual culture and ima∂e-makin∂. Nicole Rodri∂uez, Keisha Streeks, Tempestt Watson and, of course, James VanDerZee. Ð

Expanding the Walls is supported by the New York State Council on the Arts, a state a∂ency; Col∂ate-Palmolive, JPMor∂an Chase Foundation; The Peter Jay Sharp Foundation; and Time Warner Inc. 06

Our deepest ∂ratitude ∂oes to Donna Mussenden VanDerZee for her continued support of the Studio Museum and the Expanding the Walls pro∂ram.

07 15 Studio / Summer 2008 What’s Up Harlem Postcards Summer 2008 July 17–October 26, 2008

Cat Chow Born 1973, Morristown, New Jersey Mi∂uel Calderón Lives and works in Brooklyn Born 1971, Mexico City Revolutions per Minute, 2008 Lives and works in Mexico City Purple Haze/Purple Rain, 2008 This photo comes from a series of works I made durin∂ a recent month-lon∂ residency in Harlem throu∂h the The only re∂ret I had from my visit to Harlem was that nonprofit arts or∂anization Chashama. These sculptures I couldn’t stay lon∂er—I had to return to Mexico City. were made from found belts and nails and are meant to I was nervous that people mi∂ht ∂et offended by me look like lar∂er-than-life vinyl records. This series, “Studio because I took so many strai∂ht-on pictures, but I was Recordin∂s,” poetically addresses the elements of time, Represented, revered and reco∂nized by people Felicia Me∂∂inson surprised when the opposite happened. I felt like improvi- space and movement involved in an artist’s process that around the world, Harlem is a continuously expan- Born 1964, Los An∂eles sin∂ a whole movie ri∂ht then and there. are frequently overlooked for the final product. din∂ nexus of black culture, history and icono∂raphy. Lives and works in Brooklyn

Venerable landmarks, such as the Abyssinian Baptist Suspicious Eyes, 2008 Alani Bass Church, Apollo Theater, Hotel Theresa, Audubon Expanding the Walls participant , born 1992 Ballroom and 125th Street, remain popular emblems When I was ori∂inally asked to participate in this project, The Riverdale Country School of important historic moments and moods. I first thou∂ht I wanted to shoot in the ∂reen spaces Pride, 2008 around Harlem, so I be∂an wanderin∂ in St. Nicholas and The Studio Museum’s on∂oin∂ series, Harlem Postcards, Jackie Robinson parks lookin∂ for inspiration. Ultimately, I took this photo∂raph on the corner of 125th Street and invites contemporary artists of diverse back∂rounds the real pull for me was what was ∂oin∂ on in the Adam Clayton Powell Jr. Boulevard. I chose the statue to reflect on Harlem as a site for artistic contemplation streets, where there is always someone passin∂ by or of this influential man as my subject because of the and production. Installed in the Museum lobby and somethin∂ ∂oin∂ on—for better or worse. Even in si∂nificant effect he had on the black community, specifi- available to visitors for purchase, Harlem Postcards pres- this time of transition, when luxury apartments and cally in Harlem. He believed in the importance of educa- ent intimate views and fresh perspectives on this commercial banks are poppin∂ up all over the place, tion, and by becomin∂ the first black con∂ressman famous nei∂hborhood. Harlem is still about the commerce, conversations for New York, he maintained a stron∂ dedication to hu- and vibrancy of the streets—125th, Lenox or Ed∂ecombe. man ri∂hts. This picture aims to portray a sense of pride People may reside in their homes, but it feels like life for the black community and the spirit and prominence in Harlem truly exists in the day-to-day exchan∂es in the of Harlem. It was a pleasure to photo∂raph this streets. So instead of makin∂ ima∂es about Harlem’s important landmark. ∂reen spaces, I made ima∂es that capture and reflect this ener∂y before it is permanently altered. 17 Studio / Summer 2008 01/ Ed∂ar Arceneaux 02/ Charles Gaines 1968 Randomized Text Drawing #2 What’s Up 1997 2006 The Studio Museum in Harlem; The Studio Museum in Harlem; promised and partial ∂ift of purchase with funds provided Collection in Context: Four Decades Martin and Rebecca Eisenber∂, by the Acquisition Committee Scarsdale, NY PG04.3.26 07.21.1 Courtesy the artist Courtesy Susanne Veilmetter July 17–October 26, 2008 Los An∂eles Projects

Lower Level

01

Nearly forty years a∂o, shortly after openin∂ its As part of the our on∂oin∂ series of exhibitions of select- doors to the public, The Studio Museum in Harlem ed works from the collection, Collection in Context: Four established its permanent collection throu∂h the Decades presents work spannin∂ forty years of the ∂enerosity of both artists and donors. Currently Museum’s collectin∂ practices. It reflects upon key made up of nearly two thousand objects, the col- moments in black cultural history, includin∂ the Harlem lection continues to ∂row thanks to acquisitions Renaissance and the Black Arts Movement, hi∂hli∂htin∂ and ∂ifts from individual donors, public collections lesser-shown work and work by non-black artists inspired and artists. With works ran∂in∂ from portraits by by black culture. Or∂anized in several thematic clusters, ei∂hteenth-century painter Joshua Johnson to Four Decades loosely chronicles the formation and multimedia installations from recent artist-in-res- continuous development of our permanent collection idence exhibitions, the collection demonstrates an with attention to the variety of ways the collection has expansive set of priorities within the history of black expanded. This exhibition showcases the critical role the cultural production and American art. permanent collection has played in the Museum’s com- mitment to the presentation of works by black artists at different points in their careers. Ð

02 19 Studio / Summer 2008 Projects on View Projects on View StudioSound featurin∂ Rich Medina More-in-Store featurin∂ Black is Beautiful July 17–October 26, 2008 July 17–October 26, 2008

by Coren Denise Cooper, Public Relations Assistant

desires, needs, shortcomin∂s, accomplishments and misconceptions, especially in west Africa, but also world- wide. I felt I had to cast the sonic aspect of Kehinde’s work in that li∂ht. What does the youn∂ boy in the paintin∂ think

Photo: Human Photo about? What is his soundtrack? How does American music add to the story? How do I represent a history of coloniza- tion in Africa without bein∂ literal or overbearin∂? These are just a few of the questions I asked myself in preparin∂ the music for this project. My deepest connection to Kehinde’s ∂ raphy work comes from his ever-evolvin∂ vision of what black men represent, personally. His paintin∂s present black men as In the latest installment of StudioSound, Rich Medina re∂al, powerful, beautiful and mysterious. He provides a has created a musical score for Kehinde Wiley’s forum for these ideas to be shared and exchan∂ed, which is The World Stage: Africa, Lagos ~ Dakar. Mixin∂ music extremely provocative.

and narrative from west African and American funk You have participated in other collaborations with and soul artists, Medina for∂es a dramatic transatlan- visual artists. Tell us how you explore the intersection tic conversation. Much like Wiley’s paintin∂s, Medina’s of visual art and music in your work. Visual art always score incorporates African and European cultural has a soundtrack, whether fi∂uratively or literally, planned (Re)presentin∂: Black is Beautiful a historical moment of reclamation, yet remain open references into a uniquely American mash-up. or discovered. All my life I’ve attempted to look at thin∂s to ever-chan∂in∂ ways of understandin∂ the role of aes- that are beautiful or unique and seriously consider what This season, black is . . . redesi∂ned. The Studio thetics and identity. How have your musical interests evolved? It’s been a son∂s, bands, sounds, narratives or records would provide Museum in Harlem is proud to feature the newest lon∂ stran∂e trip . . . My ∂ranny on my mom’s side was the sonic color to accompany the piece (or collection) of art. edition of our “Black is Beautiful” T-shirts in the “Black is Beautiful” as a T-shirt concept for the Studio choir director for my ∂randfather’s church [First Union I try to make links between art and sound by drawin∂ the Museum Store. Museum was first introduced by Thelma Golden, then Baptist Church, Neptune, New Jersey]. The instruments provocative and fi∂urative elements found in visual art into Deputy Director for Exhibitions and Pro∂rams. Since for the church’s band were stored in my ∂randparents’ the viewer’s ears, to “score” it like a film, for lack of a better The Studio Museum and its inau∂ural Artist-in-Residence the arrival of “Black is Beautiful” in the Museum Store ∂ara∂e, so as a very youn∂ boy I quickly became notorious way to say it. pro∂ram were founded in 1968, a period in which political in 2002, its presentation has under∂one many transfor- for snappin∂ ∂uitar strin∂s, breakin∂ trumpet mouthpieces activism became synonymous with artistic chan∂e and mations, from Chinese characters durin∂ the Black and smashin∂ drum heads. Growin∂ up in a Baptist church, Name a son∂ or album that presents a portrait of you innovation. The dynamism of this time left its imprint Belt exhibition to an afro pick set in felt with the word I realized that music was a beautiful manner of worship, at this moment. James Brown, Mind Power, and Fela Kuti, on the world, forever disruptin∂ a set of structures as- “beautiful” underneath. release and celebration. I was also blessed with the oppor- Gentleman . . . oops, sorry, that was two . . . can’t help it! sociated with racial supremacy as it paved way for the tunity to understand secular music throu∂h my sister, who What’s next? Next is completin∂ Ranjit’s first full-len∂th LP continued dismantlin∂ and critique of other systems of The fresh and contemporary desi∂n is a bold statement is ei∂hteen years older than me. I listened to the meltin∂ pot [www.myspace.com/ranjitranjit], startin∂ my second full- domination. It was a time in which artistic and political that never fades, just (re)presents itself. that was 1970s American radio, and the bounty of incred- len∂th LP, doin∂ more studio collaborations and learnin∂ movements, includin∂ Black Aesthetics and Black Power, ible records in my sister’s collection, which had a profound more and more by the minute about how to be a solid and were fluid and interdisciplinary, wieldin∂ what activist bell Express yourself: say it loud with Studio Museum’s “Black effect on me. In school I was always in choir, band, marchin∂ consistent daddy to my son, Kamaal Nasir. And lastly, I will hooks have called a political tool for liberation: a love for is Beautiful” T-shirts! Ð band and theater, which only bolstered my ∂rowin∂ under- of course continue my resident club ni∂hts in New York and blackness. Blackness, in all of its myriad manifestations, standin∂ that there is a place for music in everythin∂. There Philly for as lon∂ as the people will come and see me. Ð was bein∂ simultaneously defined and unraveled, pre- Desi∂ned by The Map Office, New York is so much to learn; my evolution continues today. sented and denied, on an unprecedented scale world- www.themapoffice.com Tell us about your contribution for this season’s Rich Medina is a DJ, writer and producer who divides his time between New York and wide. Phrases such as “black is beautiful” became battle Philadelphia. He be∂an his DJ career at thirteen in Lakewood, New Jersey, and derived cries, but more importantly, steps toward self-definition. More-in-Store, the Studio Museum’s initiative to hi∂hli∂ht innovative artisans, StudioSound installation and how you were inspired his love of music from church. Inspired by the music of Fela Kuti, Medina collaborated invites local and re∂ional retailers to share a piece of their world with ours. by Kehinde Wiley’s work. For this installation, I pulled with Debbie Sealy and Trevor Schoonmaker to be∂in the unprecedented Jump n’ Funk Four decades later, the Studio Museum is committed to More-in-Store is or∂anized by Ali Evans, Tiffany Hu, Coren Denise Cooper and parties at SOB’s in New York in 2000. As an internationally reco∂nized artist tourin∂ Thomas J. Lax. to∂ether son∂s and narratives that brid∂e black men’s multiple venues in Europe, Japan and Canada, Medina draws on hip-hop, house, jazz, redefinin∂, representin∂ and revisualizin∂ both blackness funk, R&B, soul, Afrobeat and sounds yet to be cate∂orized. and art. Like the Museum, the T-shirts have their ori∂ins in 21 Studio / Summer 2008 01/ Barkley L. Hendricks 02/ Barkley L. Hendricks 03/ Barkley L. Hendricks 04/ Barkley L. Hendricks APB’s (Afro-Parisian Icon for Fifi Sweet Thang (Lynn Jenkins) Blood (Donald Formey) Upcomin∂ Exhibitions Brothers) 1982 1975 1975 1978 Courtesy Nasher Museum Courtesy Nasher Museum Collection of Dr. Kenneth Yale University Art Gallery, of Art at Duke University of Art at Duke University Monta∂ue / The Wed∂e Barkley L. Hendricks: Birth of the Cool New Haven, CT Collection The Janet and Simeon Courtesy Nasher Museum Bra∂uin Fund of Art at Duke University November 12, 2008–March 15, 2009

03

02 This fall, The Studio Museum in Harlem will be the second stop for the first career retrospective of renowned African-American painter Barkley L. Hendricks (b. 1945). Hendricks was born in Phil- adelphia, trained at the Pennsylvania Academy of the Fine Arts and Yale University and now lives and works in New London, Connecticut. He is best known for his life-size portraits of people of color livin∂ in urban areas in the 1960s and 70s.

This unparalleled exhibition of Hendricks’s paintin∂s will include work from 1964 to the present. Alon∂side his iconic portraits, Barkley L. Hendricks: Birth of the Cool will feature many of Hendricks’s lesser known, older works and his newest pieces, small plein air studies of the Jamaican landscape. This exhibition was or∂anized by Trevor Schoonmaker, Curator of Contemporary Art at the Nasher Museum of Art at Duke University, and will travel to the Santa Monica Museum of Art, the Pennsylvania Academy of the Fine Arts in Philadel- phia and the Contemporary Arts Museum Houston after it leaves the Studio Museum. Ð

Barkley L. Hendricks: Birth of the Cool is supported, in part, with a ∂rant from 01 0304 Horace W. Goldsmith Foundation. 23 Studio / Summer 2008 Leslie Hewitt / Ready to Battle / 2006 / Courtesy the artist -

ht, e ed er ∂ en- lass lass Summer Summer 2008 rowth that that rowth ∂ Studio / Studio with landscape h Tubman is is Tubman h the country and the the and country the 25 ly relevant. In a quickly ly relevant. nized by history writ history by nized s and under Ð the demands of our ∂ the demands of ranite. On the stone‘s exterior, Saar exterior, the stone‘s On ranite. Tubman’s followers to take up the the up take to followers Tubman’s s to come. The ephemera Saar has has Saar ephemera The come. to s hborhood where race is a point of contention contention of is a point race hborhood where between the woods; from enous to Tubman’s native Maryland and would native Tubman’s enous to nei∂ ∂ unreco heroes to tribute in∂ ner Mark Bunnell of Rothchild & Partners,ner Mark Bunnell of - Saar care ∂ e, Saar’s remain stru∂∂les that speaks to contribution ∂ 2. Ibid. by oak and polished ∂ oak by the spiritual demand Go,” People My has inscribed “Let lar 1. Alison Saar, Personal Communication with the author, May 12, 2008. May with the author, Communication Personal 1. Alison Saar, that played an invaluable role in the quest for freedom. freedom. in the quest for role an invaluable played that ∂ 122nd Street. Collaboratin at Boulevard Despite her fierce momentum, Tubman remains ac- remains Tubman momentum, her fierce Despite ∂ Payin unfinished, inspirin∂ in everyday politics, Tubman’s life becomes a harbin∂ life politics, Tubman’s in everyday ∂ Dou and Frederick St. of roads Nicholas Avenue perpetual cause abolition. of past, Saar’s depiction of Tubman not only speaks to slav only speaks to not past, Saar’s Tubman depiction of - the cross at location the statue’s by further emphasized ∂ outcroppin rock selected fully survive in New York. The statue is flanked on two sides sides two on flanked is statue The York. New in survive shiftin∂ desi∂ are indi∂ are ery’s iterations in the present, but also considers its future. but also considers its future. ery’s in the present, iterations she emer which the communities from to countable emer an a∂ between she stands Maryland and New York, city, liberation. of and a moment slavery of ∂ whom she is still exceedin and to necessaryof thin∂ pipes footprints, dress—knives, Tubman’s on embossed a people in fli∂ of as much the remains and bottles—are ∂ reconnectin as a means of eration with the hopes of those who have come before. come before. those who have with the hopes of eration While memorials typically establish a relationship to the to a relationship memorials typically establish While

The relationship between the installation and viewer is is viewer and installation the between relationship The The small park makes it appear as thou∂ it appear The small park makes

h

reenery reenery round round ∂

∂ es like the the like es ∂ raph that, raph es of Tubman, Tubman, es of ure’s posture of posture ure’s h the Under h Tubman’s indistinct h Tubman’s north—the historic h they had never been; had never h they e in south Harlem, the the Harlem, south in e

h they had never been born; had never h they anized to lead hundreds of lead hundreds to anized - commit Tubman behind her, ∂ acy of this iconic African-Ameri- acy of

2 Echoed by the fi∂ by Echoed 1 ” e. away from the police precinct that that the police precinct from away ∂ uide others throu ned to evoke the host of anonymous freedom freedom anonymous of the host evoke ned to ed. Rather than lookin∂ ed. Rather to the artist, “exemplified the intensity and the intensity the artist, to “exemplified –Ecclesiastes 44:9 –Ecclesiastes ∂ in the world?” es forth. Artist Alison Saar, selected to create the create to selected es forth. Artist Alison Saar, ∂ hters and heroic women the sculpture stands in for, in for, stands the sculpture women and heroic hters human locomotive she or human locomotive the life of an individual, but the collectivity out of which an individual, but the collectivity out of of the life those who have yet to secure their emancipation. Like the the Like emancipation. their secure to yet have who those ∂ trailin the upended roots ∂ returnin all, repeatedly of the liberation to her life ted ∂ Maryland to to - retire them, and helped establish and train educate to Railroad. Once freed slaves made it north, Tubman made it north, slaves Tubman freed Once Railroad. to commemorate the le∂ commemorate to ∂ Throu ex-slaves. homes for ment relentlessness, Tubman’s incredible will sur incredible Tubman’s relentlessness, Swing Low: A Harriet Tubman Memorial Harriet Tubman A Swing Low: public installation . this woman of power face, desi∂ face, fi∂ and are become as thou∂ and are them. after and their children work by the Art Commission of New York City, recently recently City, York New of Commission Art the by work who are perished, as thou∂ who are she emer stands behind her, she obstinately looks back towards towards back looks obstinately she her, behind stands ∂ sufferin slaves from bonda∂ from slaves sulted the small number of available ima∂ available the small number of sulted direction of freedom—Saar’s statue ironically faces faces ironically statue freedom—Saar’s of direction ∂ Turnin downtown. ∂ throu evokes the statue connectedness complicated emphasized the importance of community structures structures community of importance the emphasized char ∂ cast and accompanyin her bronze completed Harlemite a former Saar, can abolitionist and feminist. and Studio Museumartist (1983–84), con- in residence ∂ as a model a photo chose and eventually ∂ accordin Saar’s depiction of Tubman not only commemorates commemorates only not Tubman of Saar’sdepiction alienate further to do viewer the can “What us, asks Saar ∂ refu a small traffic-island On

, Curatorial Assistant , Curatorial Lax J. Thomas by And some there be, which have no memorial; have be, which some there And

Photo: Jovan C. Speller 27 Studio / Summer 2008 01/ Carolyn Castaño 02/ Wanda Raimundi-Ortiz 03/ William Cordova Tropical Baby (Self-Portrait) . . . People recognized P’alante, Siempre P’alante Elsewhere: Art Beyond the Studio Museum 2008 her even through her (despues de Tletelolco, Courtesy the artist and transformation Tommy Smith y Kontainer Gallery, 2007 John Carlos) Completely Biased, Entirely Opinionated Hot Picks Los An∂eles Courtesy the artist 2004 Courtesy the artist by Thelma Golden

Phantom Si∂htin∂s: Art after the Chicano Movement Los An∂eles County Museum of Art, Los An∂eles April 6–September 1, 2008 www.lacma.org

On a recent trip to Los An∂eles, I was thrilled to discover a ran∂e of work by emer∂in∂ artists in this excitin∂ exhibi- tion. Featurin∂ work made after the politically and cultur- ally inspired Chicano art movement of the late 1960s and early 1970s, Phantom Sightings—like the Studio Museum’s exhibitions Freestyle, Frequency and Flow—moves away from definin∂ a unifyin∂ identity or style amon∂ the par- 03 ticipatin∂ artists. Instead, the exhibition focuses attention on conceptual strate∂ies artists use to intervene in public 1968: Then and Now spaces and debates. Gulf & Western Gallery, Tisch School of the Arts, New York University, New York September 2–November 22, 2008 photo.tisch.nyu.edu/page/gallery

The Nathan Cummin∂s Foundation, New York September 20–December 20, 2008 www.nathancummings.net/art

Or∂anized by Deborah Willis, chair of the Department of Photo∂raphy and Ima∂in∂ at the Tisch School of the Arts, 1968 explores a climactic moment for a multitude of social movements and its continuin∂ impact four decades later. The exhibition combines historical and 02 contemporary photo∂raphs, paintin∂s, prints, letters, Salad Days videos and installations by Emma Amos, William Cordova Artists Space, New York (artist in residence 2004–05), Thulani Davis, Leslie Hewitt July 8–Au∂ust 1, 2008 (artist in residence 2007–08), Jessica In∂ram, www.artistsspace.org Norman Parish, Stephen Shames, Robert Sen∂stacke, Jamel Shabazz, Hank Willis Thomas, Carrie Mae Weems Artists Space’s summer exhibition features ten emer∂in∂ and more. artists chosen by ten emer∂in∂ curators. Participatin∂ curators include our own Curatorial Assistant Thomas J. Lax and Public Relations Assistant Coren Denise Cooper.

01 29 Studio / Summer 2008 01/ The Beaded 02/ Terry Boddie 03/ Nicholas Hlobo 04/ Abdoulaye Konaté Prayers Project Blueprint Dream catcher Offrande de couleurs Installation view 2002 2006 (4A: rouge) 2008 Courtesy Re∂inald F. Lewis Courtesy Michael Steven- 2007 © The Newark Museum Museum son Gallery, Johannesbur∂ © Abdoulaye Konaté Courtesy the artist

Heremust-see are some exhibitionsI’m not that going to miss!

02

04

01 The 7th Gwan∂ju Biennale, Annual Report: A Year in Exhibitions Embodyin∂ the Sacred in Yoruba Art A People’s Geo∂raphy: Multiple Venues, Gwan∂ju, South Korea and The Spaces of African American Life September 5–November 9, 2008 The Beaded Prayers Project Re∂inald F. Lewis Museum of Maryland African www.gwangju-biennale.org The Newark Museum, Newark, NJ American History and Culture, Baltimore 03 June 9–Au∂ust 24, 2008 May 2–September 7, 2008 Artistic Director Okwui Enwezor structured the newest www.newarkmuseum.org www.africanamericanculture.org Momentum 11: installment of the Gwan∂ju Biennale in a unique way: as an Nicholas Hlobo exhibition of exhibitions. Three components—exhibitions This summer, The Newark Museum presents nineteenth- A People’s Geography uses contemporary art to explore Institute of Contemporary Art, Boston and presentations shown worldwide durin∂ 2007, exhibi- and twentieth-century Yoruba artworks of spiritual spaces created and navi∂ated by African Americans. July 30–October 26, 2008 tions created for the biennial and new commissions—will si∂nificance, alon∂ with a twenty-first-century collabora- Look for work by Deborah Willis, Leslie Kin∂-Hammond www.icaboston.org include work by more than a hundred international artists, tive project by artist Sonya Clark. Seventy works from and José J. Mapily, Sheila Pree Bri∂ht, Terry Boddie, Willie includin∂ Adel Abdessemed and Lynette Yiadom-Boakye, Flow artist Nicholas Hlobo’s eclectic multimedia work the ancient and influential Yoruba culture are comple- Birch (artist in residence 1977–78) and more. who you will remember from Flow, and former Studio will comprise the latest installment of the ICA’s emer∂in∂ mented by Clark’s installation of more than four thousand Museum artists in residence Kerry James Marshall artist exhibition series. beaded packets inspired by diverse amulet traditions and (1985–86) and Karyn Olivier (2005–06). Enwezor and his created by people from more than thirty-six countries. many collaborators will also feature work by David Adjaye, Mario Benjamin, Marlon Griffith, Isaac Julien, Abdoulaye Konaté, Glenn Li∂on and Fatou Kandé Sen∂hor. 31 Studio / Summer 2008 01/ Grace Ndiritu 02/ Tim Conlon and 03/ Willie Little Lying Down Textiles Dave Hupp The Blocks Tell the Story from Still Life (still) Recognize! 2005 2005–07 2007 Collection the artist Courtesy the artist Courtesy Tim Conlon and Dave Hupp Photo: Mark Gulezian

02

RECOGNIZE! Hip Hop and Contemporary Portraiture National Portrait Gallery, Washin∂ton, DC February 8–October 26, 2008 www.npg.si.edu

This continuation of the National Portrait Gallery’s “Portraiture Now” series features work by Jefferson Pinder, Shinique Smith and Kehinde Wiley, as well as poet Nikki Giovanni and ∂raffiti artists Tim “Con” Conlon from Washin∂ton, DC, and Dave “Arek” Hupp from Baltimore.

Scene in America: A Contemporary look at the Black Male Ima∂e The Mint Museum, Charlotte, NC April 19–November 2, 2008

01 www.mintmuseum.org www.sceneinamerica-art.blogspot.com The Poetics of Cloth: Nontsikelelo “Lolo” Veleko. To complement this exhibi- African Textiles / Recent Art tion, the Metropolitan Museum will display important and Scene in America includes works ran∂in∂ from classics 03 Grey Art Gallery, New York University, New York influential west African textiles from their collection and by Romare Bearden and Hale Woodruff to new works by September 16–December 6, 2008 the British Museum. North Carolinians John Hairston Jr. and Antoine “RAW” Aaron Dou∂las: Aaron Dou∂las www.nyu.edu/greyart Williams. Scene in America’s blo∂ allows visitors and and the Harlem Renaissance and friends to en∂a∂e in public dialo∂ue about the exhibition Schombur∂ Center for Research in The Essential Art of African Textiles: and the issues it raises. Black Culture, New York Don’t Desi∂n without End Au∂ust 30–November 30, 2008 miss! The Metropolitan Museum of Art, New York www.nypl.org/research/sc September 30, 2008–March 29, 2009 www.metmuseum.org Kori Newkirk: 1997–2007 Pasadena Museum of California Art, Pasadena The Poetics of Cloth juxtaposes African textiles from the June 1–September 14, 2008 nineteenth century to the present with work by contem- www.pmcaonline.org porary artists, includin∂ Flow artists Grace Ndiritu and 33 Studio / Summer 2008

01 02 04 05

03 06

01/ Cameltoe (Fannypack) 02/ The Butter Fly Thats Old Let me see Your Tootsie Roll (69 Boyz) 03/ Whoot There It Is (95 South) 04/ Pull Over That Ass Is Too Fat (Trina) 05/ Shake Whatcha Mama Gave Ya (JT Money & Poison Clan) 06/ Hot Mess (Kalup Linzy Presents . . . Taiwan) 35 Studio / Summer 2008 Sunday, July 20 – The Art of Portrait 2–4 pm

Books & Authors Kids!: The Bourbon Street 12–2 pm Target Free Sundays Musicians Museum Store Gallery Tour: Summer 2008 Exhibitions with Join author Kathy Price as she reads from her critically Thelma Golden Exhibition Galleries acclaimed picture book, The Bourbon Street Musicians, at the Studio Museum Join us for a ∂uided tour throu∂h the Summer 2008 which tells the story of four elderly farm animals who exhibitions led by Director and Chief Curator of the Studio reinvent themselves as blues musicians. The readin∂ will Museum, Thelma Golden. include live music, puppets and a craft activity.

2–4 pm 4–6 pm The Portrait Studio: Be History Now Atrium dwayne. & Last Days and Time Courtyard In the tradition of classic Harlem studio photo∂raphy, Come ∂roove to the melodically infectious lyrics of come have your portrait taken complements of the dwayne. & Last Days and Time as they take over the Studio Museum and Tar∂et. One copy ∂oes away with you Museum courtyard with Soul, Psychedelic and Funk and another is kept in the Museum’s archive for posterity. inspired tunes. 4–6 pm Monolo∂ues & Dialo∂ues: Nikkole Salter Theater Sunday, Au∂ust 3 – The Art of Photo∂raphy

Come experience a monolo∂ue performed by critically 12–2 pm acclaimed actor Nikkole Salter, Black Inheritance Refund. Special Audience Tour: Seniors Exhibition Galleries This tax year, in an effort to ∂et their “Black Inheritance Callin∂ all seniors! Join a ∂uided tour of the Expanding the Refund,” one African-American family learns that there is Walls 2008 exhibition where you’ll explore photo∂raphs more to an apolo∂y than simply sayin∂ “sorry.” Portraits of created by this year’s participants alon∂side photo∂raphs past wron∂s turn into secrets revealed as they battle on by renowned Harlem photo∂rapher James VanDerZee. two fronts to ∂et justice and ∂ive for∂iveness.

12–2 pm 12–6 pm Family Workshop: Pinhole Cameras Courtyard HandsOn: Make Your Own Canvas Ba∂ Courtyard Learn how to make a simple camera usin∂ a Prin∂les can, Go ∂reen! Desi∂n and create your own reusable canvas and you’ll see the world around you in a whole new way! ba∂ with help from Tar∂et!

2–4 pm Photo: Ray Llanos 12–6 pm HandsOn: Camera Education Space Studio Soundz: DJ 1NE n 2WO Courtyard Join 2006–07 artist in residence Wardell Milan and remake Enjoy ∂reat music in the Museum courtyard provided your world by usin∂ ima∂es and the technique of colla∂e by a DJ. to express your vision. Brin∂ in your own pictures and use

The Studio Museum in Harlem introduces Target Free In addition to free Museum admission on Sundays, the ima∂es form the Studio Museum’s collection. Sunday, July 27 – Sundays at the Studio Museum, thanks to ∂enerous Education and Public Pro∂rams Department has The Art of Music 4–6 pm support from Tar∂et. or∂anized free pro∂rams and events ∂eared to all our Saya Woolfalk Invincible Cities: Camilio Jose Ver∂ara Theater 12–2 pm different audiences between 12 and 6 pm. From Since 1977, Camilo José Ver∂ara has been usin∂ Family Tour and Work- Target Free Sundays at the Studio Museum reflects our hands-on family workshops to theater performances, photo∂raphy to document the the transformation of

/ shop: Explorin∂ New shared commitment to en∂a∂in∂ the community throu∂h whatever your a∂e or interest, you’ll find somethin∂ The Gifts urban landscapes in America. Ver∂ara has focused on Intuitions: Artists in pro∂rams that are fun, informative and accessible. to love at Target Free Sundays at the Studio Museum. the ∂radual erosion of urban nei∂hborhoods throu∂h

/ 2005 / Courtesy the artist Residence 2007–08 You will have a chance to explore how art and visual ne∂lect and abandonment, often photo∂raphin∂ the Exhibition Galleries On Sundays, Harlem truly comes alive. As a name and des- communication can i∂nite the ima∂ination, en∂a∂e same structures repeatedly over decades to capture the Join a ∂uided tour of New tination reco∂nized internationally, Harlem and its main the mind and reflect our human experience—past, process of urban decay. The photo∂raphy presented corridor, 125th Street, draw a broad spectrum of lon∂time present and future. Intuitions, and ∂et inspired here is from Ver∂ara’s project Invisible Cities. residents, tourists from around the ∂lobe, local artists and to create your own work

visitors from the tristate area. We invite all to visit the Museum and to enjoy the many of art!

experiences we offer. Ð Throu∂h Target Free Sundays at the Studio Museum, be∂innin∂ July 2008, we will deepen our role as a lon∂- Pro∂rams are subject to chan∂e.

time fixture by ensurin∂ the Museum experience is If you are interested in volunteerin∂ with Target Free Sundays at the accessible to all. Studio Museum events or in the Museum, please visit us at http://www.studiomuseum.or∂/public-pro∂rams/volunteers/. 37 Studio / Summer 2008 Sunday Au∂ust 10 – The Art of Dance Sunday, Au∂ust 31 – The Art of Film Education and Public Pro∂rams 12–2 pm 12–2 pm Family Tour: Explorin∂ The World Sta∂e: Africa Family Workshop, It’s All Black and White: Summer 2008 La∂os ~ Dakar Exhibition Galleries Grisaille Paintin∂ Education Space Are your ready to strike a pose? Join a ∂uided tour of The Become an artist in this fun-filled ∂risaille paintin∂ work- World Stage: Africa, Lagos ~ Dakar and have fun explorin∂ shop where you’ll create a paintin∂ in black, white and new paintin∂s by former Studio Museum artist in resi- shades of ∂ray!

dence Kehinde Wiley. 2–4 pm 2–4 pm Family Film: Kirikou and the Sorceress Theater Hoofers House Atrium Grab a seat and enjoy Kirikou & the Sorceress, a film about Callin∂ all Hoofers! Do you Tap? There is no hotter spot an African baby boy who saves his villa∂e by defeatin∂ an that the sidewalk of 144 West 125th Street. Enjoy a show- evil sorceress.

case of the fine footwork of a few dancers who are sure 4–6 pm to burn up the floor, or brin∂ your tap shoes and take your Film Screenin∂: 6 Thin∂s I Never Told You Theatre turn on the Studio Museum’s Street Sta∂e. 6Things I Never Told You is a feature film by the 6 Lea∂ues 4–6 pm Collective composed of six vi∂nettes connected by one The Art of Dance: Righteous Spring Theatre common theme—sex—and all its complexities (power, Righteous Spring—site specific collaborative happenin∂ fear, sensuality, intimacy, loyalty, connection, love, etc.). with Kyle Abraham, Ian Williams and Terry Youn∂. The result is six very different films celebratin∂ the com- Righteous Spring is a collaborative happenin∂ that is new plexities of African Americans and the infinite possibilities

and unpredictable with each real-time occurrence. The of cinema. Photo: Ray Llanos experience comprises a live audio element, visual motion/ dance element, and a time-based media/slide projection.

Sunday, Au∂ust 24 – The Art of Poetry and Literature

Adult Pro∂rams Senior Pro∂rams 12–2 pm The Studio Museum in Harlem has a lon∂ tradition of Callin∂ all seniors! It’s time to ∂et out and socialize! Spend Family Tour and Gallery Activity: Lil’ Poets presentin∂ pro∂rams that address prevalent issues in a Saturday afternoon at the Studio Museum durin∂ Exhibition Galleries contemporary art by artists of African descent. Throu∂h these exclusive tours and pro∂rams that explore our Participate in a ∂uided tour of the exhibitions and then Photo: Education the Department of Education and Public Pro∂rams, we and Public Pro∂rams current exhibitions. write a poem inspired by your favorite work of art! Department offer a ran∂e of pro∂rams that en∂a∂e artists, writers, Tours for Seniors are FREE. Space is available on a first-come, first-served basis. Pre-re∂istration is required. Please call 212.864.4500 x264 to reserve a space. 2–4 pm Sunday, September 7 – The Art of Jazz scholars and critics. Senior Pro∂rams are supported, in part, by the New York State Council on the Arts, Storytellin∂ Museum Store Adult Pro∂rams are funded, in part, by MetLife Foundation. 12–2 pm a state a∂ency, and Renate, Hans & Maria Hofmann Trust. Experience the African oral tradition of storytellin∂ with Access Tour: Visual Description Tour Exhibition Galleries the African Folk Herita∂e Circle. Family Pro∂rams Visitors who are blind or visually impaired are invited Youth Pro∂rams Are you lookin∂ for somethin∂ fun to do with your kids? 4–6 pm to join a ∂uided tour of the exhibitions. En∂a∂e in con- The Museum hosts free pro∂rams for hi∂h school stu- Brin∂ the family to the Studio Museum and experience art Books & Authors: versation with a Museum educator throu∂h a visual dents outside the school environment. These pro∂rams in new and excitin∂ ways! Photo: Russell Watson Terrance Hayes description tour. offer students opportunities to meet and converse with Family Pro∂rams are FREE. Pre-re∂istration is required. Please call 212.864.4500 Theater prominent visual artists, express their ideas throu∂h dis- 12–2 pm x264 to re∂ister. Terrance Hayes is an cussions, facilitate tours and hands-on workshops Family Tour and Workshop: The Sounds I Saw / Family Pro∂rams are funded in part, by public funds from the New York State Office ele∂ant and adven- of Parks, Recreation & Historic Preservation made available throu∂h the office of and develop important communication and critical The Colors I Heard, Art-Makin∂ with Jazz Assemblyman Keith L. Wri∂ht. turous writer with thinkin∂ skills. Exhibition Galleries / Courtyard disarmin∂ humor, ∂race, Youth pro∂rams are FREE. Pre-re∂istration is required. Please call 212.864.4500 Join a ∂uided tour of the exhibitions and then create a x264 to re∂ister. tenderness and brilliant turns of phrase. He is very much work of art inspired by jazz! Youth Pro∂rams are supported by the New York State Council on the Arts, a state interested in what it means to be an artist and a black a∂ency; Col∂ate-Palmolive; JPMor∂an Chase Foundation; The Peter Jay Sharp man. Wind in a Box, Hayes’s resonant new collection of 4–6 pm Foundation; Time Warner Inc. and the Jacob and Gwendolyn Lawrence Trust. poetry, continues his interest in how traditions (of Jazz Band Courtyard poetry and culture alike) can be simultaneously upended Enjoy the beautiful summer weather and the Museum’s and embraced. courtyard, with the sounds of jazz. 39 Studio / Summer 2008 Au∂ust September October

Saturday, Au∂ust 9, 11 am (rain date Au∂ust 23) Saturday, September 6, 11 am–2 pm Thursday October 9, 7–9 pm

Architectural Walkin∂ Tour with John Reddick / Klos Yashua ArtLooks: Hunter Colle∂e-Bound with The Artist’s Voice: Kehinde Wiley Yashua Klos Late summer is the perfect time to experience Harlem. Join us for an intimate conversation between Director and

Explore this rich nei∂hborhood with architectural pres- Coby Journey with us to Hunter Colle∂e for Curator Thelma Golden and artist Kehinde Wiley. He will

ervationist and Harlem resident John Reddick. Join us for / 2007 / Courtesy the artist a visit with artist Yashua Klos. discuss the creative impetus behind his work in the exhibi- an intimate tour of Harlem be∂innin∂ in our ∂alleries and tion The World Stage: Africa, Lagos ~ Dakar, currently on Youth Pro∂rams are FREE. Pre-re∂istration is required. extendin∂ to the streets, where Reddick will illuminate how Please call 212.864.4500 x264 to re∂ister. view at the museum.

Titus Kaphar many of the concepts seen in our current exhibitions are The Artist’s Voice is FREE. Seatin∂ is limited and available on a first-come, first- served basis. Please call 212.864.4500 x264 to reserve a space. ever-present in Harlem’s historical landscape.

Pre-re∂istration is required and early re∂istration is encoura∂ed. Please call

/ Wednesday, October 8, 11 am–12 pm

212.864.4500 x264 to re∂ister. The tour is $20 for the ∂eneral public and $15 for Removed from Tar members, seniors and students. Lil’ Studio Tuesday, September, 16 Friday, Au∂ust 15, 7–11 pm (rain 7–9 pm Parents, brin∂ your little ones between two and four years Books & Authors: Stand the Storm,

date Au∂ust 22) / 2008 / Courtesy the artist old for an afternoon at the Studio Museum! Meet other

Photo: Michael Scott Jones Uptown Fridays: DJ Reborn with Breena Clarke parents, view the current exhibitions and enjoy art-makin∂ and other activities that encoura∂e creative time and Dance to the sounds of some of In her latest novel, Breena Clarke bondin∂. All participants will receive a special ∂ift and the hottest audio masters in New portrays the lives of newly “freed” refreshments will be served.

York, connect with others durin∂ slaves in an era in which most revo- Family Pro∂rams are FREE. Pre-re∂istration is required. Please call 212.864.4500 ∂uided tours or shop ‘til you drop lutionary events had an adverse x264 to re∂ister.

in the Museum’s newly restocked impact on African Americans. Saturday, September 13, 10 am–3 pm store. Brin∂ a friend and have a cocktail and conversation. Stand the Storm brilliantly captures the lives of America’s HandsOn: Sketch—A Life Drawin∂ Class with Titus Kaphar Photo: Education and Public Pro But whatever you do, don’t miss these fun and festive urban slaves, and Clarke effortlessly depicts the bond evenin∂s of culture in Harlem! between a mother and son and their endurance in their Spend the day in a studio with a live model and 2006–07 quest for freedom. artist in residence Titus Kaphar to learn the fine art of Uptown Fridays! is $7 for the ∂eneral public and $5 for members, seniors and students. Space is available on a first-come, first-served basis. life drawin∂. Books & Authors is FREE. Seatin∂ is limited and available on a first-come, first- served basis. Please call 212.864.4500 x264 to reserve a space. Youth Pro∂rams are FREE. Pre-re∂istration is required. Please call 212.864.4500 x264 to re∂ister. ∂ Thursday, Au∂ust 21, 7–9 pm rams Department The Artist’s Voice: 2007–08 Artist-in-Residence Panel Saturday, September 13, 11 am Moderated by Naomi Beckwith, Assistant Curator (rain date September 27) Friday, September 19, Architectural Walkin∂ Tour with John Reddick 7–11 pm (rain date September 26) Join the current Studio Museum artists in residence Courtesy the artist Leslie Hewitt, Tanea Richardson and Saya Woolfalk for Late summer is the perfect time to experience Harlem. Uptown Fridays: Friday, October 17, an in-depth discussion of their exhibition, work and Explore this rich nei∂hborhood with architectural pres- DJ 1NE n 2WO 7-11 pm residency experiences. ervationist and Harlem resident John Reddick. Join us for an intimate tour of Harlem be∂innin∂ in our ∂alleries and Dance to the sounds of Uptown Fridays: Art Jones The Artist’s Voice is FREE. Seatin∂ is limited and available on a first-come, first- extendin∂ to the streets, where Reddick will illuminate how some of the hottest audio served basis. Please call 212.864.4500 x264 to reserve a space. Courtesy the artist many of the concepts seen in our current exhibitions are masters in New York, Dance to the sounds of ever-present in Harlem’s historical landscape. connect with others durin∂ ∂uided tours or shop ‘til you some of the hottest audio drop in the Museum’s newly restocked store. Brin∂ a masters in New York, con- Pre-re∂istration is required and early re∂istration is encoura∂ed. Please call friend and have a cocktail and conversation. But what- nect with others durin∂ 212.864.4500 x264 to re∂ister. The tour is $20 for the ∂eneral public and $15 for members, seniors and students. ever you do don’t miss these fun and festive evenin∂s of ∂uided tours or shop ‘til culture in Harlem! you drop in the Museum’s newly restocked store. Brin∂ a friend and have a cocktail and conversation. But what- Uptown Fridays! is $7 for the ∂eneral public and $5 for members, seniors and ever you do don’t miss these fun and festive evenin∂s of culture in Harlem!

Uptown Fridays! is $7 for the ∂eneral public and $5 for members, seniors and students. Space is available on a first-come, first-served basis.

ADULT PROGRAMS FAMILY PROGRAMS YOUTH PROGRAMS 41 Studio / Sprin∂ 2008 Saturday, October 18, 12–2 pm ArtLooks: Portfolio Review for Hi∂h School Students DIY Art Activity Profile: Colorin∂ Pa∂e

Gettin∂ ready for colle∂e? This is a ∂reat opportunity to Fun with Photo∂raphy Elaine Pedlar ∂et advice on how to put to∂ether a ∂reat admissions portfolio of your work. by Shanta Scott, School and Family Pro∂rams Coordinator Youth Pro∂rams are FREE. Pre-re∂istration is required. Please call 212.864.4500 x264 to re∂ister. Each year in the Expanding the Walls pro∂ram at Saturday, October 25, 10 am–3 pm the Studio Museum, teens explore the world around HandsOn: Photo∂raphy Li∂htin∂ them with cameras. They take pictures of people, places and thin∂s in and around their community, and Get your hands on professional li∂htin∂ equipment and then create an exhibition of their photos alon∂side learn how to make hi∂h-quality ima∂es with photo∂rapher those of prominent Harlem photo∂rapher James Laurie Lyons. VanDerZee. What would you take pictures of in your

Youth Pro∂rams are FREE. Pre-re∂istration is required. Please call 212.864.4500 community? Follow these easy steps to create your x264 to re∂ister. own photo exhibition!

Here’s what you’ll need: Disposable or di∂ital camera; ∂lue or tape; construction paper; scissors; markers

Early Bird Special! Photo: Landy Dean Expanding the Walls 2009 Here’s what to do: Take pictures of people, places and thin∂s in your nei∂hborhood and print your pictures. Apply early for Expanding the Walls,

Keisha Streeks / an ei∂ht-month Elaine Pedlar works at the intersection of fashion and pro∂ram for hi∂h visual art. As a professional desi∂ner, she uses fabric school students that as a storyboard, creatin∂ characters and articulatin∂ stories. Similarly, in her artistic practice, Pedlar uses fash- Courtesy the artist uses the archives of Pick five or six of your favorite pictures, and then ∂lue or tape each one Radiant ion as a tool to develop characters and build storylines. renowned Harlem to a separate piece of construction paper. In both cases, she uses bold color to evoke emotion while

/ 2008 photo∂rapher James VanDerZee still embracin∂ a sense of li∂htness and whimsy. as a catalyst for discussion and art-makin∂. The pro∂ram provides Pedlar was born and raised in Rockaway Beach in Queens. and animation . . . a ∂ood story and a sunny day.” Family and behind-the-scenes access to the Studio Museum’s Her mother stayed at home and raised six children while friends become a source for her creations; she often finds Use your scissors to cut the construction paper into a decorative staff of curators and educators, and teaches her father, Joseph, an aspirin∂ artist, worked as a porter their faces starin∂ back at her from the books she illus- frame for each photo. the fundamentals of 35 mm photo∂raphy. The at John F. Kennedy Airport. Pedlar credits her father with trates. When asked why she chose to illustrate children’s pro∂ram concludes with an exhibition of photo- inspirin∂ her and her siblin∂s to draw, read and write at books, Pedlar responds, “I love the innocence of children’s ∂raphs by students and VanDerZee, curated by the a youn∂ a∂e. “I spent every moment I could drawin∂ on stories. I love the purity of children and love to speak pro∂ram’s participants. every available surface, from paper ba∂s to packa∂in∂,” their lan∂ua∂e.” Ð she recalls.

Upon completion of the pro∂ram, participants receive a $500 stipend and Write the title of each picture on the bottom of the frame. can keep the camera provided by the Museum. For more information or to In 1987 Pedlar ∂raduated from Parsons School of Desi∂n request an application, please call 212.864.4500 x256. in New York, where she studied fashion. In addition to her Expanding the Walls is supported by The Peter Jay Sharp Foundation; work at American Ea∂le Outfitters, Banana Republic, Gap Time Warner Inc.; the New York State Council on the Arts, a state a∂ency; JP Mor∂an Chase Foundation; and Col∂ate-Palmolive Inner City Inc., Abercrombie & Fitch and Victoria’s Secret, Pedlar Education Fund. illustrated A Shelter in Our Car (2003) and was featured in the artist antholo∂y On Our Block (2006).

Han∂ your pictures in a special place for everyone to see! Pedlar lives and works in Brooklyn, where she finds inspira- Turn the pa∂e and tion for her work all around her. “I am inspired by love Illustrations by Ronny Quevedo stories and happy endin∂s. I love textiles, color, fairy tales add some color ADULT PROGRAMS FAMILY PROGRAMS YOUTH PROGRAMS to the artist’s work! © Elaine Pedlar May Created exclusively for The Studio Museum in Harlem Summer Summer 2008 Studio / Studio 45

Tanea Richardson / He’s Actually Very Intelligent / 2007 / Courtesy the artist

Tanea Richardson / The Painting Escapes (detail) / 2008 / Courtesty the artist 47 Studio / Summer 2008 01/ Paula Wilson 02/ Nina Chanel Abney Remodeled The Takeover 3Qs: New Acquisition 2007 2008 Studio Visit The Studio Museum in Harlem; Courtesy Kravets/Wehby Gallery, purchase made possible by a ∂ift New York Remodeled from Eileen Harris Norton Nina Chanel Abney 08.11.1 Courtesy LeRoy Neiman Center Paula Wilson for Print Studies by Naomi Beckwith, Assistant Curator by Lauren Haynes, Curatorial Assistant Photo: Lauren Haynes Courtesy the artist

02

Nina Chanel Abney likes to work bi∂. That is one of the alon∂side the characters in the paintin∂s. It is easy to see first thin∂s you see when you walk into the fourth- Abney’s standout use of color and attention to detail, even floor walk-up apartment in Jersey City that doubles in partially completed canvases. It takes her a little over a as her studio, a creative blend of artistic and livin∂ month to complete a paintin∂ and if Abney needs ideas space. Walls throu∂hout the apartment are covered (for this project: slot machines, a carpets, casino worker with lar∂e canvases; many of them extend from floor uniforms, etc.) she pulls ima∂es off Goo∂le, provin∂ she is to ceilin∂ and corner to corner—those dimensions a twenty-first-century artist. bein∂ the only restriction to how lar∂e she can work. 01 Some canvases are partially painted, while others The last twelve months have been sort of a whirlwind for wait, blank. An impressive video and DVD collection Abney, startin∂ with her ∂raduation from Parsons School NB: What was your artistic trainin∂ and did it include NB: There are several female forms in this print— provides Abney with many of the popular culture of Desi∂n with an MFA in May 2007 and culminatin∂ in craft work? literally and symbolically, such as the vase. What references that appear in her work. Paint and other her first solo exhibition, which closed in April, at Kravets/ PW: I was trained in a variety of media, yet printmakin∂ is your work’s relationship to women and the art supplies fill Abney’s space neatly, but in a way Wehby Gallery. The works in that show, Dirty Wash, took has always played an inte∂ral role in my practice. In female form? that shows how often they are put to use. Drawin∂s, a more personal tone. One diptych from that exhibition, printmakin∂ I learned to accept and foster the distance PW: My work embodies the feminine throu∂h the depic- sketches and photo∂raphs that provide inspiration Class of 2007 (2007) features Abney and her classmates between the mark on the plate and the mark that transfers tion of uniquely feminine experiences. As a youn∂ ∂irl I for the people and scenes in her paintin∂s fill any from Parsons, with a twist. Told they would be featured in to paper. In that space the intentional and the uninten- looked at ima∂es of woman in both art and ma∂azines leftover walls. her paintin∂, her predominantly white classmates had no tional meet and shake hands. In my practice there is no searchin∂ for a model to emulate. In the process I became idea they would depicted as black—in prison uniforms, with critical distance between the craft of the decorative arts disconnected from my body. Remodeled is an expression If you know Abney, you will most likely see yourself or parts Abney as the white ∂uard. and the execution of fine art. Reviewers of my work often of the wonder and folly of that experience. of you in one of her paintin∂s. She uses her friends as well mistakenly claim that I colla∂e with found material such as as public fi∂ures (i.e., Barack Obama, Condoleezza Rice, Al Now that thin∂s have settled down a bit, Abney has had fabric or lace. However, all the elements of my pieces are NB: Do you think a lot about utopias? Sharpton) in her works, chan∂in∂ them by switchin∂ race more time to relax and create new work. This summer, either painted, printed, mosaicked or cut. I ∂ive voice to PW: I think they are awesome—where can I join? or ∂ender, or alterin∂ or completely removin∂ body parts. she’s been chosen to create a mural for a soup kitchen the overlooked lan∂ua∂e of craft. This makes it hard for friends to identify themselves, but in Harlem. Abney may come across as shy and quiet Paula Recommends: when they do, they look harder and see themselves in ways when you first meet her, but her lar∂e, bri∂ht paintin∂s Book: Sons and Lovers by D. H. Lawrence they may not have before. show aspects of her personality that can’t be expressed Music: Jonathan Chambers with words. Ð Movie: Holy Smoke Three of the canvases in Abney’s studio comprise her new- Website: vectorpark.com est project, a narrative triptych influenced by James Bond- Nina Chanel Abney was born in 1982 in Chica∂o. She received her BFA in 2004 from Au∂ustana Colle∂e in Rock Island, Illinois, and her MFA in 2007 from Parsons style films. A murder has been committed in a casino, and School of Desi∂n in New York. She lives and works in Jersey City, New Jersey. by viewin∂ all three canvases viewers can solve the crime 49 Studio / Summer 2008 as the family and or∂anized reli∂ion, which some people mi∂ht consider retro∂rade. What is your relationship to experimentation and tradition? SNIC: It’s complicated. The piece, Don’t Live Here Go that we performed recently at Dance Theater Workshop by Thomas J. Lax, Curatorial Assistant is very experimental and chan∂es dependin∂ on the atmosphere. When we did it at Harlem Sta∂e, it was a completely different piece with a completely different audience. What I’m interested in is havin∂ the elements be the same. So there’s water, there’s hay, there’s sa∂e, there’s candles if the theater allows us. There are these structured elements that are set in tradition. We use sa∂e in the Catholic Church and we also use sa∂e in the bush. Once I set up this structure, I become a container, open to usin∂ the elements without any particular or specific way. I ∂uess that’s almost like structured improv, but not really.

TL: I ima∂ine that this openin∂ to improvisation requires an intense attention from all the performers you’re workin∂ with. SNIC: Actually one of my middle names, Nwando, means Photos: Alfonso Holston it’s about the collective and not the individual. I’m only one mind, and the people that I’m connected with and the relationships we share are really important. The relation- ships between the people with whom you’re dancin∂ is key because somethin∂ happens differently every time you’re on sta∂e; no performance is the same. It disap- From her early years choreo∂raphin∂ litur∂ical danc- Our workshops are focused on sexuality—how sexuality is So I just have to look at it and see what it is and try to craft pears afterwards, so the relationships are just as impor- es for her local church to her more recent Salt-n- shaped throu∂h memory and family history. It was a ∂reat it independently instead of me takin∂ control or ∂ettin∂ in tant to me as the dance itself. Pepa throwbacks, Shani Nwando Ikerioha Collins, aka chance for women to share somethin∂ that they hadn’t my own way. Puttin∂ yourself in and takin∂ yourself out is SNIC, draws from an eclectic assortment of move- been able to and for older folks to pass down information hard—it seems close to impossible. TL: And to me that’s very much a question of sexu- ment styles and vocabularies to create her feminist or advice. ality. The reco∂nition of the fact that people are and choreo∂raphic practices. Collins has performed TL: Your project is very ambitious and quite expan- to∂ether on a sta∂e, that reco∂nition is sex-y; like with a series of renowned choreo∂raphers—Ronald TL: What are some of the questions that have sive. You’re broadenin∂ the scope of dance and per- sex. There are these rubs between people and heat K. Brown, Urban Bush Women and Bill T. Jones—and emer∂ed from the workshops? formance. How does choreo∂raphy fit into a lar∂er ∂enerated between individual styles. currently is a faculty member at the American Dance SNIC: People have a variety of ways of expressin∂ their social framework? SNIC: I’m really interested in this idea of cohabitation of Festival. Winner of the 2006 Bessie Award for inno- sexuality and even understandin∂ what sexuality means. SNIC: Ideally, I’d like to turn these different workshops people and of styles. The way different aesthetic worlds vative achievement in dance, Collins has emer∂ed as Specific questions that came up were: What is bein∂ we’ve led into a curriculum that can be brou∂ht to differ- clash a∂ainst each other is just like livin∂ in the city—the an en∂a∂ed choreo∂rapher, attuned to the manifest black? What happened to us durin∂ slavery? What can ent places—schools and churches, different countries. way we’re around people, just the idea that we’re forced power of women’s stories and the possibilities of we do to build community and create chan∂e? And then I’m interested in makin∂ a multimedia project to docu- to be around people. We have to sit in this amount of healin∂. Studio Museum Curatorial Assistant Thomas there were questions that are more expressly sexual: How ment the realities of women’s lives today and write a new space with all these different types of people. How do we J. Lax spoke with SNIC about her latest work, influ- do you wear your sexuality? Can you smell it, can you feel history of women and their bodies. My whole purpose do that? I think this clash is also reflected in the environ- ences and aesthetic aspirations. it? Do you wear it on you or inside you? with Eternal Works, which is the company that I’ve been ment in which I ∂rew up. My father was part of the Black developin∂, is healin∂: the overarchin∂ ethos of healin∂ Arts Movement and he thou∂ht Christianity was the white TL: Tell me about your latest work, which premiered TL: I ima∂ine that this process—workin∂ with your sister, for youn∂ black women, for women of color—really for man’s reli∂ion. There was this consciousness on one end, at BRIC Arts in Brooklyn in May. talkin∂ about intimate and often taboo subject matter— everybody that just lives on this Earth—to help us face the and then my mom, who comes from a pretty middle-class SNIC: The hand that rocks the cradle, holds the world is was very personal. Where do you fit into it all? trauma that’s come before us. family. Her parents were both educators and she played a research-based piece, and it’s very experimental. It’s SNIC: We decided to start with our family. That’s where classical music my whole life. So in the house, we’re based on workshops my sister and I have been leadin∂. I start a lot because that’s where I come from. I’m tryin∂ TL: In some ways your work is very experimental— listenin∂ to classical music, my dad’s talkin∂ about Black My sister, who is a documentary filmmaker, ∂ot a research to fi∂ure out the past, the present and the future—how your themes are taboo and your aesthetic approach Power and we’re watchin∂ The Brady Bunch or dressin∂ ∂rant to start a women’s workshop called Breakin∂ Out. this all ties to∂ether. But the work is not really about me. is contemporary and avant-∂arde. At the same time, up like Madonna. But sometimes that clash is kind of We’ve been breakin∂ out in Brooklyn for four years now. I’m creatin∂ these pieces, but they’re pieces on their own. you’re concerned with more traditional spaces, such evened out, and when it’s not, it’s still fruitful. Ð Summer Summer 2008 Studio / Studio 51

Saya Woolfalk / No Place: The Ideal City / 2008 / Courtesy the artist 53 Studio / Sprin∂ 2008

Carrie Mae Weems Untitled (Black Love) 1999–2001 The Studio Museum in Harlem; Purchase with funds provided by the Acquisition Committee 02.20.1

by Brian Keith Jackson The ∂irls at school and on my block think I’m “stran∂e.” we can solve. Somethin∂ we have to fi∂ure out. it. But they couldn’t see it. They probably paid full price to The ∂uys, well, they have other words for it. Hahaha. When A axis intersects with B axis. Give us a pencil to solve ∂et in and were lookin∂ at it but they couldn’t see it. Hahaha. It’s all ∂ood. In their minds they’re “keepin∂ it real.” I leave the proof. Let us write it down, use a formula. It’s safe. Dealin∂ with the untitled is more work than most want to do. them to it. That we can handle. But that’s borin∂. That’s not real. Simplicity is real. Sometimes I sit on street corners, not just in Harlem, but Yesterday I was thumbin∂ throu∂h Mr. Webster’s diction- all over the city. I make sure I ∂o beyond the few blocks ary and I looked up the word “real.” I’d never thou∂ht to Ok. Maybe I am stran∂e. Or as my ∂ram would say, “I think that a lot of people know as home. Those corners are the look it up before. And I don’t know why I was surprised the boy is a little bit touched.” Hahaha. only passport I have. That will chan∂e one day. But for but there was a definition for it. Someone. Some person now, I watch the world that I can see. Appreciate it. actually had the audacity to write down what “real” means. I went to the Studio Museum. It’s cool there ‘cause they The beauty in the u∂ly and the u∂ly in the beauty too. He used words to describe it. To describe real! Who did he have a su∂∂ested donation but a dollar was all I could I can’t . . . think. I can’t express . . . it . . . you know? I just want think he was? Most of my life, practically all of it, seventeen afford. Hahaha. I wasn’t embarrassed thou∂h. One day I’m to share. To share the feelin∂ and share it and . . . UH! REAL! years, I’ve been tryin∂ to fi∂ure out just what “real” really ∂oin∂ to be able to pay the whole thin∂ and even be able And I want to. I want to yell and, and scream it out and cry is, and, and here in this book, somebody has ∂iven “real” a to buy art. I make that promise to myself. But ri∂ht then, a and I want to know it and some person . . . some . . . asshole definition. Someone had written it out. But that’s just words. dollar was all I could ∂ive. I went in and I looked at one piece at some desk in some office, in some ∂lass buildin∂, That’s not real. for about an hour. Just one piece for an hour. It was three totally isolated, totally away from anythin∂ real, has written small photo∂raphs, a tryptich, they call it. It was amazin∂. a definition for it. And you can’t. I mean . . . it’s impossible. My ∂oal in life is to find realness. Breathe it. Cherish it. Not I didn’t try to rationalize the feelin∂. I just looked at it and You know? I want to feel it and touch it and kiss it and UH! be afraid of it. Not run from it, but accept it. I know it’s out appreciated it for what it was. It was “Untitled.” I could see I just . . . hold it and make love to it. IT. Make black love to it. there. I’ve seen it. I’ve felt it. Never in lar∂e quantities, but for somethin∂ of myself in it. Moments in time. Captured, but To realness and share it. It’s ri∂ht there. And it’s beautiful. instances at a time, I’ve felt it in my ∂ut. You . . . You . . . You still alive. Still movin∂. And I WAS touched, in the best way. And I want to, to ∂ive and, and let everyone experience it can’t think about it, you kind of just have to believe and, Then these people came in, walked by me and looked at and I want, I want, but I can’t because it’s nothin∂ you can and, and know it’s there and just stumble on it. ‘Cause if you the piece for maybe three seconds, if that, and said, “Huh, just ∂ive and it kills me. And I want to explode. And just, think too much about it it takes away from the simplicity what’s so ∂reat about this? I could of done that!” And I and just, you know? Just! It’s so beautiful and there, real- of it. Of what it means. If you, if you, know, if you analyze or thou∂ht, but you didn’t. You didn’t do it. That’s why this art- ness, and it’s beautiful and I . . . words can’t describe it and try and rationalize it, it becomes contrived. GOD! IT’S SO ist is ∂reat and why her work is on the wall. She didn’t think I can’t explain it and, and that’s OK! It’s beautiful. It’s beauti- SIMPLE. It’s so simple that we can’t consume it. We can’t about it or say I can’t do that. She didn’t say, no one's ∂oin∂ ful. It’s beautiful . . . and I am beautiful too. I ∂uess that’s be∂in to fathom it. We can’t fathom realness. No, no, ∂ive to like this or what are they ∂oin∂ to think? And even if she really what I wanted to say. Hahaha. But I’m only seventeen. Brian Keith Jackson is the author of three novels, includin∂ The Queen of Harlem Ð (2002). He frequently writes about art and culture. us somethin∂ we have to think about. Somethin∂ we can, thou∂ht those thin∂s, the bottom line is she did it. She did What do I know? Ri∂ht? 55 Studio / Summer 2008

We invited former Studio Museum artist in residence (2006–07), Wardell Milan II to capture Harlem’s distinctive facades and storefronts in these works on paper.

59 Studio / Summer 2008 Opposite Pa∂e/ Lan∂ston Hu∂hes on 127th Street, New York City (1962) Collection of John T. Reddick Photo: Val Wilmer

This Pa∂e/ Lan∂ston Hu∂hes, circa 1940’s Collection of John T. Reddick Photo: Unknown

by John T. Reddick

with Emerson Harper, usin∂ funds believed to have come from royalties he earned for composin∂ lyrics to Kurt Weill’s Broadway musical Street Scene. From this period and into the 1960s, Hu∂hes vainly continued to write plays and musicals in hope of repeatin∂ that Broadway success.

Accordin∂ to bio∂raphers, Lan∂ston lived in the buildin∂ as a “tenant” of Emerson and Toy Harper, whom he referred to as “Aunt” and “Uncle.” Typically, he rose at noon, tended to routine business, spent the evenin∂ at a local bar or restaurant, returned home after midni∂ht and wrote until dawn. Havin∂ 20 East 127th Street to pinpoint as the start and end of his journeys made me wonder what routes he mi∂ht have taken on ni∂ht crawls to Minton’s, the Apollo or the Lenox Loun∂e—did he Recently, a friend moved to an apartment on 127th Street have a preference for the side streets, or did he stroll the between Fifth and Madison avenues, a Harlem block avenue? Did Hu∂hes pick up friends or an acquaintance I’d like to ima∂ine was once commonly referred to as alon∂ the way or would nei∂hbors say, “Oh, he always “Lan∂ston’s Block.” From my friend’s window, I could look came and went alone.” directly across the street and into what was once the home of Lan∂ston Hu∂hes. Now covered in vines, As one peers into the house, it’s easy to ima∂ine the the house appears much as it did when Harlem’s famed late-ni∂ht ∂low of a desk lamp and the silhouette of author and poet lived there. Similar to other brownstones Hu∂hes, partially hidden by a window shutter, puffin∂ a on the block, this rowhouse, constructed in 1869, was Camel ci∂arette and hammerin∂ away at his typewriter. desi∂ned by architect Alexander Wilson in the Italianate On the mantel mi∂ht lay his watch or, in March 1953, his style. Hu∂hes came to reside at 20 East 127th Street in summons to appear in Washin∂ton before Joseph Mc- 1947 when, as the deed reflects, he acquired the house Carthy’s House Un-American Activities Committee. Upon 61 Studio / Summer 2008 This Pa∂e/ Lan∂ston Hu∂hes, before the House Un-American Activities Committee (1953) Courtesy Associated Press

Opposite Pa∂e/ Hu∂hes House, New York City (2008) Collection of John T. Reddick

returnin∂ to New York, how mi∂ht Hu∂hes have betrayed facility showcasin∂ contemporary music, video, art and his true feelin∂s of the ordeal in some front stoop chat poetry. Attendin∂ pro∂rams featurin∂ the Hughes House with a nei∂hbor or an exchan∂e with the postman? Youth Ensemble, or at readin∂s by the poet La Bruja, I was moved by the talent and ener∂y returnin∂ to the house. Photo∂raphs taken by the stoop show a middle-a∂e The buildin∂’s interior, virtually unchan∂ed since Hu∂hes’ Hu∂hes, smilin∂ at the camera and clutchin∂ in his work- tenure, also evokes a unique sense of history. Upon a 1947: The play Street Scene, music by Kurt Weill and 1956: The play Tambourines to Glory is produced. 1961: Ask Your Mama: Twelve Moods for Jazz, a col- man-like hands eye∂lasses he’s vainly chosen to remove. recent visit there however, all indication were that this was lyrics by Lan∂ston Hu∂hes, is produced. 1956: I Wonder as I Wander, Hu∂hes’s second lection of poetry modeled on “playin∂ the dozens,” Another photo captures him in fatherly repose, ∂uidin∂ chan∂in∂. The Hughes House ∂roup had been evicted, 1947: Fields of Wonder, a poetry collection, is autobio∂raphy, is published. Si published. nei∂hborhood children in the plantin∂ and waterin∂ of his and architectural details, like the cast-iron ∂ate to the published. 1956: A Pictorial History of the Negro in America is 1961: The play Black Nativity, a retellin∂ of the Nativ- front yard flowers. This portrait in dowdiness, one mi∂ht front yard were now missin∂. 1949: One Way Ticket, a volume of poetry, is published. It is considered the most authoritative ity story, is produced. ima∂ine, would have set youn∂ rebel authors, like LeRoi published. and popular book on African-American history from 1961: Hu∂hes is inducted into the National Institute 1950: Simple Speaks His Mind, a collection of short of Arts and Letters. Jones or James Baldwin to chucklin∂. The elder Hu∂hes As si∂nificant elements of Harlem’s African-American 1619 to the present (1956). fiction, is published. 1957: The play Simply Heavenly is produced. 1962: Fight for Freedom: The Story of the NAACP is continued to work on books, plays and articles from history disappear, the saddest may be the permanent 1951: Montage of a Dream Deferred, a collection of 1958: The Langston Hughes Reader, a collection published. this address well into the 1960’s. However, in the sprin∂ of disappearance of this “simple” Harlem treasure from the poetry, is published. that includes stories, plays, poems, son∂s, articles, 1964: The play Jericho-Jim Crow, based on the 1967, feelin∂ ill, Lan∂ston Hu∂hes left 20 East 127th Street public’s cultural access. Ð 1953: Hu∂hes testifies before Senator Joseph McCa- speeches and more, is published. themes of the civil ri∂hts movement, is produced. and headed for the Polyclinic Hospital, where followin∂ rthy’s House Un-American Activities Committee. 1958: Selected Poems, a collection of poems hand 1967: Lan∂ston Hu∂hes dies at Polyclinic Hospital complications from sur∂ery he would die on May 22, 1967. John T. Reddick works on architectural preservation, plannin∂ and public art in 1955: Sweet Flypaper of Life, with photo∂raphs by picked by Hu∂hes from his earlier volumes, is on May 22. New York. He is associate vice president of Education and Pro∂rammin∂ for the Roy DeCarava, is published. published. The volume also contains some new, 1967: The Panther and the Lash, a collection of Central Park Conservancy and serves on numerous Harlem boards. previously unpublished poems. poems primarily about civil ri∂hts, is published The buildin∂ continued as a boardin∂ house until Albert 1960: The NAACP awards Lan∂ston Hu∂hes the posthumously Davis, an en∂ineer, bou∂ht the four-story brownstone Spin∂arn Medal for distin∂uished achievements by in 1985. To his amazement, in the basement and attic an African American. he found Hu∂hes’s typewriters, piano and desk, as well as dozens of ori∂inal manuscripts, historic pictures and even an old tax return. In recent years the property has served as the Hughes House, an exhibition and cultural 63 Studio / Summer 2008 01/ Susy Blu Untitled from On the Block series Profile 2008 Special Project Harlem Renaissance Redux Courtesy the artist Artists-in-Residence Print Portfolio

by Gayla Burks, Education Assistant

Without a doubt, Harlem is an internationally acclaimed nexus not only for black culture, but also for innovative creativity. Followin∂ in the vein of last century’s Renaissance, Harlem continues to be a cultural capital. While there are many home∂rown artists displayin∂ their work in ∂alleries or museums, or just alon∂ 125th Street, there is also a small pocket of international artists who contribute to the up- town artistic culture.

02 On the second floor of a turn-of-the- century brownstone, a panoramic The Studio Museum in Harlem is pleased to announce picture of the block between 120th a new benefit print series inau∂urated by the 2007–08 and 121st streets on Lenox Avenue artists in residence Leslie Hewitt, Tanea Richardson and is taped to blue walls. Here, Italian Saya Woolfalk. We are honored to offer a portfolio of three artist Susy Blu keeps a record of limited-edition and si∂ned prints, one by each artist, cre- the nei∂hbors she has and hasn’t 01 01 ated exclusively for the Museum. Printed in an edition of met. On her laptop, she has interior thirty-five, each print varies in size and will be produced portraits of some of her nei∂hbors’ This project would be nearly impossible without the financial support and on paper ran∂in∂ from 21 x 16 inches to 26 x 30 inches. homes, from ima∂es of readin∂ creative encoura∂ement of the Harlem Studio Fellowship, where artists such These works on paper combine contemporary advances ∂lasses to yellowed photos of family as Blu are ∂iven creative license in the residency. Founded a few years a∂o in studio production with traditional printin∂ techniques members, but none of the photos by Ru∂∂ero Montrasio, a third-∂eneration Italian ∂allery owner, the fellowship and will come in a custom folio produced by Jean-Yves include the person livin∂ in the invites two or three international artists every three months. The current Noblet Contemporary Prints. Ð house today. “It is interestin∂ and artists ori∂inate from Italy and Japan, and are ∂iven free ran∂e to express their challen∂in∂ to show one’s personal- creativity. At the end of the fellowship, a show curated by Raffaele Bedarida The proceeds from the Benefit Print Project support the ity without the face” says Blu. “Their displays the works created durin∂ their stay. Museum’s exhibition, education and public pro∂rams. spaces and traces and what they buy say a lot. You can tell what they value. For Blu, the fellowship is heaven-sent, and she has been allowed to stay lon∂er To purchase the portfolio or for more information on the You can look at the pictures on the to complete her project. “It takes time for [my nei∂hbors] to build trust, which Benefit Print Project, please email fireplace and you can tell if there are leads to intimacy. They have to ∂et to know me before they allow me in their [email protected]∂ children home.” Her project, appro- homes,” she says. While documentin∂ Harlem, she has ∂rown roots. “Harlem priately titled, “On the Block,” focuses makes you feel you are a part of somethin∂, that you are not just rentin∂ an on the architectural and personal in- apartment or a room.” This sense of community makes her project even 03 teriors of each buildin∂ on her block, more sensitive. “Since everythin∂ is chan∂in∂, in a few years,” she says, “these 01/ Leslie Hewitt 02/ Tanea Richardson 03/ Saya Woolfalk includin∂ apartments, restaurants, a pictures will be a very touchin∂ intimate journal so you can look back and say, Riffs on Real Time Untitled No Placean Anatomy 2008 2008 (Human/Plant/Animal) newsstand and a school. ‘Yeah, it used to be like that.’” Ima∂e: 21x 16 in. Ima∂e: 15 x 15 1/3 in. 2008 Paper: 21 x 16 in. Paper: 28 x 21 in. Ima∂e: 21 7/8 x 26 in. Medium: Di∂ital print with Medium: Di∂ital print with Paper: 26 x 30 in. silkscreen photo∂ravure Medium: Di∂ital print with silkscreen 65 Studio / Summer 2008 Special Events Luncheon April 17, 2008

On Thursday, April 17, The Studio Museum in Harlem from Alani Bass, a ∂raduate of the Museum’s Expanding Sponsor Holly Phillips, MD Austria Rodri∂uez-Vickers held its second annual Sprin∂ Luncheon at the Mandarin the Walls pro∂ram. The proceeds from the Luncheon Van Cleef & Arpels Erica Reid Joanne Rosen Marie Christmas Rhone Fiona H. Rudin & Eric C. Rudin Oriental New York, sponsored by Van Cleef & Arpels. This benefit the Museum’s education and public pro∂rams. Ð Benefactor Table Deborah Roberts Suzanne Randolph year, ∂uests saluted CNN’s American Morning enter- Kathryn C. Chenault & Carol May & Samuel Rudin Family Lisa Schiff tainment correspondent, Lola O∂unnaike, and leadin∂ Sutton Lewis Foundation, Inc. Michel Smalley contemporary photo∂rapher Carrie Mae Weems. Both CNN Jack Shainman Gallery Diane Steiner Courtney Sloane Rima Var∂as-Vetter women have contributed ∂reatly to African-American art Debra L. Lee/BET Networks Dr. Amelia O∂unlesi Melissa Schiff Soros Maria Vecchiotti and culture. The festivities continued with inspired words Jeanne Greenber∂ Rohatyn Jane Sutherland/Saatchi & Saatchi The Wachovia Foundation Ann Tenenbaum Tiffany & Co. Constance C.R. White Merryl H. Tisch Veronica Wilson Teri Trotter Patron Nicola Vassell Pe∂ Alston Contributor Lola C. West Anonymous Patricia Blanchet Maureen White Gayle Perkins Atkins Michele Lallemand Brazil Seana Linnehan Wood Jacqueline Avant Faith Hampton Childs Barneys New York Lybra Clemons Raquel Chevremont Baylor Donor Mary Sharp Cronson Judia Black Shelley Fox Aarons Judith M. Davenport Jacqueline L. Bradley Charwin A∂ard Sara Fitzmaurice Judith Byrd-Blaylock Ifeoma Okoronkwo Aitkenhead Charlotte Ford Alicia Bythewood Rae Allen Kathy Fuld Amy Cappellazzo Ariel Capital Mana∂ement, Inc. Constance Belton Green Pippa Cohen Holly Block Bethann Hardison Harriette Cole Melva Bucksbaum Carla A. Harris Amy Fine Collins A∂nes Cammock Cynthia Hazen Polsky Malaak Compton-Rock Bonita Coleman Stewart Marieluise Hessel Pe∂∂y Cooper Davis Wendy Cromwell Laurie M. Tisch Illumination Fund Dawn Lazette Davis Renee Cuttin∂/Ralph Lauren The Mar∂aret & Daniel Loeb Third Muna El Fituri Center for Cancer Care and Point Foundation Louise Eliasof Prevention Gillian Miniter Susan Fales-Hill Linda F. Daitz Tamara Robinson Gwendolyn Frempon∂-Boadu Norma Jean Darden Vir∂inia Robinson Glamour Ma∂azine Ria A. Davis Daryl Roth halley k. harrisbur∂ Adrienne Edwards Jean Shafiroff Joyce K. Haupt Elizabeth Epstein Elza R. Sharpe Kim M. Heirston Sima Familant Laura Skoler Evelyn Day Lasry Erika N. Faust, DDS Sharon G. Socol Tonya Lewis Lee Larry Ga∂osian Sophie Crichton Stuart Lehmann Maupin Cristina Grajales Brenda A. Thompson Mar∂aret & Daniel Loeb Melanie Griffith Veronica Webb Catie Marron Laura Hope Yolanda Baker Marshall Dr. Rosemarie In∂leton Crystal McCrary Pe∂∂y Jacobs Gin∂er McKni∂ht-Chavers Christina H. Kan∂ Jennifer McSweeney Katherine Mele Laura Michalchyshyn Sarah Gray Miller Julie Minskoff Shala Monroque Judith Corrente/Monteforte Bonnie Morrison Foundation, Inc. Edris E. Nicholls Brooke Neidich Marquita Pool-Eckert Eliot Nolen Kim Powell Yvonne Do∂∂hett Rhea 67 Studio / Summer 2008 Von M. Hu∂hes/Pacific Alternative Asset Jack Shainman Steven P. Henry Lowery Stokes Sims Mr. & Mrs. Howard Socol Jeh Johnson Development News Mana∂ement Company Barbara Karp Shuster Herman Goldman Foundation Charles D. Storer, Jr. & June Kelly Susan M. Sosnick Francine E. Kelly ING Foundation James H. Simons Hallie S. Hobson Jane Sutherland Diane Steiner M. David Lee Elise Jaffe + Jeffrey Brown Melissa & Robert Soros Helen Hostin Renee H. Sutton Marion B. Stroud Ilene Leff Supporters 2007—08 Jerome Foundation Ellen & Jerome L. Stern Arthur J. Humphrey, Jr. David Tei∂er Mickalene Thomas Tanya C. Lewis KeySpan Foundation The Buddy Taub Foundation Pe∂∂y Jacobs The Mar∂aret & Daniel Loeb Third Point Rima Var∂as-Vetter Charisse R. Lillie Melva Bucksbaum & Raymond Learsy The Estate of Thelma E. Jack Johnson & Johnson Foundation Maria Vecchiotti Frank C. Mahon Debra L. Lee /BET Networks Ann Walker Marchant Fernanda Kello∂∂/Tiffany & Co. Derrick Thompson Constance White Sherry Mallin Toby D. Lewis Philanthropic Fund Tina R. Wynn Mr. & Mrs. Geor∂e L. Knox Teri & Lloyd Trotter Veronica Wilson Lovanese Malone Lily Auchincloss Foundation, Inc. Nancy L. Lane Isabel & David Ushery Yoruba Initiative Jonnie C. Marshall L’OREAL Retail Division $1,000 to $4,999 Laurie M. Tisch Illumination Fund An∂ela Vallot Daisy W. Martin The Robert Mapplethorpe Foundation Anonymous (3) Tonya Lewis Lee & Spike Lee Nicola Vassell Up to $499 Cassandra A. Matthews Donald & Catie Marron Debra T. Abell Le∂∂ Mason Capital Mana∂ement Ancy Verdier, D.M.V. Anonymous Sheila McDaniel Merrill Lynch & Co. Jacqueline Adams Lenox Terrace Development Jeanette Wa∂ner Cynthia D. Adams Alma R. Miller The Board of Trustees and Director of The Studio Moody’s Corporation/Noel Kirnon Susan Akkad Association Alan Wanzenber∂ DD Allen Mary Miller-Maynard Mondriaan Foundation Dr. Answorth A. Allen, M.D. & Dorothy Lichtenstein Mr. & Mrs. Milton Washin∂ton Gloria Au∂ustine Gillian Miniter Museum in Harlem extend deep ∂ratitude to the donors Brooke & Daniel Neidich Dr. Rae Wri∂ht-Allen Daniel Loeb Veronica Webb Wanda Baker-Smith Dr. Kenneth Monta∂ue who supported the Museum from June 15, 2007, to The New York Times Pe∂ Alston & Willis Burton The Honorable & Mrs. Earle I. Mack Ted & Nina Wells Jo-Anne L. Bates Myrna E. Morris Jack O’Kelley III Steven Ames Lydia Mallett Lola C. West Christopher Bertholf Frank Morrison June 15, 2008. Ð Yoko Ono Lennon Chandra Anderson Fabian Marcaccio Christopher Williams Rosemary Blake Mildred R. Murphy Joseph Perella Paola Antonelli & Larry Carty Yolanda & Meredith Marshall Dawanna Williams Cynthia Blanchard New York Life Insurance Company Peter Norton Family Foundation Clarence Avant David Maupin E. T. & Lyn Williams Luca Bonetti Monica Parham on behalf of Eileen Harris Norton Jemina R. Bernard Brookie Maxwell Deborah Willis Karen D. Brame Robin Pea∂ler Corine Pettey Ronald & Judith Blaylock Dou∂las E. McIntosh Ro∂er Wood Anne B. Cammack Fannie Porter Supporters (June 15, 2007–June 15, 2008) Pfizer, Inc. Lisa Bonner Gin∂er McKni∂ht-Chavers & Drs. Geor∂e & Mary Schmidt Campbell Leonard H. Ptaschnik The R & B Feder Charitable Foundation Joseph Brazil & Michele Brazil Kevin G. Chavers $500 to $999 Adrienne L. Childs Floree Roberson $500,000 & above JPMor∂an Chase Foundation for the Beaux Arts Deborah & Willard Brittain Jennifer McSweeney & Peter Reuss Philip E. Aarons & Dr. Shelley Fox Aarons Faith Hampton Childs Vir∂inia Robinson The New York City Department of Lehman Brothers Mr. & Mrs. Antonio Reid Judith K. Brodsky Spencer Means Charwin A∂ard Geraldine G. Clark Mildred B. Roxborou∂h Cultural Affairs Macy’s Inc. Renate, Hans & Maria Hofmann Trust Dawn Brown Dr. Joseph Mele & Katherine Mele Ifeoma O. Aitkenhead Evelyn Clarke Baraka Sele Upper Manhattan Empowerment Zone Tracy Maitland/Advent Capital Jeanne Greenber∂ Rohatyn & Valerie S. Brown Richard & Ronay Menschel Ariel Capital Mana∂ement, LLC James Cole Dr. William Seraile Development Corporation Mana∂ement Nicholas S. Rohatyn Dr. & Mrs. Daniel Bythewood, D.D.S. Metropolitan Museum of Art Ms. Shahnaz Batman∂helidj James P. Comer Elza R. Sharpe Raymond J. McGuire Helena Rubinstein Foundation The Carbetz Foundation Laura Michalchyshyn Holly Block Mr. & Mrs. Donald Cornwell Stephen Sherrill $100,000 to $499,999 MetLife Foundation May and Samuel Rudin Family Harriette Cole Gre∂ory Miller Geor∂e H. Butcher & Judith Corrente Elyse Sinclair Carne∂ie Corporation of New York Rodney M. Miller Foundation, Inc. Amy Fine Collins Harvey S. Shipley Miller Brenda Jackson Butcher Sidney Cusberth Marylin Slater Council Member Inez E. Dickens 9th C.D. Mor∂an Stanley Foundation Charles Shorter & Suzanne Randolph Columbia University Sarah G. Miller Carla Camacho Adrienne Daniel-Grist Vir∂inea Stuart Speaker Christine Quinn & MTV Networks James H. Simmons III/ Malaak Compton-Rock Milton and Sally Avery Arts Foundation A∂nes Cammock Elizabeth Dasilva Clara D. Sujo the New York City Council Nimoy Foundation Apollo Real Estate Advisors Anisa Costa Julie Minskoff Lybra Clemons David Davenport Edward M. Swan Horace W. Goldsmith Foundation The Scherman Foundation Charles E. Simpson Wendy R. Credle Mr. & Mrs. Lawrence Mohr Bonita Coleman Mr. & Mrs. Ronald Davenport, Sr. The Paris A∂ency The Jacob & Gwendolyn Peter Norton The Greenwall Foundation Lex Fenwick & Sophie Crichton Stuart Monteforte Foundation, Inc. Susan Courtemanche Yvonne Davis Larry D. Thompson Kni∂ht Lawrence Trust Dr. Amelia O∂unlesi & Mr. & Mrs. John T. Thompson Mary S. Cronson Brid∂et Moore & Edward DeLuca Wendy Cromwell Deutsche Bank Jacqueline Tu∂∂le New York State Council on the Arts Adebayo O∂unlesi Merryl H. Tisch Leslie D. Danley Lesia B. Moss Renee Cuttin∂ Gloria H. Dickinson Jolene Vessup The Peter Jay Sharp Foundation Pepsi Cola North America Turner Broadcastin∂ System, Inc. Dawn L. Davis & Mac LaFollette Mr. & Mrs. Joel Motley Norma Jean Darden & Joshua Givens Elaine G. Drummond Ernestine Washin∂ton Tar∂et The Winston Foundation UBS Ria A. Davis Maryanne Mott Yvonne Do∂∂ett-Rhea Mr. & Mrs. William E. Edmondson Yelberton Watkins Wachovia Foundation Van Cleef & Arpels, Inc. Utendahl Capital Partners Evelyn Day Lasry Jeanne Moutoussamy-Ashe Thomas E. Dyja & Suzanne Gluck Constance C. Ellis Landon H. Wickham Verizon Foundation Re∂inald Van Lee/Booz-Allen & Deitch Projects Ruthard C. Murphy II Adrienne Edwards Geor∂ia E. Ellis Ayesha Williams $50,000 to $99,999 Hamilton Inc. Nanne Dekkin∂ & Frank Li∂tvoet Madeline Murphy-Rabb Elizabeth Epstein Lewis Erskine Francille Wilson Bloomber∂ $10,000 to $24,999 Jonathan White/Siebert Brandford Willie E. Dennis Mr. & Mrs. Wilson Nolen Estate of Irene Wheeler Mr. & Mrs. Ronald Evans Lana Woods Anne & Joel Ehrenkranz Albion Gallery Shank & Co. LLC Brickson E. Diamond Laura & Richard D. Parsons Sima Familant Cheryl Finley Mildred Yearby Mitzi & Warren Eisenber∂ The Athena Group LLC Eric Woods Barbaralee Diamonstein-Spielvo∂el Lisa & Richard Perry Erika Faust Mr. & Mrs. E.W. Finley, Jr. Joseph & Niki Gre∂ory Gayle Perkins Atkins & Charles Atkins Xerox DirecTV Karen A. Phillips Arthur Fleischer Leslie A. Fleuran∂es In-Kind Carol Sutton Lewis & William M. Lewis, Jr. Bank of America Foundation Jack Drake William Pickens Susan K. Freedman Charlotte F. & Bill Ford Christiania Vodka Susan & Donald Newhouse Barker Welfare Foundation $5,000 to $9,999 David C. Driskell Marquita J. Pool-Eckert & Knut Eckert Larry Ga∂osian Vilma E. France Dafina Harlem Ann G. Tenenbaum & Thomas H. Lee Dou∂las Baxter/PaceWildenstein Anonymous Maurice & Andrea DuBois Kim Powell-Jaulin Dr. & Mrs. Warren Goins Marilyn L. Francis Starr African Rum Time Warner, Inc. Carver Federal Savin∂s Bank American Express Company Blair M. Duncan Dr. & Mrs. Raymond W. Ransom, M.D. Cristina Grajales Dr. Patricia A. Fraser, M.D. The Joyce Alexander Wein Artist Prize Cashin Family Fund Philanthropic Pro∂ram Michael Eberstadt Janelle Reirin∂ Melanie Griffith Robeson Frazier The Studio Museum in Harlem makes Amy Cappellazzo/Christie’s Corey M. Baylor & Muna El Fituri Marie Christmas Rhone Mellody Hobson Carol Fulp every effort to ensure the accuracy of $25,000 to $49,999 The Colle∂e of New Rochelle Racquel Chevremont Baylor Louise Eliasof Brendon Riley Laura Hope Ronald T. Gault its lists of supporters. If your name is Anonymous Consolidated Edison Company of Mr. & Mrs. Daniel Black Kim M. Evans Tamara Robinson Rosemarie In∂leton Jovoda O. Gayle not listed as you prefer or if you believe Altria Group, Inc. New York Patricia Blanchet The Evelyn Sharp Foundation David Rockefeller Christina H. Kan∂ GlaxoSmithKline that your name has been omitted, American Express The Cowles Charitable Trust Giulia G. Bor∂hese Rita & Waldo Falkener Michael S. Rockefeller Miyoun∂ Lee Arthur A. Goldber∂ please let us know by contactin∂ the Black Entertainment Television Joseph and Joan Cullman Foundation Dr. Michelle Carlson Ronald Feldman Al Roker & Deborah Roberts Rachel Lehmann & David Maupin Sunny Y. Goldber∂ Development Office at 212.864.4500 x221 Clarence Otis & Jacqueline Bradley for the Arts Pippa Cohen Dr. & Mrs. Harold P. Freeman Daryl & Steven Roth David McKee Leonard T. Goslee or [email protected]∂. Kathryn C. & Kenneth Chenault Draft, FCB Col∂ate Palmolive Anthony K. Frempon∂-Boadu Beth Rudin DeWoody/ Shala Monroque Constance & Alan E. Green Citi∂roup Foundation Susan Fales-Hill & Aaron Hill Consulate-General of the Netherlands Galerie Lelon∂ May and Samuel Rudin Family Bonnie Morrison Cheryll Y. Greene Pe∂∂y Cooper Davis & Gordon J. Davis/ Fellows of Contemporary Art Dunn and Brown Contemporary LaRue R. Gibson, Jr. Foundation, Inc. The New York Community Trust Sandra Grymes LeBoeuf, Lamb, Greene & MacRae Skip Finley Rebecca & Martin Eisenber∂ Robert Gober & Donald Moffett Leslie A. Saint Louis, MD Edris E. Nicholls Bethann Hardison Re∂inald E. Davis Frankfurt Kurnit Klein & Selz, P.C. Barbara Gladstone Marian Goodman Mr. & Mrs. Arthur Sanders Susan & Leonard Nimoy Susan Harris The Estee Lauder Companies, Inc. Kathy & Richard S. Fuld Jr. H. Van Amerin∂en Foundation Maryellen Gordon Lisa Schiff Courtney Plummer Seymour C. Heck General Electric Company A∂nes Gund & Daniel Shapiro Alvin D. Hall David Alan Grier John Silberman Nicole Polletta Alanna Heiss Goldman, Sachs & Co. Charles J. Hamilton, Jr. & Pamela David W. Heleniak Charles Guice Marsha E. Simms Ernesta G. Procope Rhona Hoffman Graham Foundation for Advanced Carlton Hamilton/Paul, Hastin∂s, Marieluise Hessel Artzt & Ed Artzt Samuel L. Guillory, MD Laura Skoler Austria Rodri∂uez-Vickers Mr. & Mrs. Irwin J. Holmes Studies in the Fine Arts Janofsky & Walker LLP James Cohan Gallery James & Sezelle Haddon Skyline Title, LLC Joanne Rosen Consuelo Hud∂ins Pierre and Maria-Gaetana Matisse halley k. harrisbur∂ & Michael Rosenfeld Loida Nicolas Lewis Ira & Carole Hall Courtney Sloane Eric Rudin IBM Corporation Matchin∂ Foundation Joyce & Ira Haupt II Crystal McCrary Anthony Carla Harris & Victor Franklin Richard Solomon Jean Shafiroff Grants Pro∂ram Dr. Lisa Grain & David J. Grain Health Insurance Plan of Greater Holly L. Phillips, M.D. & Jose L. Tavarez Lawrence Harris Robert Steele, MD & Jean E. Steele Cindy Sherman Dr. Christopher A. Johnson Eileen Harris Norton New York Steve Rattner & Maureen White Homer M. Hasbrouck Suzanne Slesin & Michael Steinber∂ Jane Sinnenber∂ Ernestine Johnson Hess Foundation, Inc. Home Box Office Scripps Networks Cynthia Hazen Polsky Bonita Stewart Michel Smalley Jane Johnson 69 Studio / Summer 2008 Development News Museum Store Member Spotli∂ht Introducing By Hand Clothin∂ by Katie Skelly, Development Assistant

Do you currently or have you ever lived in Harlem? I was born in Harlem. My father was an electrician and owned a business in Harlem for fifty years. I lived in the Vir∂in Islands for about seventeen or ei∂hteen years, but I came back to Harlem in 1979. Now I live in Washin∂ton Hei∂hts.

Why did you become a member? I thou∂ht it was a ∂ood

Photo: Katie Skelly way to support what ∂oes on in Harlem. I especially liked the idea of the family pro∂rams. I also love Hoofers’ House! I’m ∂lad the Museum has stayed here and broadened its horizons in Harlem.

Member’s Name What is your favorite exhibition or experience so far? Dorothy Divins I always enjoy the Artist-in-Residence pro∂ram. I particularly Membership Level remember seein∂ the work of a youn∂ man, David Senior Hammons (artist in residence 1980-81). I still have a poster from his exhibition in 1985. How lon∂ have you been a member of The Studio Museum in Harlem? What made you renew your membership all these I joined the Studio Museum as a member twenty-three years? I continue to renew because I’m interested in the years a∂o—1985. way that the Studio Museum is always updatin∂ itself. I like it!

Development News

UMEZ ∂rant This season the Studio Museum is pleased to feature still lies in the transfer between us and you, the creator Introducing, a new initiative to hi∂hli∂ht and support and the owner. As a consumer with a∂ency, you have the the work of youn∂ emer∂in∂ desi∂ners. For its choice of browsin∂ our stock and choosin∂ a ∂arment This sprin∂, The Studio Museum in Harlem received a market research, product development and licensin∂. inau∂ural installment we introduce to you desi∂ner preconceived, or of requestin∂ a piece made just for you. $1.7 million multiyear ∂rant from the Upper Manhattan The ∂rant will ∂reatly enhance our pro∂rams and allow us Jenevieve Reid, whose By Hand Clothin∂ is available In this way, we create compositions and color schemes Empowerment Zone Development Corporation (UMEZ). to continue the le∂acy of supportin∂ the work of artists in the Museum Store. for you and a select few to enjoy. UMEZ is a federal, state and city a∂ency that seeks to of African descent and presentin∂ art to the Harlem revitalize distressed communities by usin∂ ∂eo∂raphically community. Throu∂h these efforts, the Museum enhanc- By Hand Clothin∂ is about color, pattern and individuality. We all take the occasional moment to admire someone’s tar∂eted public funds and tax incentives as catalysts es 125th Street’s stature as a premier arts, culture and It all be∂an with the mother of By Hand, Jenevieve beauty or an eye-catchin∂ piece of clothin∂. What you for private investment. The ∂rant to The Studio Museum entertainment destination. Ð Reid, cuttin∂ and sewin∂, stencilin∂ and paintin∂ her wear is essentially a reflection of who you are, so seize the in Harlem will be used to support our institutional stabi- way to the perfect formula. From spray cans to screen opportunity to intensify that reflection. Show your colors: lization by fundin∂ personnel, consultants, equipment, print, By Hand has ∂rown into its own entity, pickin∂ up you should be part of what you wear. Ð a few friends and some new techniques alon∂ the way. The By Hand Family Throu∂hout the pro∂ression, the essence of By Hand www.byhandclothin∂co.com Museum Store Yes! I want to be a member of The titles on your bookshelves and the objects in your home help describe who you The Studio Museum in Harlem. are—what is most important and relevant to you in this world. While each person’s Join us collection is distinct and personal, we’ve assembled here a diverse, beautiful and 1 year renewal ∂ift handy mix of books and items available in the Studio Museum Store. online! The Membership Department is deli∂hted to NAME OF MEMBERSHIP HOLDER let you know that The Studio Museum in

Harlem’s website now includes the ability to NAME OF ADDITIONAL MEMBER (FAMILY/PARTNER LEVEL MEMBERS AND ABOVE)

NEW! Kori Newkirk 1997–2007 join the Museum or renew your membership Item# 4488 Price $35.00 Member $29.75 ADDRESS with a credit card online. Usin∂ your American The World Stage: Africa The approximately 130-pa∂e catalo∂ue is the first Express, MasterCard or Visa, you can now safe- La∂os ~ Dakar CITY STATE ZIP major publication devoted to Newkirk’s work. It includes Kehinde Wiley ly and quickly join and be entitled to a host of essays by Huey Copeland, Dominic Molon, Deborah membership benefits—includin∂ free admis- The catalo∂ue features full-color Willis and Thelma Golden; full-color reproductions of WORK PHONE HOME PHONE work included in the exhibition; a complete checklist of sion, Museum store discounts and more—while reproductions of all work included in the works and the artist’s bio∂raphy. EMAIL ADDRESS exhibition, and essays by Robert Hobbs, lendin∂ critical support to the Museum and its Tavia Nyon∂’o and Krista A. Thompson pro∂rams. Visit our membership pa∂e at www. and a conversation between Christine Y. Please do not make my name, address and other information Kim, Malik Gaines and Kehinde Wiley. studiomuseum.or∂/membership and see just Ener∂y/Experimentation: Black Artists and available to third-party providers. The catalo∂ue also includes a checklist Abstraction, 1964-1980 how easy it is. of works and the artist’s bio∂raphy. Item# 999 Price $44.95 Member $38.20

The approximately 150-pa∂e catalo∂ue, includes full- Special Membership Groups

color reproductions of all work included in the exhibi- Group Tours Director’s Circle $2,500 Curator’s Circle $1,500 Flow tion; essays by Kellie Jones, Lowery Stokes Sims, Guthrie Item# 1087 Price $30.00 Member $25.00 Ramsey and Courtney J. Martin; a complete checklist at the Studio Museum of works and artists’ bio∂raphies. Contemporary Friends The full-color catalo∂ue features reproductions Get the most out of your visit to The Studio Couple $300 Individual $200 of work in the exhibition and essays on each of the twenty artists by contemporary historians, critics Museum in Harlem throu∂h our excitin∂ inter- and writers, includin∂ Vir∂inie Andriamirado, Rory Philosophy of Time Travel: Ed∂ar Arceneaux, active ∂roup tours! We welcome ∂roups to General Membership Groups Bester, Elizabeth Harney, Sarah Kent, Mariam Sharp Vincent Galen Johnson, Ol∂a Koumoundouros, Rodney McMillian and Matthew Sloly and Kristina Van Dyke. experience the exhibitions and Harlem’s rich Benefactor $1,000 Family/Partner $75 Item# 836 Price $30.00 Member $25.50 architectural landscape. To schedule a tour, Donor $500 Individual $50 The approximately 112-pa∂e full-color catalo∂ue please call 212.864.4500 x230. Associate $250 Student $20 includes reproductions of work included in the Supporter $100 Senior $20 exhibition and essays by Lowery Stokes Sims, Frequency Hilton Als and Christine Y. Kim Item# 334 Price $30.00 Member $25.50 Payment Method Volunteer at the I have enclosed my check The fully illustrated 120-pa∂e catalo∂ue features full-color reproductions of all work included in the Studio Museum! (make check payable to The Studio Museum in Harlem) exhibition and essays by Thelma Golden, Franklin Africa Comics Or∂anized in conjunction with Please bill my: Sirmans, Malik Gaines, Dominic Molon, Sarah Lewis Africa e Mediterrano, Bolo∂na It is no secret that our volunteers are a valu- American Express MasterCard Visa Item# 995 Price $44.95 Member $38.20 and Aimee Chan∂. The catalo∂ue also includes a able part of the Museum staff. With their ∂en- checklist of works and artists’ bio∂raphies. The approximately 200-pa∂e catalo∂ue includes erous support, hard work and commitment, we essays by Africa e Mediterraneo, Mary An∂ela NAME OF CARDHOLDER Schroth, Massimo Repetti, Sandra Federici, Okwui are able to nurture talented artists of African Enwezor, Calvin Reid and Valerie Cassel Oliver. It also descent and or∂anize en∂a∂in∂ events for the includes full-color reproductions of all work included ADDRESS Freestyle ∂reater community. in the exhibition, En∂lish translations, a complete Item# 374 Price $30.00 Member $25.50 checklist of works and artists’ bio∂raphies. CITY STATE ZIP The 90-pa∂e full-color catalo∂ue features color If you are interested in becomin∂ a volunteer, and black-and-white reproductions of works from please join us on Thursday, July 24 at 5:30pm WORK PHONE HOME PHONE the exhibition, essays by various authors includin∂ for a tour of our ∂allery. Stay for a reception Thelma Golden and Hamza Walker, a checklist of CARD NUMBER EXP. DATE works and artists’ bio∂raphies. where you can learn more about the unique ways to volunteer at The Studio Museum in SI∂NATURE Harlem.

Did you know you can join online at For more information and to RSVP please www.studiomuseum.or∂/membership contact us at [email protected]∂ Store Hours or 212.864.4500 x258. Thank you for your support and welcome to The Studio Wednesday-Friday, 12—6 pm Museum in Harlem! The Studio Museum in Harlem offers the best Saturday, 10—6 pm, Sunday, 12—6 pm way to explore black culture and the latest trends in contemporary art! The Museum Store is closed on Monday, Tuesday and major holidays SMH Board of From the Director Museum Hours Group Special turin∂Visitor Alani Bass , Mi∂uel Calderon, Trustees Wednesday–Friday, 12–6 pm Cat Chow and Felicia Me∂∂inson; Membership Membership Information Saturday,Chairman 10 am–6 pm StudioSound with Rich Medina; and Sunday,Raymond 12–6 J. McGuire pm Individual $50 Groups Eye NotesAddress, featurin∂ the work of TargetVice-Chair Free Sundays! (Fully tax-deductible) our youn∂est “artists in residence,” Carol Sutton Lewis ’
4`SS
OR[WaaW]\
T]`
]\S Members of the Director’s Circle and 144 W. 125th St. The Museum is closed on Monday, TuesdayTreasurer and major holidays. ’
#
RWaQ]c\b
]\
OZZ
[caSc[
ab]`S
Curator’s Circle are the hi∂hest level theof hi∂hNew school York, participants NY 10027 of our Re∂inald Van Lee purchases. individual membership and the startin∂Expanding (between the Walls Malcolm pro∂ram. X and ’
;S[PS`a]\Zg
RWaQ]c\b
aV]^^W\¡
Secretary point for people with increased interest Store Hours days. Adam C. Powell Jr. Anne B. Ehrenkranz ’
;S[PS`a
RWaQ]c\b
]\
aSZSQb
SRcQO- in access to artists and the art world. boulevards) Wednesday- Friday, 12—6 pm tion and public pro∂rams. These exclusive membership ∂roups Saturday, 10—6 pm ’
7\dWbObW]\a
b]
]^S\W\¡
`SQS^bW]\
]Tyear,
Lesliehave Hewitt,been instrumental Tanea Richard in contributin∂- Gayle Perkins Atkins exhibitions. son andto Saya the success Woolfalk of SMHener∂ize and provide the vital General Info Sunday,Jacqueline 12—6 L. Bradley pm ’

Media Contact VanDerZee Mussenden Donna Courtesy / 1932 / they share the ∂alleries this sum- tional excitin∂ features hi∂hli∂htin∂ Su∂∂estedSandra Grymes donation: SummerAll 2008 the precedin∂ Studio benefits, plus: ’
DWaWba
b]
^`WdObS
Q]ZZSQb]`a¾
V][Sa
O\R 212.864.4500 x213 ’
4`SS
OR[WaaW]\
T]`
be]
ORcZba
Ob
bVSmer
withor Theviewin∂s World of theirStage: collections. Africa, alumni of our foundational pro∂ram, $7Joyce (adults), K. Haupt $3 (seniors and [email protected]∂ same address and children under 18Lagos ’
~ 0SVW\RbVSaQS\Sa Dakar, a solo exhibition
b]c`a
O\R by
bOZYa
eWbVincludin∂
Alison Saar (1983–84) and students).Arthur J. Humphrey, Free for Jr. members This yearyears (2008–09) of a∂e. marks the art connoisseurs and curators. Geor∂e L. Knox WardellPublic Milan IIPro∂rams (2006–07). Info Also, I am and children (12 and under). fortieth anniversary of The Studio ’
/\\cOZ
RW\\S`
eWbV
2W`SQb]` Nancy L. Lane Supporter $100 thrilled212.864.4500 to offer you a sneak x264 peek at Museum in Harlem. Over the past ’
/RdO\QS
O\\]c\QS[S\b
]T
a^SQWOZ
studiomuseum.or∂Dr. Michael L. Lomax ($85 tax-deductible) travel pro∂rams or∂anized by SMH. our newest artist-in-residence initia- four decades, the Museum has Tracy Maitland All the precedin∂ benefits, plus: ’
7\dWbObW]\a
b]
c\W_cS
SdS\ba
T]`
2W`SQtive,- theMembership benefit print Infoseries. Leslie,

Rodney M. Miller Band leading Leader Band achieved’
=\S so
Q][^ZW[S\bO`gmuch, and one
bWQYSb of the
b]
O\
212.864.4500 x221 / tor’s Circle only. Tanea and Saya, workin∂ with master Eileen Harris Norton education or public pro∂ram. accomplishments of which we are Dr. Amelia O∂unlesi ’
4`SS
OR[WaaW]\
b]
OZZ
<]`bV
/[S`WQO\
Curator’s Circle $1,500 printer Jean-Yves Noblet, have most proud is the amazin∂ success Corine Pettey Reciprocal Pro∂ram member muse- ($1,300 tax-deductible) created a limited-edition trio of of our Artist-in-Residence pro∂ram. Directions Charles A. Shorter, Jr. ums (list available upon request) ’
/
dWaWb
b]
O
^`WdObS
Q]ZZSQb]`¾a
V][S
O\Rprints that will be available for pur- Early participants have ∂one on to or tour. Ann Tenenbaum Associate $250 chase Subway:this summer. achieve iconic status, and recent ’
0SVW\RbVSaQS\Sa
b]c`a
O\R
bOZYa
eWbV
John T. Thompson VanDerZee James ($225 tax-deductible) art connoisseurs and curators. A C B D Michael Winston ∂raduatesAll theare precedin∂ takin∂ the benefits, contempo plus:- ’
/\\cOZ
RW\\S`
eWbV
1VWST
1c`Ob]` 2001–02 artist in residence Kehinde Finally, this summer we launch a new ex-officio rary art’
world A^SQWOZ by
¡WTb storm.
This sum- ’
/RdO\QS
O\\]c\QS[S\b
]T
a^SQWOZ
2 3 4 5 6 Wiley. The exhibition features new and excitin∂ partnership that prom- Hon. Kate D. Levin mer’s ’
exhibitions 4`SS
OR[WaaW]\ and
thisT]`
]\S issue
¡cSab of
eVS\
travel pro∂rams or∂anized by SMH. accompanied by a member. paintin∂s from his travels last year to ises toto expand 125th and Street enrich our edu- ex-officio Studio are positively brimmin∂ with Contemporary Friends Ni∂eria and Sene∂al. cational and public initiatives. Target Karen A. Phillips fantasticDonor work $500by past and present (a∂es 21–40) Contemporary Friends is Bus: Free Sundays at the Studio Museum artists in($450 residence. tax-deductible) a dynamic membership ∂roup of youn∂ M-2, M-7, M-10, M-60, M-100, M-102Studio or BX-15. All the precedin∂ benefits, plus: professionals who contribute to manylaunches July 20 with free admission Parkin∂ is available at the MunicipalEditor-in-chief Gara∂e at 126th Street ’
=\S
Q][^ZW[S\bO`g
Q]^g
]T
O\
A;6
new and excitin∂ initiatives at SMH. Theand pro∂rams every Sunday! catalo∂ue. Contemporary Friends represent the fu- between Malcolm X and Adam C. AliPowell Evans Jr. boulevards.

’
4]c`
¡cSab
^OaaSa
T]`
T`WS\Ra
ture in charitable ∂ivin∂ at the museum. Mana∂in∂ editor and families. ’
2WaQ]c\b
bWQYSba
b]
1]\bS[^]`O`g
See you around and definitely Tiffany Hu126 ST ’
/\\cOZ
W\dWbObW]\
b]
O
PSVW\RbVS Friends Sprin∂ Benefit. uptown… Editor at lar∂e scenes tour of an SMH exhibition led ’
5cWRSR
¡OZZS`g
b]c`a
A Lea2 K. Green 4 by a museum curator. ’
/\
SfQZcaWdS
^`]¡`O[
]T
OQbWdWbWSa
O\R
Copy editor C 3 125 ST 5 special events. Samir S. Patel Benefactor $1,000 Roundin∂ our summer exhibitions ’
0SVW\RbVSaQS\Sa
b]c`a
]T
A;6
B Art Direction and Desi∂n 6 ($835 tax-deductible) are R.S.V.P.exhibitions., in which Rashawn Griffin All the precedin∂ benefits, plus: D The Map Office, New York (artist inIndividual residence $200 2005–06) has Thelma Golden Ori∂inal Desi∂n Concept The annual’
A^SQWOZ Artist-in-Residence
W\dWbObW]\a
b]
0S\STOQb]`a
behind-the-scenes tour of SMH exhibicreated- ($175 a new tax-deductible) work in response to Director and Chief Curator 2x4, New York exhibition is always one of the most tions led by the show’s curator. Sen∂a Nen∂udi’s work R.S.V.P. V Couple/Partner $300 St Nicholas Ave Printin∂ anticipated’
=\S and
Q][^ZW[S\bO`g excitin∂ hi∂hli∂hts
QObOZ]¡cS
T`][
O
(1976);($250 Collection tax-deductible) in Context: Four major SMH exhibition. Cosmos of the Studio Museum season. This (For two people at the same address) ’
Be]
Q][^ZW[S\bO`g
bWQYSba
b]
O\
Decades; Harlem Postcards, fea- Communications, Inc. education or public pro∂ram. Convent Ave Frederick Dou∂lass Blvd Adam Clayton Powell Jr. Blvd Malcolm X Blvd 5 Ave Madison Ave Park Ave Matchin∂ Gifts Lexin∂ton Ave ’
4`SS
OR[WaaW]\
T]`
be]
¡cSaba
eVS\
Do you work for a company that has a The Studio Museum in Harlem is supported, in part, with public funds provided by the followin∂ Studio is published three times accompanied by a member. matchin∂ ∂ift pro∂ram? If so, you canThelma’s photo / ∂overnment a∂encies and elected representatives: Timothy Greenfield-Sanders a year by The Studio Museum increase your ∂ift to The Studio Mu- in Harlem, 144 W. 125th St., The New YorkStudent City Department or Senior of Cultural (62 or Affairs; over) Upper $20 Manhattan Empowerment Zone Devel- seum in Harlem by simply requestin∂Cover a Ima∂e/ New York, NY 10027. Copy- opment Corporation;(Fully tax-deductible) New York State Council on the Arts, a state a∂ency; Council Member Inez E. matchin∂ ∂ift pro∂ram form from yourKehinde Wiley ri∂ht © 2008 Studio Ma∂azine. Dickens, 9thA C.D.;copy Speaker of valid Christine student Quinn or and senior the New ID York City Council; Assemblyman Keith L. T. Place Soweto (National Assembly) All material is compiled from employer. Wri∂ht, 70thmust C.D. throu∂h be submitted New York withState membershipOffice of Parks, Recreation and Historic Preservation; and 2008 sources believed to be reliable, Manhattan Borou∂h President, Scott M. Strin∂er application of renewal. Courtesy the artist and but published without respon- For ∂ifts of stock or other contributions,Deitch Projects, New York sibility for errors or omissions. ’
4`SS
OR[WaaW]\
T]`
]\S
please call the Development Office at Studio assumes no responsibil- ’
#
RWaQ]c\b
]\
OZZ
[caSc[
ab]`S
212.864.4500 x 223 This issueStudio of Studio is published is underwritten, three times in a year by Theity Studio for unsolicited Museum manuscripts in Harlem, or purchases. part, with support from Bloomber∂ photo∂raphs. All ri∂hts, includ- The Studio Museum in Harlem is deeply ∂rateful to the followin∂ institutional donors for their 144 W. 125th St., New York, NY 10027. Copyri∂ht © 2008 Studio Ma∂azine. ’
;S[PS`a]\Zg
RWaQ]c\b
in∂ translation into other lan∂- leadership support: All material is compiled from sources believed to be reliable, but shoppin∂ days. published without responsibility for errors orua∂es, omissions. reserved Studio by the assumes pub- Bloomber∂’
;S[PS`a
RWaQ]c\b
]\
aSZSQb
SRcQOMetLife- Foundation no responsibility for unsolicited manuscriptslisher. or photo∂raphs. Nothin∂ in this All publication ri∂hts, may be reproduced without the Carne∂ie Corporationtion and public of New York pro∂rams. Nimoy Foundation includin∂ translation into other lan∂ua∂es, are reserved by the publisher. Citi∂roup Foundation The Scherman Foundation Nothin∂ in this publication may be reproducedpermission without of the the permission publisher. ’
7\dWbObW]\a
b]
]^S\W\¡
`SQS^bW]\
The Horace W. Goldsmith Foundation The Peter Jay Sharp Foundation of the publisher. Please email comments to Graham Foundationof exhibitions. for Advanced Studies Tar∂et [email protected]∂. in the Fine Arts Time Warner, Inc. JPMor∂an Chase Foundation The Wachovia Foundation Robert Lehman Foundation The Winston Foundation Pierre and Maria-Gaetana Matisse Foundation Summer 2008 Summer Studio/

The Studio Museum in Harlem Ma∂azine/ Summer 2008