The Studio Museum in Harlem Magazine Summer/Fall 2015 Studio magazine Board of Trustees This issue of Studio is underwritten, Editor-in-Chief Raymond J. McGuire, Chairman in part, with support from Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Rodney M. Miller, Treasurer Creative Director The Studio Museum in Harlem is sup- Thelma Golden Dr. Anita Blanchard ported, in part, with public funds provided Jacqueline L. Bradley Managing Editor by the following government agencies and Valentino D. Carlotti Dana Liss elected representatives: Kathryn C. Chenault Joan S. Davidson Copy Editor The New York City Department of Cultural Gordon J. Davis, Esq. Samir S. Patel A™airs; New York State Council on the Dr. Henry Louis Gates, Jr. Arts, a state agency; National Endowment Design Sandra Grymes for the Arts; the New York City Council; Pentagram Arthur J. Humphrey Jr. and the Manhattan Borough President. George L. Knox Printing Nancy L. Lane Allied Printing Services The Studio Museum in Harlem is deeply Dr. Michael L. Lomax grateful to the following institutional do- Original Design Concept Bernard I. Lumpkin nors for their leadership support: 2X4, Inc. Dr. Amelia Ogunlesi Ann G. Tenenbaum Studio is published two times a year Bloomberg Philanthropies John T. Thompson by The Studio Museum in Harlem, Booth Ferris Foundation Reginald Van Lee 144 W. 125th St., New York, NY 10027. Ed Bradley Family Foundation The Ralph and Fanny Ellison Hon. Bill de Blasio, ex-oicio Copyright ©2015 Studio magazine. Charitable Trust Hon. Tom Finkelpearl, ex-oicio Ford Foundation All rights, including translation into other The Horace W. Goldsmith Foundation languages, are reserved by the publisher. Jerome Foundation Nothing in this publication may be Lambent Foundation reproduced without the permission of the The Andrew W. Mellon Foundation publisher. MetLife Foundation Cover image: Surdna Foundation Stanley Whitney Target Elephant Memory (detail), 2014 The Andy Warhol Foundation for Collection of Debra L. Lee the Visual Arts Courtesy Kim Heirston Art Advisory Photo: Courtesy the artist and team Joyce and George Wein Foundation (gallery, inc.), New York Wells Fargo The Winston Foundation Inside back cover image: Juliana Huxtable Untitled (Psychosocial Stuntin’), 2015 Museum Purchase with funds provided by the Acquisition Committee Letter from the Director

Photo: Julie Skarratt Rendering of conceptual design Adjaye Associates, Designer, in collaboration with Cooper Robertson, Executive Architect

With each issue of Studio magazine, replace our current facility with a truly allow us to realize our incred- I have the opportunity to re lect on building designed expressly for us ible potential and better serve our the past half-year at The Studio by architect David Adjaye of Adjaye growing and diverse audiences. Museum in Harlem, and I am always Associates, in collaboration with I look forward to sharing more astonished by how much can hap- executive architect Cooper information about the project with pen in six months. This issue is a per- Robertson. With construction under- you in the coming months and years. fect example. As always, the Studio taken as a public-private initiative But in the meantime, I look forward Museum team has created exciting with support from the City of New to seeing you uptown, as we con- exhibitions, programs and initiatives, York, the new building will be tinue to celebrate the amazing leg- and our diverse visitors have had located right here on our current site acy of this institution and the profound, meaningful and enjoyable at 144 West 125th Street, and will generations of artists, supporters, experiences with art and artists. replace the oŒice building renovated visitors, sta“, leaders, neighbors But this issue marks an extra- in 1982 by renowned architect J. Max and friends who have made us who special milestone. In early July, I had Bond Jr. that has served us so well we are today. the great pleasure to announce that for over thirty years. we are embarking on the next chap- For the irst time in our nearly ter in our institution’s history—a ifty-year history, the Studio Museum radical reinvention of The Studio will have state-of-the-art facilities Museum in Harlem. In the coming designed speci ically to support our Thelma Golden years, the Studio Museum will exhibitions and programs. This will Director and Chief Curator

Summer/Fall 2015 2

The Studio Museum in Harlem is at the forefront of black contemporary art and culture, and we want you to join us!

Follow us on online, share your experience and be a part of the conversation!

facebook.com/studiomuseum twitter.com/studiomuseum instagram.com/studiomuseum Museum Studio Jr.

What’s Up: Exhibition Schedule 5 Partnership Highlight: 58 Harlem Postcards: 6 Museum Cultural Ambassadors Spring and Summer 2015 Art Work, Two Ways: 60 Everything, Everyday: 10 Stanley Whitney Artists in Residence 2014™15 In the Developer: 63 Expanding the Walls 2015 In Conversation: Stanley Whitney 16 and Lowery Stokes Sims Mini Curator!: 66 Art Is...: Interview with 21 Maya Evans × Kevin Beasley Lorraine O'Grady DIY: Design a Float 68

Middle School Mondays 70 Beyond Coloring Page: Lauren Halsey 74

Afripedia Collective Highlights 26 Creatives in Africa Friends

Elsewhere 28 Spring Luncheon 2015 77 Malaika Likes: Film Picks 34 Members 82

Member Spotlight: Angela Jackson 86

Supporters 88 Features The Studio Museum in Venice 92 Membership Info and Form 94 Faustin Linyekula × Christine Y. Kim 37 Visitor Information 96 Venice: 10 Perspectives 43

The Barbershop, the Beauty Shop 54 and the Bookstore Museum Museum 5

What’s Up Exhibition Schedule Summer/Fall 2015

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

July 16October 25, 2015 Stanley Whitney: Dance the Orange Everything, Everyday: Artists in Residence 201415 Lorraine O’Grady: Art Is… One Stop Down: Expanding the Walls 2015

November 12, 2015March 6, 2016 Highlights from the Permanent Collection And More!

Always on View Harlem Postcards Glenn Ligon: Give Us a Poem Adam Pendleton: Collected (Flamingo George) Summer/Fall 2015 6

Harlem Spring Postcards 2015

Sierra Odessa Awol Erizku Born 1990, St. Louis, MO Born 1988, Addis Ababa, Ethiopia Lives and works in New York, NY, and Chicago, IL Lives and works in Los Angeles, CA

Faceless People & Hand Holding Grapes, 2014 Fleeting Subjects, 2015

Miniature miracles and overlooked catastrophes: Working seamlessly across a wide range of media, These are what I ind when I stroll the upper island. including photography, sculpture and video installation, For a neighborhood whose historical signi icance Awol Erizku references and remixes disparate artistic comes in such great abundance, there could be more movements and traditions, from the photorealist still lifes emphasis put on restoring or preserving the build- of Dutch Masters to spare, minimalist constructions— ings that tell the intricate stories of Harlem’s legacy. giving them all distinctly twenty- irst-century updates. For many urban developers and city planners, the Throughout his work, the New York–born, Los Angeles– rebirth, transformation and progression of Harlem based artist strives to correct what he perceives as a mean tearing down the old and replacing with the marked absence of people of color throughout the new. For others, however, each “CLOSED” store- canon of art history. He integrates contemporary fabrics, front sign represents yet another blow to Harlem’s styles and symbols with a provocatively allusive sensibility unique identity. and aesthetic. Inspired by a shirt the artist purchased on 125th Street, depicting a golden statue of an Egyptian queen, the artist envisions the luxury of being fed grapes, a seemingly common practice among Egyptian royalty. Museum 7

Harlem Spring Postcards 2015

Kameelah Janan Rasheed Elaine Reichek Born 1985, East Palo Alto, CA Born 1943, New York, NY Lives and works in Brooklyn, NY Lives and works in New York, NY

Nun on Lenox, 2015 Harlem Arcadia, 2015 Digital embroidery on linen, mounted to paper

From traditional monotheistic faiths established thou- I live and work in Harlem, and my windows face Striver’s sands of years ago to new syncretic communities and Row, two blocks of historically important brownstones. new religious communities, Harlem has it all. One day, My subject matter often deals with the classics, and many while documenting the Hebrew Israelites proselytizing of the buildings close by have beautiful neoclassical orna- on the corner of Lenox and 125th, a black nun crossed mentation. One of my great pleasures is to take walks in my path. I immediately turned my camera toward her. my neighborhood. This embroidery is derived from a It was a reminder that while one may be fascinated by photograph taken on 137th Street on one of those walks. the newness of emerging spiritual communities here in Harlem, there is still much to discover about how black people make sense of traditional faiths established thou- sands of years ago. Summer/Fall 2015 8

Harlem Summer Postcards 2015

King Texas Narcissister Born 1986, Brooklyn, NY Born 1971, New York, NY Lives and works in Brooklyn, NY Lives and works in Brooklyn, NY

Harlem, 2015 Bare Breasted Project (Harlem #2), 2015

I’ve always been impressed by who gravitates toward Narcissister, my character, employs humor and spectacle you when you step into the world. My process in the past as her primary tools in explorations of gender, race consisted of documenting people with whom I’ve had a and sexuality. Opening “ ixed and closed” stereotypical close connection. Since I began shooting on ilm, I’ve representations and turning them against themselves, been having a lot more brief encounters with people. I expose, in live performance, video and photography, It’s an unfamiliar feeling at irst, but I always remind the practice of representation itself. myself that I am being reacquainted with people. I don’t This image is part of an ongoing project that explores believe anyone is truly a stranger. I am invested in the women’s protected legal right to bare their breasts in connections one has with others within portraiture to public spaces in New York. How does a woman baring create a blueprint of the sitter. Portraiture is extremely her breasts in public begin to challenge the deep-seated powerful and I am inspired by the people with whom notion that female topless-ness is di“erent from male I come in contact, and the environments they occupy. topless-ness? The intention of this project is to investi- I am inspired by what it means to be seen and loved gate the conceptions that are embedded in the collec- when you have your photo taken. tive cultural psyche around female breasts, which might support or prohibit a woman’s freedom. Women exercis- ing their right to legally bare their breasts in the streets is a symbolic act of physical freedom intended to inspire others to exercise freedom in all forms. Museum 9

Harlem Summer Postcards 2015

Ellen Lesperance Demettrius Wright Born 1971, Minneapolis, MN Born 1997, Brooklyn, NY Lives and works in Portland, OR Lives and works in Brooklyn, NY

November 5, 2010: Harlem Celebrates Code Pink, 2015 Faith Ringgold’s 80th Birthday, 2015

My artwork is often inspired by sweaters worn by women This photograph was taken on 124th Street and Lenox at protests, sit-ins, demonstrations and other acts of Avenue, where James VanDerZee’s historic Harlem civil disobedience. These women’s handmade articles of studio, Guarantee Photo Studio, still stands. James clothing—like other forms of Creative Direct Action, VanDerZee produced some of his best and most iconic such as banners and street theater—o“er narratives and photographic work at this location. He liked to play with invite issue-based personal interactions. I make this work lighting and colors, which make his work fairly unique. to memorialize e“ective resistance, in an e“ort to ensure This historical site in Harlem captures the energy of the these moments do not vanish from popular memory. neighborhood. It also shows the soul within each of In this piece for the Harlem Postcards, I recreated a us as we make our marks on history. This is why I used a sweater worn by artist and activist Faith Ringgold in slightly low vantage point with a pop of color to bring photographs taken on multiple occasions, including the out the raw energy that is Guarantee Photo Studio. recent occasion of her eightieth birthday. Ringgold is This photograph means a lot to me because the inspirational to me on many fronts, and I was moved history and energy it carries is unlike anything you can by the gloriousness of her chosen garment. It presents research in a book. This image teaches about the her in the world in the same way that I relate to her present as well as the past, and how to use the present visual art: heraldic. to achieve a better future—just as VanDerZee hoped for. Summer/Fall 2015 10

Everything, Artists in Residence Everyday 2014Ž15

by Naima J. Keith, Associate Curator

The Artist-in-Residence program is at the core of the Studio Museum’s mission, and gives the institution its name. Since the Museum’s founding in 1968, more than a hundred artists in residence have created and shown work in the Museum’s studios and galleries. In 2014, the Studio Museum welcomed artists Sadie Barnette, Lauren Halsey and Eric Mack into the Artist-in-Residence program and in July 2015 they will have their exhibition at the Museum. Below is an excerpt from an interview that will be included in the exhibition's accompanying brochure. Discussing everything from their processes to the impact of working in Harlem, these artists are bold, innovative and fresh.

NAIMA KEITH: How would NK: At the Studio Museum, the EM: I think a lot about indexing you individually describe your artist studios are located right next and collecting things from practices? to each other. How has working everyday life. Lauren, the images in such close quarters a“ected your in your carvings end up being SADIE BARNETTE: I make every- practices? accumulations of present space. thing from photographs to The physicality and the time it drawings to books. I also work LH: I’ve watched Eric explore the takes to think about text, collec- with found objects or old family potential for his pegboard surfaces tive memory and humor that’s photographs. What ties every- spatially, and his many ways of mov- understood, but also somehow thing together is my interest in ing and presenting paint. I’m also singular. These are the everyday the everyday elements of where interested in architecture and poetics that I think a lot about in I am from, my family history and intrigued by the ways Eric comes relation to Lauren’s work, but I the personal as political—past, up with new archetypes for serious also think they relate to Sadie’s present and future. but informal structures that are thinking about family history still paintings. He makes a painting and her speci icity using text ERIC MACK: I like thinking about and hangs it as a wall. I see similari- and form through typeface. processing materiality through ties to my reliefs. gestures of paint, understanding or thinking about understanding the world through touch, kinds of experiments, activating surface and working with arti ice to think about how things can be mean- ingful or reoriented as emotion- ally relevant.

LAUREN HALSEY: I build environ- ments—fantasy habitats about working-class neighborhoods I’m Eric Mack Oquendo, 2014 from in Los Angeles, and where Courtesy the artist I have lived in recently in Harlem. and Company Gallery, New York Each iteration is moved by my visions for the community and Opposite: promoting agency and empower- Eric Mack Avonte, 2015 ment there spatially. Private Collection

Summer/Fall 2015 12

Everything, Artists in Residence Everyday 2014Ž15

Sadie Barnette Sadie Barnette Untitled, 2014 Untitled, 2015 Courtesy the artist Courtesy the artist

SB: Since we’re so involved with LH: I think it has a“ected everything. EM: Some of the historical points of each other’s practices and ways In Los Angeles, car culture is huge. the city indicate an existing space. of seeing, often when I am walking In New York, speci ically Harlem, I’m speci ically thinking about the around Harlem I see something, you’re in proximity to everyone and old Lenox Lounge or the Apollo and like the way a street vendor has everything at the same time. Walking things that, right before they’re rigged some tapestries, and think, the 125th strip daily has made me renovated and changed, have been “that looks like an Eric Mack think about how I represent space, occupied for years. Some of the moment.” Or I’ll see objects in a or work toward representing and same cultural ideas and norms— store window that seem to belong populating space. How I can control the Harlem Renaissance and all of in Lauren’s kingdom. the pace and the rhythm and the these spaces—it’s just a real wealth mood of the sequences. I’ll always not only of content, but also of NK: Speaking of Harlem, how do archive the neighborhoods I live in, everyday energy. There is some- you think being in the neighborhood but now I represent signage, ephem- thing about how people walk down has a“ected your work? era and the essence of the neighbor- the street in Harlem that is di“erent hood I live and work in quite di“er- than anywhere else. There is a 125th ently than ever before. swag that is articulated in the way Museum 13

Everything, Artists in Residence Everyday 2014Ž15

Lauren Halsey’s studio Photo: Adam Reich

people dress, obviously, but also the LH: It’s constant aŒirmation for me, SB: I always think that every black kind of pace. There are also tons of from the guy who sits in the same child in America should go to Harlem people who get you to stop and spot all day with pamphlets on for a week. It’s like a homecoming. acknowledge them, and that I think achieving higher frequencies and One thing I love about Harlem is the is super important. But it’s also about essays on “the origin of black gods,” way people demand and claim their a self-preservation at the same time. to the mix-CD DJs with classic visibility. It is in the way that folks Willie Hutch, to the black nationalist present/style/carry themselves— chitchat everywhere, to people with there is a certain “black pride.” But it their libraries on display, to all the is not limited to just one way of knickknacks, to the dude who seeks being black or proud. There are so Next Page: me out, points and calls me a god. many di“erent, sometimes con lict- Lauren Halsey Kingdom Splurge (3.7.15.15) There’s someone trying to represent ing, ideas and presentations of (installation view), 2015 and break something down to me all blackness in Harlem. Courtesy the artist Photo: Adam Reich day. I think that’s really beautiful. Summer/Fall 2015 14 Museum 15 Summer/Fall 2015 16

Stanley Whitney james brown sacriice to apollo, 2008 Courtesy the artist and team (gallery, inc.), New York Museum 17

In Conversation Stanley Whitney and Lowery Stokes Sims

Organized by Lauren Haynes, Associate Curator, Permanent Collection

The irst solo museum exhibition in New York devoted to Stanley Whitney’s work, Stanley Whitney: Dance the Orange presents works created in the last ten years by the abstract painter acclaimed for his masterful use of color. Whitney’s paintings on canvas and paper range in size, and are created in his signature style that features blocks of color arranged in grid-like structures on primarily square backdrops. Through his use of color as subject and material, Whitney explores and expands notions of abstract painting. The following is an excerpt from a conversation between the artist and the curator, former Studio Museum Executive Director Lowery Stokes Sims, that took place in April 2015. The full conversa- tion can be found in the exhibition catalogue, available now in our Museum Store and online.

Stanley Whitney: There is something LSS: When exactly did you intro- The irst thing I thought about was about my work in terms of the rhythm duce the format that uses four Van Gogh’s drawings and just how it has—a kind of polyrhythm. I realized horizontal bands to organize your rich they were. I thought, I’m going that when I irst came to New York. compositions? to do black-and-white drawings I didn’t use color like Kenneth Noland that are as rich as color, and yet or even Frank Stella. I think there is SW: Probably this happened over not rely on color. I did these draw- something about the music or the time. I’d say it was around 1990, ings that were more like land- color that could be called African- when I really decided to make color scapes, and I thought more in American. As I said, we grew up asso- more prominent than gesture in my terms of space because I wanted ciating color with sound. The ques- drawing. When I came to New York, everything really open. In my tion is how cultural references are Color Field painting was prevalent. paintings, I wanted a lot of space mixed in or what they are mixed in I could identify with it because of as you see in Jackson Pollock’s with. Can you really put your inger the color, but I was very critical of work and the depth of color of on it to say why something is speci i- the artists doing it because I didn’t Mark Rothko. cally from West Africa? think they drew very well or that they I started to create works with were tough enough. Since it was color ields that eventually got Lowery Stokes Sims: Are you talking clear these artists didn’t draw at all, more baroque as I painted forms about Cézanne’s work in terms of I went back and did a lot of black- that loated in the compositions. his brushstrokes and the way that he and-white drawings. I really wanted to keep them very created form? gestural, so that they were more LSS: So what is the relationship like mark making. I slowly realized SW: The way he patterns it. In of drawing to the paintings? Is this I could make the space within the Philadelphia, where I grew up, every- about the hand, or gesture? color. By 1993, when I went to body talked about music, and music Egypt, I had found the last piece of has its patterns. We all practiced our SW: For me, drawing is a way to the puzzle for my work. I realized I dance steps before we did our understand where things are in could put forms, colors and marks homework. Those kinds of things space. I felt that I needed to work together and still have a lot of air. were always there. But then, when on space because I didn’t want my The space was still there. This was I went to art school, I got involved color to be decorative. I wanted important because I thought previ- with what they said painting is or color to have a real intellect. When ously that if I put colors or forms what art is. Then I became involved I got into graduate school, I knew next to each other that I would in learning the craft, and it took me a what drawing was in a igurative lose the space. Then I realized that while to put together all the pieces sense, but I didn’t know what draw- the space is in the color, not of what that craft is, and then, what ing meant in terms of abstraction. around the color. I’m bringing to that craft. Summer/Fall 2015 18

In Conversation Stanley Whitney and Lowery Stokes Sims

LSS: Couldn’t color also suggest an exterior space?

SW: Well, color could suggest space, but I thought people generally used color against white to have that space. As my paintings became much more gestural, I realized I wanted to quiet them down. I didn’t want to go graŒiti. I wanted to get rid of some of the Abstract Expressionist–type type of mark making.

LSS: So you were trying to reduce the movement, the gesture in that sense?

SW: Yes I tried to igure out another idea of what gesture is. I didn’t want my gesture to be an Abstract- Expressionist gesture. By that time I was living in Rome. There I got more into an architectural kind of space, and was looking at Giorgio Morandi’s paintings. He lived in Bologna, so I’d go there to see his work all the time. Stanley Whitney I liked how quiet they were. I thought Elephant Memory, 2014 Collection of Debra L. Lee about using more color and less Courtesy Kim Heirston Art Advisory Ab-Ex gesture. It’s kind of like the Photo: Courtesy the artist and team (gallery, inc.), New York work started to evolve that way. In fact, at one point when the paint- SW: That’s true. I’m going back now paint itself, like laying the paint ing started getting more and more and rethinking what gesture is. The down—whether it’s thick or thin. like solid colors I tried to stop it. system I use allows me to go with any The color changes because of color, anytime I want. I paint a the touch. LSS: But aren’t you introducing a lot of color very quickly and directly lot of gesture just in the way that now. But this is what you can do with LSS: Yes, and also as one area of you allow the brushstrokes to be oil painting, as opposed to acrylic, painting lows into the other that evident? I mean, in each of those because with oil painting you get a lot e“ectively creates another color. squares you can actually see evi- more of the hand, a lot more of the dence of the strokes. They may be touch. I wanted to bring all of those SW: Even within one color. within the boundaries of the color European notions into the painting. Depending on how you mix and area but it does give those areas So now instead of having the gesture lay down the paint, sometimes it’s a certain character. of a quick line, the gesture is in the thinner, thicker, or it’s more dense. Museum 19

In Conversation Stanley Whitney and Lowery Stokes Sims

paint. I felt like that was really my calling, to paint, but I couldn’t say what that was or what the need for it was. In that same conversation with Trent, we talked a lot about painting in terms of mental health. So I focused on the need for art: what art does to inspire and what art gives people. If you think about Matisse, he painted in Nice when the Nazis were there. Picasso painted Guernica (1937)—which I see when I go to Madrid—and that it is just such a great painting against war. We have to consider what these painters put out there for people and remember that being a painter is just a calling anyway. That’s why I tell young artists who come to see me and ask me what are the rules, I tell them there are none.

LSS: Getting back to the 1960s and 70s—at that time there was such a dichotomy between abstraction and

Stanley Whitney iguration in the black community. Dance the Orange, 2013 The assumption was that if you were Courtesy Frederick and Merle Fish Photo: Courtesy the artist and team doing abstraction, you were copping (gallery, inc.), New York out, doing mainstream art, and that you couldn’t possibly be relevant or Sometimes you see the hand more, most secure, where you felt you committed. So I wondered how you sometimes you don’t see the hand at could actually do something. came out on that issue? I couldn’t all. So there are all kinds of variations ind that many black exhibitions on in terms of what color really is. SW: I talked about that a little bit in your resume. a conversation I had with Trent Doyle LSS: I wanted to go back to how you Hancock at the Contemporary Arts SW: They probably didn’t ask me. saw your work in the context of the Museum in Houston. Those were At that point I wasn’t doing many 1960s and 70s when you were in hard times because I really wanted shows. With all the stu“ that was school and emerging as an artist. It to paint, but I couldn’t identify why I going on then, it was a diŒicult time was clear in some of your statements wanted to paint. I remember being to igure out where you were that in the midst of the politics, the in Kansas City and the Black Panthers headed, or what you were doing, or Black Panthers, civil rights, etc., the would say, what are you doing, what was happening. When I came act of painting was where you felt brother? But I felt compelled to to New York in the late 1960s, I saw Summer/Fall 2015 20

In Conversation Stanley Whitney and Lowery Stokes Sims

there was a lot going on with black recently. This painting is very large, this old photo of Malcolm X, and I artists, Sam Gilliam, Al Loving, a ninety-six-by-ninety-six-inch can- have an old photo of a self-portrait Howardena Pindell—all them were vas. The colors are primarily orange, by Cézanne that I’ve been carrying showing. But McArthur Binion, pinks, blues and greens. When I around since the 70s. I am going to myself, James Little, kind of got lost looked at the inished work, I saw a illustrate them side by side. I love that in that. We were another generation. beautiful painting with a real tough- the photo I have of Malcolm X says, As for abstraction versus iguration, ness to it. The key element in this “I’m the man you think you are.” I think the black community felt a painting is the color and the kind of need for black images because they beauty it conveys, but I also wanted LSS: I guess in their own way they weren’t getting them anywhere else. to indicate that toughness. The title were revolutionary. I think they wanted things on their refers to the Nina Simone song “Four walls that could be quickly identi ied Women.” In the song, the last woman SW: Yeah, I want to bring all those as work by black artists. I don’t know is Peaches. Almost every black com- kinds of things together in terms if that’s all they needed, though. munity has a woman named of indicating what painting is for me, It’s very complicated. Peaches, who is very sumptuous. because all of that is important. I guess one way I dealt with it can So I wanted to suggest this real be seen in my painting My Name Is crazy mixture. In the book we are Peaches (2015), which I painted working on about my work, I have

Stanley Whitney Untitled, 2014 Courtesy the artist and team (gallery, inc.), New York Museum 21

Art Is... Interview with Lorraine O'Grady

by Amanda Hunt, Assistant Curator

In April 2015, Assistant Curator Amanda Hunt sat down with conceptual artist Lorraine O’Grady to discuss her 1983 performance Art Is..., the subject of this summer’s exhibition of photographs at the Studio Museum. For the perfor- mance, O’Grady and a group of ifteen men and women dressed in white rode up Seventh Avenue in Harlem on a loat in the African-American Day Parade decorated with the words “Art Is...” O’Grady and her collaborators jumped on and o“ the loat at di“erent points during the procession, and held up gold picture frames of various sizes to onlook- ers of the parade. The performance, in e“ect, made portraits of the people and landscapes of Harlem. Art Is... raised a number of questions about representation and framing as it joyfully declared its local subjects “art.” More than three decades later, the Studio Museum presents the full series of photos documenting the performance to bring the work back to its local origins.

Lorraine O’Grady Art Is... (Nubians), 1983/2009 Courtesy Alexander Gray Associates, New York © 2015 Lorraine O’Grady/Artist Rights Society (ARS), New York Summer/Fall 2015 22 Museum 23

Art Is... Interview with Lorraine O'Grady

Amanda Hunt: Lorraine, we began Girl Pointing. It’s of a young girl, but population so open to the camera. talking about the photographic docu- now I ind it’s hard to say exactly how The business of framing is really mentation of your performance Art old she was. As the frame approaches problematic now, as you know. I don’t Is..., and about the potential con igu- her, she points at it—she has this sort think this piece could have worked ration of images we would present of smile on her face—and you can’t now, in 2015. Just this past fall, we did at the Studio Museum, and we came tell whether she is smiling at you or a shoot at the Brooklyn Parade for a to something really interesting. You with you. You don’t know what she’s video I was doing on Carnival. Before touched on the idea of the “greatest actually feeling. I can never settle on and during the parade—just talking hits”— the images that people have a feeling for her. to people and trying to take their pic- been most drawn to in this series— tures with a still camera, or interview and how over the course of more AH: Was there a feeling that she was them on video—they wouldn’t coop- than thirty years, there are some being confrontational? erate. Nobody would talk to you! more anomalous moments that have stuck with you for other reasons. LO: I had the feeling that it was not AH: So what brought you to Harlem? so much confrontational as conversa- How did you get into this idea of Lorraine O’Grady: I think that what tional, a level of equality that you participating in something as spec- I’m really talking about is the issue of don’t always get from the subject of tacular as a parade? ambiguity—a question of “What is it?” a photograph. I mentioned to you that in one of LO: Parades were big entertainment the images there is a large apartment AH: How did you collect for us as kids, perhaps because building caught in the large frame on these images? my family is from the West Indies. the loat that didn’t have any distin- We never missed a single one! guishing aspects to it. People weren’t LO: I’d hired a couple of friends to The parade idea came from wanting sitting out on the steps of the build- help me document. They each gave to expose the avant-garde to the larg- ing the way they had been in other me two rolls, I think, which I had est number of black people I could parts of the parade. There was a developed. And whenever I saw ind at one time—that was it. My irst blankness to its architecture, so it was people taking photos, I got their thought was to just put artworks on impossible to get a mental or emo- phone numbers. Later, when I met the loat and let people LOOK at art. tional grip on it. There was something them, they gave me slides that they A woman had recently said to me that about not being able to imagine the didn’t want, that didn’t have their avant-garde art doesn’t have anything life behind the blank windows, or friends in them. I got a lot of that. to do with black people. That was so even beyond the strange luorescent A couple of people gave me slide infuriating to me. It’s where the whole lights in the long entrance leading to rolls that I processed. One woman idea for the piece came from—to do an inner courtyard—not being able to sent me black-and-white prints, but something that would prove this see anything, really. Whenever I look I couldn’t use them. woman wrong, a piece about art in at that building, it still has this impen- front of a million people. Of course etrable mystery that fascinates me. AH: As background and context it didn’t end up with them looking And then there is the only vertical to this moment, there was also at art. They were more making the image in the series, the one I call the issue of the impending crack art themselves. epidemic in Harlem. I didn’t live in Harlem, so I was Opposite: going to an alien territory. I did not Lorraine O’Grady Art Is... (Girl Pointing), 1983/2009 LO: Yes, 1983 was really one of the know how this piece was going to Courtesy Alexander Gray Associates, New York last moments that these photographs work. I mean, the only instructions © 2015 Lorraine O’Grady/Artist Rights Society (ARS), New York could have been taken, with a whole I could give people on the parade Summer/Fall 2015 24

Art Is... Interview with Lorraine O'Grady

route were the words on the sides of the loat—“Art Is...”—right? I didn’t know what would happen. Would they get it? Would they do anything? It could have been something or it could have been nothing, and I had no idea which, so it was scary for me. But then when I heard people calling the pho- tographers over to them, it was like “Wow!” They wanted to be on camera! Everybody wanted to be on camera, you know. I guess I didn’t realize how much people wanted to be on camera.

AH: Who were your performers? How did you assemble them?

LO: I advertised in the back pages of some dailies or weeklies. I can’t remember, but I think they were called Stage Door and Billboard. They had ads for actresses and dancers, that sort of thing. I got a mix of people, of dancers and actors. They were beauti- ful and they were up for it—really, really up for it. You can see how the people on the parade route liked being in photographs, and you can see how these performers liked framing them for the photos. It was wonderful, just wonderful. What I learned in the process of the parade is that a parade is not a continuous motion. In a parade there are moments when you are just stand- ing still and not getting anywhere, and then there are moments you are rushing to catch up. To me, a ilm was Top: Bottom: Lorraine O’Grady Lorraine O’Grady going on behind that big frame, like Art Is... (Dancer in Grass Skirt), 1983/2009 Art Is... (Colt 45 “African” Float), 1983/2009 a moving proscenium on the loat. Courtesy Alexander Gray Associates, New York Courtesy Alexander Gray Associates, New York © 2015 Lorraine O’Grady/Artist Rights Society © 2015 Lorraine O’Grady/Artist Rights Society But as if it were in an old Moviola edit- (ARS), New York (ARS), New York ing machine . . . it started and stopped . . . started and stopped . . . . Beyond 25 Beyond Summer/Fall 2015 26

Afripedia Collective Highlights Creatives in Africa

by Hallie Ringle, Senior Curatorial Assistant

The Who: Afripedia was borne out of One of the many strengths of within the neighborhood and city. Stocktown Films, a collective dedi- Afripedia is the creators’ dedication In choosing to include this informa- cated to showcasing creativity and to artists working in a variety of tion consistently, Afripedia o“ers street culture through documenta- media, and to providing consistent audiences a peek of the local com- ries, television and exhibitions. The information on each subject. And munity and environment—an creators are Teddy Goitom, Senay the rich, expert videography could opportunity generally unavailable Berhe and Benjamin Taft. Goitom is be art in its own right. Each artist in typical exhibitions. a Swedish-Ethiopian/Eritrean founder section, about seven minutes long, of Stocktown who was drawn to cre- functions like a studio visit. For The When: The episodes premiered ate the Afripedia documentary series example, the Senegal and Ivory in September on Swedish television to highlight creative individuals liv- Coast episode begins with fashion and will be available on Afripedia. ing in Africa. The three partners have designer Sally Raby Kane, who com in the coming months. The traveled around the continent opens the segment by discussing Afripedia team is also working on together, looking for and talking to her childhood dreams of becoming expanding their scope to North artists working in di“erent media. a designer. It then moves on to a Africa next year, and creating a tour of her atelier and introduction feature-length documentary. They The What: Afripedia describes itself to her sta“ of three, plus an electri- hope to create a forum that con- as “A platform and a visual guide cian who helps with the more elab- nects artists, curators, scholars and to art, ilm, photography, fashion, orate, light-up out its. Kane talks organizations, and that showcases design, music and contemporary about her design aesthetic and residencies and opportunities. They culture from African creatives world- futurist vision while video and pic- also hope to connect people glob- wide.” Taking on the aesthetic of tures of her previous works lash on ally by making Afripedia a place a dictionary—with pronunciation the screen, and then she inishes where people can ind out about and parts of speech next to titles— with a short discussion of her plans creative happenings all over the Afripedia is a series of short docu- for expanding her designs into an African continent. Eventually they mentaries featuring artists, dancers, international brand. In addition to hope to expand into a physical fashion designers and musicians. To showing images and videos of the space and create events, exhibitions date there are ive parts focusing on artist and her work, Afripedia and spaces where those featured Angola, Senegal and the Ivory Coast, strengthens its role as a documen- and interested in Afripedia’s content Ghana, Kenya and South Africa. tary by contextualizing the atelier can meet and share ideas. Beyond 27

Photo: Stocktown Films Summer/Fall 2015 28

Elsewhere

by Thelma Golden, Director and Chief Curator

Lynette Yiadom-Boakye: Verses After Dusk June 2™September 13, 2015 Serpentine Galleries London, United Kingdom serpentinegalleries.org

If you ind yourself across the pond this summer, be sure to check out Lynette Yiadom-Boakye: Verses After Dusk at Serpentine Galleries. Representing the wide range of tech- niques employed by the celebrated igurative painter, who received her irst solo museum exhibition at the Studio Museum in 2010, Verses After Dusk consists of recent and newly produced paintings alongside a series of ten new etchings created speci ically for the exhibition. At the heart of Yiadom-Boakye’s work is an exploration of the process of painting and an invitation for viewers to con- sider the subjects as suggestions rather than explicit narratives or por- traits. With her depiction of black igures, Yiadom-Boakye raises timeless questions of identity and representation in art.

Lynette Yiadom-Boakye 9am Jerez de la Frontera, 2010 Collection of Noel Kirnon and Michael Paley Courtesy Corvi-Mora, London, and Jack Shainman Gallery, New York Beyond 29

Elsewhere

Noah Purifoy: Junk Dada Rising Up: Hale Woodruœ’s Murals at Talladega College June 7™September 27, 2015 June 13™September 6, 2015 Los Angeles County Museum of Art Birmingham Museum of Art Los Angeles, California Birmingham, Alabama lacma.org artsbma.org

I am thrilled that our colleagues at LACMA will host the Organized by our friends at the High Museum of Art irst monographic exhibition dedicated to the late Noah in Atlanta, in collaboration with Talladega College in Purifoy, a seminal American artist whose work was Alabama, Rising Up: Hale Woodru˜'s Murals at Talladega recently on view at the Studio Museum in When the Stars College features six large-scale murals depicting land- Begin to Fall: Imagination and the American South (2014). mark events in the rise of blacks from slavery to freedom. Co-curated by Franklin Sirmans, Terri and Michael Smooke The vibrant murals, commissioned in 1938, commemo- Department Head and Curator of Contemporary Art, and rate the 1867 founding of Talladega College, one of the independent curator Yael Lipschutz, Noah Purifoy: Junk nation’s pioneering all-black colleges. Additionally, Dada examines the distinct stylistic periods of Purifoy’s Rising Up explores Woodru“’s impact on the arts and career, beginning with nearly a dozen works from his land- includes twenty-four supplemental works, including mark 1966 exhibition 66 Signs of Neon, and continuing research, paintings and linocut prints. through his lifetime. Noah Purifoy: Junk Dada is accompa- nied by a major catalogue with essays by Yael Lipschutz, Lowery Stokes Sims and Kristine McKenna, with a preface by Franklin Sirmans.

Noah Purifoy Hale Woodruž No Contest (bicycles), 1991 The Mutiny on the Amistad, 1939 Noah Purifoy Foundation Collection of Talladega College, Talladega, Alabama Summer/Fall 2015 30

Elsewhere

Mark Bradford: Scorched Earth Glenn Ligon: Encounters and Collisions June 20™September 27, 2015 June 30™October 18, 2015 Hammer Museum Tate Liverpool Los Angeles, California Liverpool, United Kingdom hammer.ucla.edu tate.org.uk

Mark Bradford: Scorched Earth is a must-see this season! This summer, Tate Liverpool and Nottingham Comprised of twelve new paintings and a multimedia Contemporary will present Encounters and Collisions, installation, Scorched Earth bears the deep cultural fears curated by my dear friend Glenn Ligon. For this exhibition, that misconceive of black identity and gender as one- Ligon has brought together the work of forty- ive extraor- dimensional concepts. Bradford uses his characteristic dinary artists—who have in luenced him or with whom painting style of excavating through layers of paint and he feels an aŒinity—from the late 1940s to the present. drywall to explore and critique social activism, the AIDS Together they position postwar American artistic endeav- crisis and his hometown of Los Angeles. Organized by ors within wider political and cultural contexts, and pro- Chief Curator Connie Butler and Assistant Curator (and vide a new framework with which we can view the Studio Museum alumna) Jamillah James, this is Bradford’s American canon. Several of Ligon’s own works anchor this irst solo museum exhibition in Los Angeles. wide-ranging exhibition, including Stranger 23 (2006) and Untitled (I Lost My Voice I Found My Voice) (1991).

Mark Bradford Glenn Ligon Test 2, 2015 Malcolm X #1 (small version #2), 2003 Courtesy the artist and Hauser & Wirth © Glenn Ligon 2015; Courtesy Rodney M. Miller Photo: Robert Wedemeyer Collection Beyond 31

Elsewhere

Making Place: The Architecture of David Adjaye Adjaye Associates Smithsonian National Museum of September 19, 2015™January 3, 2016 African American History and Culture, Art Institute of Chicago Washington DC, current Courtesy Adjaye Associates Chicago, Illinois artic.edu

I am so excited that Making Place: The Architecture of David Adjaye has traveled to the states! Organized by Haus der Kunst, Munich, and the Art Institute of Chicago, the exhibition o“ers an in-depth overview of the archi- tect’s distinct approach and visual language, will span projects from furniture and housing to public buildings and master plans, and features drawings, sketches, models and building mock-ups. Adjaye is rapidly emerg- ing as a major international igure in architecture and design, and Making Place de initely captures this signi i- cant moment in his career! Summer/Fall 2015 32

Elsewhere

Procession: The Art of Norman Lewis November 13, 2015™April 3, 2016 Pennsylvania Academy of the Fine Arts Philadelphia, Pennsylvania pafa.org

Opening this fall at the Pennsylvania Academy of the Fine Arts, Procession: The Art of Norman Lewis is the irst comprehensive overview of the artist’s in luential and extraordinary work that spans several decades of the twentieth century. Lewis was a pivotal igure in American art, a par- ticipant in the Harlem art community, an innovative contributor to Abstract Expressionism and a politically con- scious activist. The exhibition will include approximately ninety paint- ings and works on paper dating from the early 1930s through the late 1970s, and will examine Lewis’s com- plex exploration of representation and abstraction.

Norman Lewis Confrontation, 1971 Collection of Patricia Blanchet and Ed Bradley ©Estate of Norman W. Lewis; Courtesy Michael Rosenfeld Gallery LLC, New York, NY Beyond 33

Elsewhere

Jennie C. Jones: Compilation December 11, 2015™March 27, 2016 Contemporary Arts Museum Houston Houston, Texas camh.org

Organized by Valerie Cassel Oliver (who also curated the recent hit exhibitions Radical Presence and Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing), Jennie C. Jones: Compilation is a mid-career survey that chronicles the 2012 Joyce Alexander Wein Artist Prize winner’s practice over a ifteen-year period, and includes her iconic acoustic paintings, works on paper and sculpture, as well as sound and installation work. What I am drawn to most about Jones’s work is her ability to bring to light the unlikely alliances that emerge between the visual arts and the imprint of jazz. Compilation will also debut a suite of new acoustic paintings, along with a site-speci ic installation.

Jennie C. Jones Duchamp’s Inner Ear, 201415 Courtesy the artist and Sikkema Jenkins & Co., New York Summer/Fall 2015 34

Malaika Likes Film Picks

by Malaika Langa, Finance Manager

My irst experience seeing a black experimental ilm was Charles Burnett’s Killer of Sheep (1981). I saw it at the IFC Center in 2007, its irst theatrical release, almost thirty years after it was made. The ilm was a departure from many of the prevailing images and stories about black people that I’d ever seen at the movies. I started thinking about retro experimental ilms and the many voices that may or may not have been heard over the years. Sometimes described as “cinematic poems,” these ilms share a quality and impact on perception that, years after production, still resonate.

Killer of Sheep (1977) Looking for Langston (1989) Touki Bouki (1973) Director: Charles Burnett Director: Isaac Julien Director: Djibril Diop Mambéty

Charles Burnett’s 1977 thesis ilm is a Looking for Langston is a “meditation The irst six minutes of Touki Bouki neorealist meditation on life in 1970s on Langston Hughes and the Harlem open without dialogue, as a young Watts in Los Angeles. Centered on Renaissance,” as its full title suggests. boy rides a long-horned cow to the Stan, a slaughterhouse worker, the This impressionistic ilm intertwines a slaughterhouse. The opening scene ilm sees Burnett use the camera as love story with archival photographs creates a contrast between the witness to the dull despair of the by James VanDerZee and Robert country and the city, and sets up the inner city—lives lived with integrity Mapplethorpe, and captures the story of Mory and Anta’s aspirations but few opportunities. The ilm was energy of 1920s Harlem and the to leave Senegal for France. Director unseen for thirty years due to music expression of black male queer iden- Djibril Diop Mambéty had no formal licensing issues, but the soundtrack tity. Through the writing of Langston training in ilm when he made Touki is one of its de ining features, and Hughes, James Baldwin and Bruce Bouki, but he rede ined the form’s provides a second voice to the char- Nugent, director Isaac Julien also language through this seminal work acters’ emotions. Killer of Sheep was explores the faddish attention paid to, by using landscape as a shortcut to one of the irst ifty ilms to be and fall from favor of, black artists his characters’ mindscapes, and selected by the Library of Congress and men—“history as the smiler with nonlinear editing to depict temporal for the National Film Registry. the knife,” in the words of cultural the- shifts and re lections on colonialism. orist Stuart Hall. Beyond 35

Malaika Likes Film Picks

God's Step Children (1938) Illusions (1982) Symbiopsychotaxiplasm: Director: Oscar Micheaux Director: Julie Dash Take One (1968) Director: William Greaves A child of former slaves, Oscar A glittering Oscar statuette is juxta- Micheaux was the irst African posed with images of World War II to William Greaves’s masterpiece is American to produce a feature- symbolize the many battles yet to be a cinéma vérité allegory for the length ilm, The Homesteader (1919). won in depicting African Americans political and social movements of He produced and directed more on-screen. In Julie Dash’s ictional- the 1960s. Applying social theory, than forty ilms. In the 1920s, he ized Hollywood studio, actress Greaves created a ilm within a ilm, wrote and directed Within Our Gates Lonette McKee passes, in a 1940s in which actors and crew are as a response to D.W. GriŒith’s The movie world that features a black engaged in and can alter the Birth of a Nation (1915). With God’s songstress singing the soundtracks overall process. Thirty- ive years Step Children, Micheaux uses the to white lives. Double re lections after the original, Greaves created story of doomed heroine Naomi to visually highlight the con lict inher- Symbiopsychotaxiplasm: Take 2 1/2 explore the controversial issues of ent in these characters and in an (2003). The process of the ilm- colorism, suicide and the state of industry that can embellish or oblit- maker is one of the more subtle |the race. Micheaux was also the irst erate history. but profound things revealed by African-American ilmmaker to cre- Greaves’s work. ate full-length sound feature and the She's Gotta Have It (1986) irst to produce a ilm that opened Director: Spike Lee to white audiences. She’s Gotta Have It portrayed the sexual empowerment of black women with its heroine, Nola Darling, choosing between three suitors while maintaining her own identity. Spike Lee’s breakout debut feature introduced a new visual aesthetic and the sharp dialogue we would come to expect from all his joints. Summer/Fall 2015 36 Features Features 37 Faustin Linyekula × Christine Y. Kim

Faustin Linyekula (b. 1974, Ubundu, Democratic Republic of Congo, formerly Zaire) is a renowned chore- ographer, director and performer living in Paris, France, and Kisangani, Democratic Republic of Congo. Growing out of the tradition of ndombolo music and dance, his performances address the decades of war, terror, corruption and poverty in Congo, but his work is also associated with a celebration of resistance. His performances fuse storytelling and dance with resistance, possibility and poetry, and incorporate elements such as digital media and a variety of programmed sounds and lights, as well as topics such as the need for clean water in his hometown of Kisangani. In 2005, Linyekula was one of twenty-seven dancers and cho- reographers from Africa invited by the Centre National de la Danse in Paris to create a new work. “With all these voices in my luggage,” he explains, he wanted to create an art installation and performance with a very critical discourse on postcolonial ideas, with a soundtrack of movement and many voices, including that of Achille Mbembe. It was there and then that he created Le Cargo. I was in Sharjah in March 2015 for the opening of Sharjah Biennial 12: The past, the present, the possible (SB12), organized by Eungie Joo with Associate Curator Ryan Inouye. Among the dozens of projects by more than fifty artists and cultural practitioners from more than twenty-five countries, the biennial brought together a myriad of discussions around geopolitics and memory, among many others. Linyekula’s performance of Le Cargo on March 6 began with him sitting on a carved stool alone on stage in a darkened theater. It was a more intimate version of his original Le Cargo from Paris, and I sat mesmerized for fifty-five minutes as he told stories of his childhood, hometown, dance rituals, life and death through language, movement, song, light, rhythm and dance. —Christine Y. Kim, Associate Curator of Contemporary Art, Los Angeles County Museum of Art Summer/Fall 2015 38 Features 39

Christine Y. Kim: The name of your FL: Yes, exactly, in the beginning, it CYK: Dance historian Ariel dance company is Studios Kabako, was just Studios Kabako. In 2006 we Osterweis wrote in Dance Research based in Kisangani. You start your moved to Kisangani. Journal, “Linyekula’s geo-choreogra- performance of Le Cargo with, “I am phy recontextualizes multiple spaces Kabako, Kabako is me, again Kabako, CYK: Can we talk about your return and forms of cultural production. and it is when there is Kabako that to Obido? For example, he places popular Kabako becomes Kabako.” Who is performance forms in theaters that Kabako? Or, should I ask, where and FL: 2011 marked the ten-year normally present contemporary what is Kabako? anniversary of Studios Kabako, and dance, and he brings contemporary I started to think about those past dance into parts of Kisangani steeped Faustin Linyekula: Kabako is a char- ten years of working with the team: in popular culture. One repeated acter from a theater play, Mhoi-Ceul, Creativity is about being with people, component of Linyekula’s spatial written by Ivorian author Bernard spending time with other artists, to recontextualizations is ndombolo, a Dadié. This play was made at the end imagine things together, to fear, to popular form of Congolese music, of the 1960s and in it there is a char- doubt. Creativity for me has always as well as the popular dance form it acter named Kabako. Kabako works been about this. But for the anniver- has inspired.”1 Could we discuss your as a superintendent in a building, sary of the company, I felt the need relationship to geopolitics and art? and he is someone who sees inside, to think, to come back a bit toward How do you approach this traversing and who sees outside. He is just like a myself, which led me to another of content, contexts and space, and soldier, a guard in front of the build- observation. I speak about this in what is the impulse, whether artistic, ing, in the office or at a desk. In any my performances. When I look back, sociopolitical, both, neither or other? case, it is a position that speaks to me all these creations were attempts to as an artist, as a citizen. It is rather narrate the Congo of the past and FL: Well, I think that every art form interesting to be in this position. the Congo of today, and I was trying really is like some way of summoning We are at the threshold of experi- to find ways to talk about the Congo, life out of death. In every art form ence, at the threshold of traveling . . . and maybe I was just trying to narrate there is always a moment when you So there is this situation, and then the Congo to myself. After ten years, shrink some deity into your own there is a personal story in relation I started to ask myself: Am I going self—symbolically you go through to Kabako, with this play. I had a friend to continue like this, with this? Does like a moment of death. How do you who played the character of Kabako talking about Congo of the past and find the energy to spring out of that in this play in the late 1980s. We were Congo of today only and constantly and back to life and recreate yourself? very young. Everybody started to call mean to narrate stories of violence, The creative process is a journey him Kabako, because his character and is it telling stories about people from darkness to light, from life to introduces himself as such. “My name who constantly resist death, people death and so on. When you look at is Kabako, I am Kabako, again Kabako, who invent strategies to resist death, the world, the ultimate objective is to always Kabako, and it’s when there is to be stronger than death itself? This make some poetry with what you’ve Kabako that Kabako becomes Kabako.” is Congo and, at once, it exhausts me. got. I chose geographically to work This friend died twenty-one years ago. So, I said, “Okay, if I want to pursue from that part of the world called Thus, when we started a dance com- this, maybe I need to stop just telling Congo, and when you take stories pany we called it Studios Kabako Inc. stories, and I need to learn to dance. from the Congo, again it’s about It was a way to pay homage to But how do I find my dance? Maybe death or the energy of death, but this friend. if I go back to my earliest memories how do you then transform that into of dance, which were in Obido, I can life? A few years ago I made a piece CYK: And this was the original find a clue.” And that’s how the show that I called more more more . . . future studio in Kinshasa? came to be. (2009). It was like my punk piece,

Faustin Linyekula Le Cargo (performance view), 201115 Courtesy Sharjah Art Foundation Photo: Alfredo Rubio Summer/Fall 2015 40 but unlike the punk of the late 1970s, exists there. I believe that the most part of this is not producing clean the slogan of which was “No Future,” beautiful pieces of art belong in such water, it’s the water distribution as a way of being subversive in the places. They need to be in the middle system, the network for distribution. society that they were living in and of our communities. They should not Today people move from point A to reflecting on, my slogan, my way to be be locked in some exclusive space or point B to go and fetch water from subversive in this society is actually be exclusively for the enjoyment of wells and a couple of fountains, and to be constructive, hence, more more the few. Because if the world is falling this water is not clean. If we could more . . . future. So work becomes a apart, we need spaces where we can begin by replacing this contaminated way of resisting that energy that’s reimagine ourselves, where we can water at these collection points pulling you down, resisting gravity, rethink, where we can re-dream our- with clean drinking water—water trying to find ways of standing upright. selves. I think art can give that. that I can put in my childrens’ milk Maybe it’s a question of responsibil- bottles—maybe that’s the beginning ity, responsibility toward myself and CYK: It propels us toward possibil- of a solution. People will still have to those who are around me. Another ity. This is an essential element in to go and get the water, but at least way of putting it would be: How can your work. What are you working they’ll get clean drinking water. So I talk about these issues that we’re on now and what are your upcoming that’s how the project started and we faced with without taking away or projects? hope that by the middle of next year stripping myself and the people who we will be able to inaugurate a pilot are around me of all dignity? FL: Right now I’m not in the process treatment plant. So if in that process of resistance I of making any work that will tour. But we didn’t want to stop at just think about the dignity of the people The work that will keep us busy for the plant. We decided that using the that I’m talking about, then maybe it’s the coming years cannot tour; it’s metaphor of water, water as a source, another way of making dents that fall work that can only be experienced a source for life and more. This plant more on the side of life even though in Kisangani because the physical could be also a place where you could it’s fused with the energy, you know, shape that it will take will be that of come and watch a movie or see a of temptation, of death. But you a water treatment plant that is also a performance or concert, but also a choose because you—maybe because neighborhood art center. We started place where young people could come I—care. I think the moment you start it almost two years ago. In the south, and learn how to play an instrument or approaching things like that, without in Kisangani, you have the Congo record a mix or film. So to make that cynicism, maybe you can pull it onto River going right across the city. right in the middle of the community, the side of life when the initial impulse On the south bank, there are around it’s really about putting art in the is this dealing with death. 200,000 people living there. I grew middle of the community. up in a part of Kisangani where there CYK: Yes. is basically no running water, and yet CYK: It’s another sort of geo- there is so much water in Kisangani choreography of essential elements, FL: And maybe that’s where the because we’re in the tropics. It’s not activities, community, creativity and research on the form becomes very an arid land, it’s very humid. But growth. important, because I believe that the problem is the access to clean maybe one way of resisting this drinking water. So as an organiza- FL: That’s our main project for the energy of death is to propose what I tion, as an artist, as a citizen, I started coming years, but I’ll also be doing think is beautiful. And you put that in thinking about what we could do with something next year in Philadelphia the middle of a place like Kisangani, the people there to come up with the where I was invited by Painted Bride in a neighborhood where people are beginning of a solution. Maybe we Art Center. It’s a project we are call- not used to this art form. But put it can propose something that could ing Replacing Philadelphia. I’m one of there in plain sight so that the form inspire others. The most expensive three artists to come to Philadelphia

Faustin Linyekula Le Cargo (performance view), 201115 Courtesy Sharjah Art Foundation Photo: Alfredo Rubio Features 41 Summer/Fall 2015 42

to meet people, artists and activists, and to reflect on Philadelphia as it 1. Ariel Osterweis Scott, “Performing Acupuncture on a Necropolitical Body: is today, Philadelphia’s place in U.S. Choreographer Faustin Linyekula’s Studios history and what kind of project you Kabako in Kisangani, Democratic Republic of can come up with that could point to a Congo,” Dance Research Journal 42 (Winter 2010): 11™27. possibility of a journey for the future.

Portions of this interview have been edited CYK: Thank you, Faustin. I am so and translated from French. pleased and honored to have learned more about your work. It’s important work at the intersection of a few critical parts of life, art, community, poetry and the future. I hope to make it to Kisangani for the water project.

LF: Yes, please do! Thank you.

Faustin Linyekula Le Cargo (performance view), 201115 Courtesy Sharjah Art Foundation Photo: Deema Shahin Features 43 Ve n ic e:

Perspectives

Organized by Dana Liss, Communications Coordinator

The Studio Museum celebrated Okwui Enwezor’s historic appointment as Artistic Director of the Venice Biennale, as well as All the World’s Futures, the 56th International Art Exhibition that Enwezor curated, by attending the Biennale in early May. The exhibition—on view through November 22, 2015—features an unprecedented thirty-five-plus artists of African descent. Together with work in other national pavilions, many of the participating artists in this year’s Biennale share a connection to the Studio Museum as alumni of our Artist-in-Residence program or participants in Studio Museum exhibitions and programming. Given the Museum’s commitment to nurturing the next generation of contem- porary art curators of color, and thanks to support from the Ford Foundation, the Studio Museum curators traveled to Venice with a group of seven emerging curators. We are thrilled to present their perspectives on this landmark exhibi- tion here in Studio. Summer/Fall 2015 44 Glenn Ligon Central Pavilion by Naima Keith, Associate Curator

I can’t think of a better way to have opened the Central piece by composer Steve Reich, which, in turn, sampled Pavilion at Okwui Enwezor’s sprawling Venice Biennale part of the testimony of Daniel Hamm, a man wrongly exhibition All the World’s Futures than with Glenn Ligon’s accused of murder in the 1964 Harlem riots. (“I had to open A Small Band (2015). Complex, urgent and provocative, the bruise up and let some of the blues . . . blood come out the large-scale neon replaces the longstanding “la to show them,” said Hamm, stumbling over his words.) Biennale” sign that typically adorns the Central Pavilion, Reading Ligon’s neon now, in the wake of the Baltimore and acts as a call to action for visitors to consider some of riots, Eric Garner’s tragic death in New York and the acquit- our countries’ most pressing matters, such as the violence tal of Trayvon Martin’s shooter in Florida, it could not feel of warfare or the police shootings of black men in the more urgent. Gorgeous, sublime and harrowing, it’s one of United States. Ligon’s neon references Come Out, a 1966 the most memorable works from this year’s Biennale.

Facade of Central Pavilion, Above Portico: Inside Portico: Venice Biennale 2015 Glenn Ligon Oscar Murillo Courtesy Glenn Ligon A Small Band (installation view), 2015 signalling devices in now bastard territory Photo: Roberto Marossi Courtesy the artist; Thomas Dane Gallery, (installation view), 2015 London; Luhring Augustine, New York; Courtesy David Zwirner, New York Regen Projects, Los Angeles Features 45 Oscar Murillo Central Pavilion

by Adrienne Edwards, Curator at Performa

As I entered the Giardini on the afternoon of May 5, I imme- Okwui Enwezor’s placement of these two artists on diately encountered Oscar Murillo and Glenn Ligon’s duet the facade, as one can say of his choices throughout the on the facade of the Central Pavilion, a staged proposition exhibition, harkens back to a comment he made as artistic of autonomous yet interdependent works. Murillo’s twenty director of the 2nd Johannesburg Biennale in 1997: “we . . . or so un-stretched, fraying, patchwork, monochromatic have other priorities.” Murillo’s sails visibly signify such black paintings—some with flourishes of indigo—dance on priorities, and the fact that they are necessary and tough— their diagonal lines just beneath Ligon’s neon text piece, not in the sense of being difficult—but rather because those which read: “blues blood bruise.” It is an astonishing cura- commitments are strong enough to withstand adversity torial gesture. Two black men from different generations and careless interpretations. and parts of the African diaspora opened the show in a way

akin to Muhammad Ali’s trash-talking provocation: “Float 1. Stuart Hall, “Racism and Reaction,” in Five Views of Multiracial Britain like a butterfly, sting like a bee. The hands can’t hit what the (London: Commission for Racial Equality, 1978). eyes can’t see.” The installation’s undeniable beauty gives levity to an otherwise pointed proposition that brings to mind cultural theorist Stuart Hall’s reflection on the immigration crisis in 1970s Britain:

Blacks become the bearers, the signifiers . . . . This is not a crisis of race. But race punctuates and periodizes the crisis. Race is the lens through which people come to perceive that a crisis is developing.1

How uncanny, then, to have the overwhelming visibility (Murillo) and the affective annunciation (Ligon) of black- ness veil and envelope the pavilion—in a country whose shores are confronted daily with flows of Africans in flight, and during a time of prominent extra-judicial killings of black men in the United States. Murillo’s canvases, precari- ously tilted and dangling, are like masts holding out hope for wind; as we wade through them the zephyrs we stir proffer some sense of mutual complicity. Summer/Fall 2015 46 Ellen Gallagher Central Pavilion by Lauren Haynes, Associate Curator, Permanent Collection

For me, Ellen Gallagher’s presentation in the Central Emily Kame Kngwarreye, which makes for a lovely Pavilion of this year’s Venice Biennale was a definite high- overall viewing experience. This room contributes light. The four ink, graphite and paper on canvas works to the international feel and reach of All the World’s on view, including Dr. Blowfins (2014) and the diptych Futures as envisioned by curator Okwui Enwezor. Dew Breaker (2015) (which also includes pigment and oil Although Gallagher tackles different ideas and in its materials), meld her interest in and explorations themes in these works, many of the materials and of Drexciya, a mythical black Atlantis at the bottom of techniques are similar to those she used in her 2004–5 the Atlantic Ocean, with her use of materials related to work in the Studio Museum’s collection, Deluxe, writing and literature (i.e., ruled penmanship paper, and her other works that were on view in Speaking pages from magazines). These incredible detailed and of People: Ebony, Jet and Contemporary Art last fall at layered works are on view in a room with sculptures by the Museum. I can’t wait to see how Gallagher’s work Huma Bhabha and a painting by the late Australian artist continues to evolve.

Ellen Gallagher Dr. Blowins, 2014 Courtesy the artist and Hauser & Wirth © Ellen Gallagher Photo: Alex Delfanne Features 47 Camille Norment Nordic Pavilion

by Amanda Hunt, Assistant Curator

Rapture is a stunning, holistic project conceived by Camille has long performed with, and at others, the voices of a Norment, an American-born artist who has lived and worked chorus emulating the instrument, synthesizing the two. in Norway for the last decade, and was included in Freestyle Benjamin Franklin invented the armonica in the (2001) at the Studio Museum. A site-specific, multimedia eighteenth century. Played by Mozart and in Marie installation, Rapture encompasses sound and sculpture Antoinette’s court, it uses glass and water to create within the austere, clean lines of the Nordic Pavilion. Built an ethereal sound. Initially celebrated for its curative by Pritzker Architecture Prize winner Sverre Fehn in 1962, powers and calming effects, it was quickly condemned the pavilion is a striking, horizontal structure made in the for allegedly creating hysteria in women. Norment International Style. In the center three trees split the space performed a new composition on the armonica in the and reach out into the sky via subtle openings in the ceiling, pavilion several times throughout the opening of the collapsing inside and out. Biennale. It was a powerful contrast to the instrument’s Norment’s installation makes a strong visual and aural history—a woman was in control, a postcolonial black impact. From the exterior, large, framed panes of shat- female body, no less. tered glass mimic the scale and design of the structure’s Drawing together these ideas of harmony and dis- floor-to-ceiling windows. Upon entering the pavilion, a sonance, Norment’s work demonstrates how sound loose, nonlinear soundtrack becomes audible—a chorus of has been used and experienced historically as some- female voices, sounds of water, an occasional crunch of glass thing transcendent or, alternately, as technologies have underfoot. The sounds emanate from the rear of the pavilion, progressed, as a weapon. Norment’s installation weaves where eight long, elegant shotgun microphones hang from together the complexities of these very contemporary the ceiling in a perfect circle. At certain times, one can hear issues of control and policing of the body as they relate resonances of the glass armonica, an instrument Norment to the expression of sound and art.

Camille Norment Camille Norment Rapture (installation view), 2015 Rapture (performance view), 2015 Courtesy O¥ice for Contemporary Courtesy O¥ice for Contemporary Art Norway (OCA) Art Norway (OCA) Photo: OCA / Matteo Da Fina Photo: OCA / Marta Buso Summer/Fall 2015 48 Adrian Piper Arsenale by Lanka Tattersall, Assistant Curator, Museum of Contemporary Art, Los Angeles

In Adrian Piper’s The Probable Trust Registry: The Rules of the that all but the most virtuous of us are unlikely to be able to Game #1–3 (2013–15), three circular desks are each occu- keep. Tempted to explore the “rules of the game,” I did some pied by a young woman wielding an iPad and tending to a mental acrobatics to justify making any of these promises, laser printer. The desks, in a corner of the vast space of the convincing/reminding myself that the meanings of the words Arsenale, evoke the generic setting of institutional informa- “I” and “always” are open to interpretation. These words tion desks, such as those at a bank or a museum. Behind each point to questions about singular subjectivity and eternity desk a muted gray wall bears one of three declarations in as a unit of time, questions that have long occupied philoso- capitalized golden lettering: phers. Indeed, Piper trained and is active as a philosopher. I chose to try the station bearing the statement, “I WILL I WILL ALWAYS DO WHAT I SAY I AM GOING TO DO. ALWAYS MEAN WHAT I SAY.” I signed the claim via an I WILL ALWAYS MEAN WHAT I SAY. iPad’s touchscreen and the attendant handed me the signed I WILL ALWAYS BE TOO EXPENSIVE TO BUY. declaration, on a piece of paper with the heading, “Adrian Piper Research Archive Foundation Berlin.” Walking away Belying the work’s visual simplicity—a kind of corporate from the installation as a new signatory to The Probable Trust minimalism—Piper has constructed a complex ethical and Registry, I felt a sense of the precariousness of language, and emotional situation. In a moment when audiences have both responsibility for and ambivalence toward the commit- become accustomed to easily—even gleefully—perform- ment I had just made. ing in artists’ participatory works, for this work Piper asks Piper was awarded the prestigious Golden Lion award participants to make a serious public commitment, one for best artist in Okwui Enwezor’s All the World’s Futures, the main exhibition of the Biennale, in recognition of The Probable Trust Registry. For the ways in which it asks us to consider difficult questions, it easy to see why the jury Adrian Piper The Probable Trust Registry: selected Piper—who has been making provocative, profound The Rules of the Game #1¤3, (installation and and deeply influential work about identity since the late participatory group performance view), 201315 Courtesy Adrian Piper Research Archive Foundation 1960s—for the prize. © APRA Foundation Berlin Features 49 Ibrahim Mahama Arsenale

by Yesomi Umolu, Assistant Curator, Eli and Edythe Broad Art Museum at Michigan State University

Since 2012, emerging Ghanaian artist Ibrahim Mahama has and liveliness that marks Enwezor’s exhibition. Scaling the daringly occupied civic spaces in his home country with vast walls of the former industrial site that, too, has connec- large-scale draped works constructed from used jute sacks. tion to global trade routes, Out of Bounds (2015) oscillates In this context, Mahama’s interventions are stark interjec- between sheer monumentality and intricate surface detail. tions into the fabric of everyday life that elevate this ordinary The work is full of formal play expressed through the varied yet remarkably resilient material from an overlooked player techniques used to sew it together, and the array of textures in Ghana’s markets to an object of contemplation. For that animate its rough, hessian surface. Across its length Mahama, the jute sack carries with it both the literal and figu- we find clusters of tufted fabric, assortments of shiny rative residue of a life cycle that typically starts in the cocoa buttons, ropes and gaping holes, and even groupings of trade and ends in the charcoal industry—with many stops in sacks that bear the names of previous owners in heavy black between and after as it traverses Ghana’s micro-economies. script. Mahama’s work stands as a metaphor for the com- For his installation at the Venice Biennale, Mahama plex processes of the exchange of goods and accumulation intervenes in the 650-foot-long corridor adjacent to the of capital that mark our contemporary moment. In paying Arsenale, and has filled this otherwise overlooked space attention to the unsung hero that is the jute sack, with art for the first time in the Biennale’s history. Mahama the artist gives an astute nod to the many hands and lives— succeeds in creating a space apart from yet integrated with of laborers, traders and many more—that are indispensable the wider exhibiting space, and he echoes the rhythm of rigor to flow of capital.

Ibrahim Mahama Out of Bounds (installation view), 2015 Courtesy the artist Summer/Fall 2015 50 Gareth Nyandoro Zimbabwe Pavilion by Kimberli Gant, Mellon Curatorial Fellow, Arts of Global Africa, Newark Museum

Gareth Nyandoro’s series of subtly colored collages, prints and instal- lations embody the Zimbabwe Pavilion’s theme of Ubantu/Unhu: “I am because we are.” The artist’s work is a representation of the mar- ketplaces found in the capital city of Harare. By depicting the vendors and masses that make up those spaces, Nyandoro is making visible the dis- enfranchised communities that make up his hometown. In the 2014 instal- lation Mushikashika Wevanhu (market objects), the artist recreates a ven- dor’s stall by combining a print of a seated woman with an actual rug full of items for sale. The vendors use the rugs to grab their wares quickly if the police come to arrest them for selling illegally. In a mixed-media paint- ing Ihohoho namadzibaba Ishimairi (2015), Nyandoro presents a large group of silhouetted bodies—the masses of the street. The artist is not concerned with details, but rather what the whole group in the public spaces represents. Here is the street, the urban center where people pass each other every day, sometimes with visual acknowledgement, and other times just passively. But Nyandoro sees the importance in recognizing the population as a whole. This paint- ing, along with the rest of his series, is a way of saying, “I recognize you, and therefore I recognize myself as a part of the whole.”

Gareth Nyandoro Mushikashika Wevanhu (market objects), 2014 Courtesy National Gallery of Zimbabwe Features 51 Emeka Ogboh Arsenale by Rujeko Hockley, Assistant Curator of Contemporary Art, Brooklyn Museum

A week in Venice is one of wander- ing—sometimes pleasurable, some- times confounding—balanced with moments of fortuitous magic. I found this to be true both within the Biennale and further afield. Within, nowhere is this truer than in the Giardino delle Vergini, a peaceful area tucked away behind the Arsenale. There, I was drawn along a gravel path by the rousing sound of voices raised in song. The choir beckoned from within a darkened room in a tower at water’s edge. Through an arched doorway I entered an austere hexagonal space, the plain plywood walls dotted with speakers. At its center was a bench, equally plain, upon which sat a book titled The Song of the Germans. I sat on the bench and was enveloped by a stirring crescendo of voices, which rang and echoed throughout the small space. Opening the book, I learned that I was in the midst of an aural experi- ence created by Nigerian artist Emeka Ogboh in collaboration with Bona Deus, an Afro-Gospel choir based in Berlin, titled The Song of the Germans (Deutschlandlied) (2015). the two versions—the same but Ogboh’s poetic installation rings out. The song, vaguely familiar, is different—have a cumulative effect It is contemplative but also pointed, “Deutschlandlied,” Germany’s that is visceral and moving. At some magical but also unsettling. It is national anthem. However, the moments, the song feels celebratory timely, resonant, beautiful and utterly ten choir members, refugees from and hopeful, in the way of national unforgettable. ten African countries, perform the anthems; at others, it feels acrid and anthem in translation: each sings barbed, as if asking, “Whose anthem? in his or her own language. Ogboh Whose nation?” recorded them individually and in In an exhibition permeated by unison, and his arrangement incor- questions of nationhood, politics porates both approaches, melding and economy, in a Europe struggling Emeka Ogboh the individual into the collective visibly with African immigration and The Song of the Germans (Deutschlandlied), 2015 Courtesy la Biennale di Venezia and vice versa. Heard in succession, humanitarian crises on its shores, Photo: Alessandra Chemollo Summer/Fall 2015 52 Adam Pendleton Belgian Pavilion by Jamillah James, Assistant Curator, Hammer Museum

A somewhat unexpected sight—a flag emblazoned with “Black Lives Matter,” rendered in spray paint over a the words “Black Lives Matter,” a now-familiar ral- xeroxed image of an African mask. Pendleton and Meessen lying cry in the United States—greets visitors to the are kindred spirits in their interest in revisiting modernist Belgian Pavilion. Created by black American artist Adam radicality, and re-inscribing it with the presence of those Pendleton, the flag seems an apt starting place for the left out of its history. Pendleton has been working with his exhibition Personne et les autres, organized by Belgian conception of “Black Dada”—what Dada would look like artist Vincent Meessen. Personne et les autres is unusual through the eyes of black artists—for a number of years. in its conviction to reckon with the specter of Belgium’s In a similar spirit, Meessen incorporates in his work a song brutal colonial engagement in central Africa, which few written by Joseph M’Belolo, a Congolese participant in the artists have opted to do before. The Belgian Pavilion gives Situationist International and Lettrism, the international Meessen the opportunity to abdicate single authorship avant-garde literary movements. Meessen produced a mul- and present a number of international voices—includ- tichannel video installation, One.Two.Three (2015), using ing those of Maryam Jafri, Mathieu K. Abonnenc and M’Belolo’s lyrics, written in traditional language Kikongo in Pendleton, among others—that go right to the country’s defiance to the Belgian government; invited local musicians heart of darkness. to play a rumba accompaniment; and intercut the footage Pendleton’s contribution, in addition to the facade’s with an interview with M’Belolo and other cultural figures. flag, is an installation, set in an alcove wallpapered in his Considering this particular moment in history, when racial signature oversized black-and-white photo-collaged prints, tensions and civil rights struggles resemble those of the and including objects from his ongoing series “System of 1960s, it seems only appropriate for Belgium to use the Display” (2009–present). The dominant images include a Bienniale as a critical platform to highlight the liberation young Congolese couple dancing shortly after the end of movements that challenged their history of oppression, Belgian rule, a scene from a film by Ethiopian filmmaker rather than present a spectacle of blind nationalism and Haile Gerima and a towering wall-sized text that repeats self-congratulation. Features 53 Jason Moran and Alicia Hall Moran Giardini by Rashida Bumbray, Director of Artistic A‰airs at Duke Ellington School of the Arts

A recurring durational work, forty minutes long and per- and houses, but more often out of time—the uneasiness formed four times per week, WORK SONGS, composed becomes a marker for the emotional landscape of hard, by Jason Moran and Alicia Hall Moran, is grounded by durational, dawn-to-dusk labor these songs were created the former’s masterful track, which maps the percussive, to ease the burden of. The live voice in each performance repetitive, driving rhythms of laying steel tracks by hand, maps this landscape and resonates across the whole body swinging an axe or plowing the fields alongside a mule. of the track to become a thick connective tissue across Moving from the austere and singular ring of a hammer on time and space. As the song “John Henry” emerges from cold steel to a tumultuous layering of tempos (from 57 to the song cycle we are faced with the metaphor of his tale, 190 beats per minute) and field recordings of the voices and the emotional and social consequences of genera- of inmates at the Louisiana State Penitentiary at Angola, tions of black workers who have literally worked them- the track twists linear time to make each live solo vocalist selves to death and, in turn, have had to be intentional (including Hall Moran, myself and an amazing group per- masters of their own time. Moran and Hall Moran’s score forming through November) uneasy at the onset. As the instructs the performer and track to repeat “Life, Live, singer finds her internal clock, her center—sometimes in Time,” meaning “You ain't got but one life to live, you bet- time with the track’s layers of vocals from prisons, fields ter take your time.”1

Jason Moran and Alicia Hall Moran WORK SONGS (performance view), 2015 1. Seabell Kennedy, vocal performance of “You ain’t got but one life to live, Courtesy La Biennale di Venezia you better take your time,” recorded July 1941, Gee’s Bend, Alabama, Photo: Isabella Balena American Folklife Center, Library of Congress, compact disc.

Opposite: Adam Pendleton Works from "System of Display," 2009–present Installation view, Personne et les autres: Vincent Meessen and Guests, Belgian Pavilion, Venice Biennale © Adam Pendleton, courtesy Pace Gallery Photo: Courtesy the artist Summer/Fall 2015 54 The Barbershop, the Beauty Shop and the Bookstore

by Ciarán Finlayson

The Freedwomen’s Bureau has been busy this past year, Realness,” as this iteration of Blacknuss was titled, paid teaching the black radical tradition to the youth; peddling homage to Mulzac’s moment of black political culture old, new and weird books throughout Harlem; hosting tea by both calling attention to the loss of such crucial sites time and zine night at the Studio Museum; staging read- of cultural memory as black bookstores were, and by ings in secret gardens; and rehabilitating the vacant home creating a new, albeit temporary, social space in which of Malcolm X’s Organization of Afro-American Unity. The the memory could once again be sustained. Bureau is a one-woman project by author (and, she would That the project’s goal is to create these types of spaces add, mother and neighbor) Sharifa Rhodes-Pitts. This ficti- is perhaps the reason that Blacknuss has thus far attracted tious nineteenth-century black women’s uplift organizati more attention from the art world than from literary on was the vehicle for Rhodes-Pitts’s two most recent proj- organizations or publishing organs, despite the fact that ects: the transitory bookstore Blacknuss: books and other relics Rhodes-Pitts is known first and foremost as an author. and the recently closed educational space Take This X. As art, the bookstore’s mobility renders it a series of “site- Both projects are forward-looking evocations of the past, specific interventions,” and her hauling boxes of diasporic fitting for Rhodes-Pitts’s role as an activist historian. They artifacts across Harlem—with her son strapped to her back invoke a certain historical moment of black political engage- all the while—might be understood in a tongue-in-cheek ment in the 1970s that has been identified by cultural theo- manner as a kind of “durational performance.” But outside rist Frank Wilderson as one in which radical politics, leftist of art, Blacknuss reads as a contiguous part of the cultural scholarship, and socially engaged creative practices retained landscape of Harlem’s characteristic street vendors; it is the ability to pose questions of blackness and its radical an entrepreneurial project that will soon have a perma- traditions in a manner that has since become illegible.1 nent storefront. The varying frames of reference through The first phase of Blacknuss took the form of site-specific which it may be understood speak to its extreme adapt- street vending in which Rhodes-Pitts set up a table and ability and responsibility its publics. It is as at home at the sold her wares across from a tapas bar that was formerly Studio Museum (making zines with the young artists who the site of one of Harlem’s historical black bookstores, comprise Vulgar Culture, Pop’Africana, 3 Dot Zine and the Una Mulzac’s Liberation Books. Rhodes-Pitts's fugitive BDGRMMR collective) as it is on Malcolm X Boulevard bookstand functioned to intervene against the erasure of between 130th and 131st streets. cultural memory upon which gentrification depends for The bookstore portion of the project has gained much its success in re-mapping an area. “Serving Street Vendor of its energy from the enthusiasm and assistance of

Opposite Top: Opposite Bottom: Take This X Blacknuss: books and other relics Photo: Ciarán Finlayson pop-up shop at the Studio Museum Photo: Alani Bass Features 55 Summer/Fall 2015 56 contemporary artists. Nontsikelelo Mutiti designed buttons visitors. The white organdy wall-coverings became shrouds for the store that proclaim “Blacknuss Is Beautiful.” Zachary and Togolese floor mats became prayer rugs. People came Fabri has made a video to digitally document the store’s first to pray, read and speak to anyone present about Malcolm, publication, a zine called Diaspora Panic. Indeed, the project Harlem and the situation of black peoples the world over. has drawn as much influence from publication-based art This open-endedness characterizes the improvisatory nature projects, such as Steffani Jemison and Jamal Cyrus’s reading of the Bureau’s projects and this serious work of improvisa- room and discussion space at the New Museum, Alpha’s Bet Is tion is reflected in each work’s title, Blacknuss coming from a Not Over Yet (2011), as it has from the historical bookstores of Rahsaan Roland Kirk album from 1972 and Take This X from the artist’s childhood, such as Houston’s Amistad Bookplace. Archie Shepp’s 1969 recording, “Poem for Malcolm.” Despite the proclaimed deaths of print media and indepen- Rhodes-Pitts turns to these jazz greats in part because dent bookstores, there has been a resurgence of interest in they come from a historical moment in which racial and printed matter and DIY publishing in the realm of contem- cultural concerns could be spoken of forthrightly. Of porary art. This is reflected in Blacknuss’s selection of works Blacknuss, she says the name presents “a way to be very by artists such as Jayson Musson, The Otolith Group and clear about what you’re talking about.” These recent Martine Syms. Rhodes-Pitts observes: “There are bookstores projects of the Freedwomen’s Bureau return to a moment that are thriving, there are publishers that are thriving and coincident with the Black Arts Movement, when questions they’re doing so because they are speaking really directly to of blackness were posed and explored with a depth and people that love the same things that they love. That is the directness that seems elusive today. Within the frameworks strength on which I can continue to build with this project. of post-blackness and ardent academic “anti-essentialism,” It’s very specific.” Rhodes-Pitts argues, “black people are not allowed to speak Despite its “fugitive” itinerancy, Blacknuss will eventually really clearly about themselves.” find a brick-and-mortar home in Harlem. A pop-up version at The innumerable differences internal to the word “black,” the Studio Museum demonstrated that the act of gathering is as a designation of a people or a culture, are now frequently crucial to both community-building and creative production. used call the term’s usefulness into question. As one book on Elsewhere, Rhodes-Pitts has quoted Malcolm X, “Revolution sale at Blacknuss poetically puts it, “The techniques of black is based on land. Land is the basis of all independence. Land performance—in their manifest difference from one another is the basis of freedom, justice and equality.” The sentiment . . . are understood to constitute the ‘proof’ that blackness speaks to the main thrust of the project thus far, the need for is not or is lost or is loss.”2 Blacknuss is a response to this a place to gather, even if only under the auspices of selling situation. It picks up where the tradition of the activist black books. Creating this kind of open-ended gathering space was bookstores as public gathering spaces prematurely ended, the goal of the Bureau’s other project this year, Take This X, joins with the impulse of a generation of contemporary a space for structured cultural events that also functioned artists working in print media and brings both to bear on a throughout the day as a “conversation piece.” kind of community organizing dedicated to fostering what Launched exactly fifty years to the day after Malcolm X’s artist Martine Syms has called “this radical, black tradition of assassination, Take This X ran from February through April hyperliteracy.”3 These influences are essential to the under- 2015 and was located on 125th Street and Adam Clayton standing of the museum, “contemporary black academic dis- Powell Jr. Boulevard. Its atmosphere was structured by course” and, as cultural theorists Stefano Harney and Fred Nathaniel Donnett’s sound installation, Now that He’s Moten remind us, of those key public spaces, “the barber- Left the Building (2015), which used low frequencies to shop, the beauty shop and the bookstore.”4 Reinvigorating emphasize the cavernous quality of the plain room. It filled this crucial space of social life, Sharifa Rhodes-Pitts invites the space with the forceful, relentless, driving energy of us to revisit and to think anew the acts of buying, reading Malcolm X’s speeches mixed with (or submerged in) jazz and thinking black. moaning its lower registers, and thereby gave the space a kind of calm urgency. In the center, Kameelah Janan Rasheed installed a reading room that contained a small library of some fifteen books about Malcolm X, accompa- 1. Frank B. Wilderson III, Red, White & Black: Cinema and the Structure of nied by a selection of reproduced documents, all arranged U.S. Antagonisms (Durham, NC: Duke University Press, 2010), 3™5. 2. Stefano Harney and Fred Moten, The Undercommons: Fugitive Planning & around wooden blocks. At the center sat a vessel of Black Study (Wivenhoe, New York, and Port Watson: Minor Compositions, frankincense and myrrh from Somaliland. 2013), 48™9. Take This X was not overdetermined as a classroom or 3. Martine Syms, “Black Vernacular: Reading New Media,” Martine Syms, accessed April 27, 2015, http://martinesyms.com/black-vernacular- a venue for contemporary art, and what it became as time reading-new-media/. progressed was very much an adaptation to the needs of its 4. Fred Moten, “The Case of Blackness,” Criticism 50 (2008): 177™218. Studio Jr. 57 Studio Jr. Summer/Fall 2015 58

Partnership Museum Cultural Highlight Ambassadors by Erin Hylton, School Programs Coordinator

Thurgood Marshall Academy Lower School (TMALS) is plement school-based projects. Museum Cultural the site of a parent engagement program created in Ambassadors in the program serve as leaders in their collaboration with the Museum of Modern Art (MoMA) school communities with respect to arts education and The Studio Museum in Harlem. The program, and its relevance in their children’s education, and as Museum Cultural Ambassadors, is a way to connect advocates to encourage families to attend museum parents with the work being done in their children’s family programs. classrooms and their experiences in museums. With Starting as a group of “parent coordinators,” years of collaboration in the classrooms of TMALS and approximately twenty family members volunteered on ield trips to both institutions, the goal of Museum to take part in this yearlong initiative. Each family was Cultural Ambassadors is to encourage parents to visit given a journal with prompts to guide their looking cultural institutions on their own, outside of existing once inside cultural institutions. Through hands-on facilitated museum activities. workshops, meetings with museum education sta“ The Museum Cultural Ambassadors program pro- and guided tours, Museum Cultural Ambassadors are vides workshops at the Studio Museum and MoMA for provided opportunities to develop a comfort level parents and guardians who are interested in inding within a cultural institution, tools to come to a museum new approaches to education and the arts for their to self-guide with their children, and practice through children. The program models strategies for develop- prompts on how to use art in connection to their ing literacy skills, allows parents to make connections children’s in-school curricula. In the upcoming aca- with what their children are learning in the classroom, demic year, the Museum Cultural Ambassadors pro- and provides examples of how parents can lead fun, gram will welcome a new cohort of families and o“er engaging arts-based activities in museums that com- additional opportunities for the original group.

Opposite Top: Opposite Bottom: Parents engaged in looking at the Charles Gaines Children and staž engaged in a hands-on exhibition during the TMALS October Parent activity creating their own stories inspired by Workshop at the Studio Museum Jacob Lawrence’s “Migration Series” Photo: Carol Brown Photo: Jasmine Law Studio Jr. 59 Summer/Fall 2015 60

Art Work, Stanley Two Ways Whitney by Doris Zhao, Curatorial Fellow

Stanley Whitney was born in 1946 in Philadelphia, and With his signature approach to abstract painting, received his BFA from Kansas City Art Institute and his Stanley Whitney demonstrates a mastery of color and MFA from Yale University. He currently lives and works form in his works. Whitney’s large-scale oil paintings in New York and Parma, Italy. are immediately recognizable by the bold squares of color organized by a grid. Whitney developed his for- mula in the early 1990s, expanded on the use of the Modernist grid and asserted color as the true subject of his work. Citing in luences in classical architecture, textiles, Color Field painters such as Barnett Newman and Minimalist sculpture, Whitney employs a painting strategy that re lects his interest in the rhythm of paint- ing and the relationships between colors. Each of Whitney’s canvases are divided into four unevenly sized horizontal bands, with the smallest section on the bottom. He then ills in the bands with rectangles of di“erent colors that also vary in satura- tion. The colors are weighty and dimensional, almost as if they are building blocks and the painting is a building facade. Color is at the forefront of each of Whitney’s works and carries great emotion. In using this formula, Whitney arranges colors intuitively. Like in music, the colors have a call-and-response structure and rhythms that set the tone of each work. Whitney borrows further cues from music by titling his works after songs that have had great impacts on him. For example, My Name Is Peaches (2015), one of the artist’s newest and big- gest works, refers to Nina Simone’s song “Four Women” (1966)—the last woman being Peaches. Composed primarily of oranges, pinks, blues and greens, the paint- ing is activated by the relationship between colors and how they appear to respond to each other. The grid is not used to constrain the colors, but rather to encour- age the viewer’s eye to jump from block to block and take notice of the airiness that is present on a seem- ingly lat canvas. Whitney’s geometric structures are near-equivalent to musical compositions, balances of both structure and improvisation. Studio Jr. 61

Art Work, Stanley Two Ways Whitney

Stanley Whitney My Name is Peaches, 2015 Courtesy the artist and team (gallery, inc.), New York Summer/Fall 2015 62

Art Work, Stanley Two Ways Whitney

by Erin Hylton, School Programs Coordinator

Stanley Whitney’s My Name Is Peaches (2015) o“ers educators an opportunity to engage students in an art experience that connects music and visual art. Visual inquiry and a hands-on activity will invite students to consider the artist’s use of color and geometric abstraction in his paintings, and to explore how spontaneity, rhythm and color might play roles in the creative process.

Objective Preparation To investigate how patterns of sound may translate 1. Introduce vocabulary words and discuss students’ to a visual composition understanding of each term. 2. Display Stanley Whitney’s My Name Is Peaches Essential Question and lead a visual inquiry. Suggested irst question: How might you create a color composition that What grabs your attention irst in this image? responds to jazz music? 3. Place glue, colored masking tape and scissors at the center of the table. Leave space for students’ work to develop. Materials 4. Set construction paper in trays for students, • Cardboard squares (12” or 14” squares preferable) making sure they have a variety of colors from • Colored masking tape which to choose. • Construction paper, assorted colors 5. Provide each student with a cardboard square. • Glue • Scissors • Jazz music selections (suggested artists: Methods Ella Fitzgerald, Billie Holiday, John Coltrane, 1. Ask students to consider the essential question. Miles Davis, Duke Ellington, Louis Armstrong) 2. Begin to play jazz music for students to listen to throughout art-making process. 3. Have students cut construction paper into squares Vocabulary and rectangles of di“erent sizes. Give students time • Color is the visual attribute of an object as the to listen to the music and invite them to respond to result of light it emits, transmits or re lects. what they hear with the shapes and colors. Challenge • Jazz is a type of American music with lively rhythms students to arrange their shapes in grid form. and melodies that are often made up by musicians 4. Invite students to emphasize areas of their as they play. compositions with colored tape. Remind students to • Spontaneity is the act of engaging in unplanned re lect on structure and color within their artworks, or undetermined action or movement. and to consider how the placement of materials onto the cardboard impacts the reading of each artwork.

Closure 1. Display inished artworks around classroom. 2. Ask students to take a gallery walk and view their peers’ designs. 3. Invite students to explain the choices they made in creating their artworks. 4. Discuss how spontaneity and jazz in luenced the inished projects. Studio Jr. 63

In the Expanding the Walls 2015 Developer by Christian Ogando, Youth Programs and Expanding the Walls Intern

At irst glance, the Expanding the Walls program looks the young artists to museum events, ilm screenings and like a straightforward eight-month photography class in galleries to expose them to the myriad ways that artists which a select group of high school students enter know- execute their ideas. For example, after visiting the New ing little about photography and depart with skills for Museum’s exhibition 2015 Triennial: Surround Audience, capturing and creating images. That is true, but is just a which includes a large number of new media works, the small piece of the puzzle. In fact, Expanding the Walls students began to re lect on how they can present their uses photography as a means for the students to explore own pieces. the broad topics of history and community, and foster As the Youth Programs and Expanding the Walls their creativity, visual acuity and critical thinking. Intern, I have worked with the students since their pro- Through discussions and the viewing of artwork, the gram began in January 2015. I remember students pas- students express and explore the numerous ideas, views sionately articulating concepts for projects that they and themes that emerge from art. found interesting, from domestic violence to unnoticed The students work closely with the art of James beauty. In the following weeks, after attempting to cap- VanDerZee, a prominent photographer known for docu- ture images that re lect and express their themes, one menting the Harlem Renaissance and o“ering beautiful student voiced how diŒicult it had been to seek out depictions of community and history in Harlem. Upon moments that speci ically re lect the theme he wanted to viewing his work, the students quickly compare and con- express. Another student was disappointed to ind that trast the modern communities in which they live with her photos were not communicating what she wanted those in VanDerZee’s photographs. An interesting dia- them to. But after spending a session reviewing each logue grows out of this exercise. One student suggested other’s works, she found that her peers’ confusion about that community does not exist anymore, and said that her work was, in fact, helpful. She gained a sense of to her there seems to be a greater sense of individuality direction as they expressed their bewilderment and than community. By contrast, another student pointed encouraged her to clarify meaning in her images by not out that community is all around, in the form of “the bombarding the viewer. As an Expanding the Walls alum- vendors on the street, the people who barbecue in the nus, I can strongly state that the small discussions, jour- park, all your neighbors that know all your business.” nal entries and support and feedback from my fellow She challenged the prior argument and encouraged artists guided me through the anxious process of gener- a dynamic conversation. ating and executing the ideas I chose to explore. I’m Through engaging classroom conversations, study of looking forward to seeing the exhibition created by this the works of VanDerZee and other artists, art-making group of visionary students this summer. workshops and ield excursions, the students search for and execute their own ideas. Youth Programs and Read more about this year’s Expanding the Walls program Expanding the Walls Coordinator Gerald Leavell takes on our blog, studiomuseum.org/studio-blog

Next Page:

A. Angelica Calderon E. Xiaoxuan Wu I. Amanda Gomez Storm's Lullaby Finding Happiness Untitled A J Courtesy the artist Courtesy the artist Courtesy the artist D G B. Zainab Floyd F. Sterling Menardy J. Henry Figueroa Sister Think! Love Courtesy the artist Courtesy the artist Courtesy the artist B K C. Alana Hales G. Saragine Eduoard K. Akash Kumar Nola Untitled 2 Untitled Fallen Soldiers E H Courtesy the artist Courtesy the artist Courtesy the artist D. Tiera Watson H. Nola Nelson L. Demettrius Wright Untitled Untitled Harlem Untitled C F I L Courtesy the artist Courtesy the artist Courtesy the artist

Summer/Fall 2015 66

Mini Curator! Maya Evans × Kevin Beasley

Maya Evans, a“ectionately known as Mini Curator!, is back and better than ever! For this season’s issue of Studio, the inspired eight-year-old sits down with 2013™14 artist in residence Kevin Beasley and asks him about his process, career and (of course) choice in apples. — Naima J. Keith, Associate Curator

MAYA EVANS: How does it feel being an artist?

KEVIN BEASLEY: It feels pretty liber- ating because I’m able to do the things that I ind are important, to create things that I can share with other people. It’s like having another language in a way.

ME: Why do you like being an artist, besides making a mess?

KB: I associate what I like about being an artist with the things I ind to be challenging and rewarding at the same time. What I like the most is when I’m able to connect with other people through these challenges, and that ends up being pretty rewarding because you can actually engage with the things that are around you in a really fruitful way. Photo: Naima J. Keith

ME: How do you make your artwork?

KB: I make it with care and I always consider the context that the work will be in. Those are usually the ideas that I start o“ with when I am making an artwork. Studio Jr. 67

Mini Curator! Maya Evans × Kevin Beasley

ME: Do you often take a sculpture ME: Did you go to art school when ME: Do you clean up your mess when that you’ve worked on and incorpo- you were young? you do your work? rate that into another sculpture? Does it eventually become some- KB: I drew a lot and my parents actu- KB: Very rarely. thing else? ally supported me and gave me a lot of paper and markers and cray- ME: It’s very messy in here and you KB: That does happen a lot. I think a ons and things to make things with. need to clean it up so you can move, lot of the work that I’m doing will be It was actually when I was about ten so you don’t get stuck in one space. really residual, so these parts came that my mom decided that I should from another part of a sculpture. take art classes. My mom got me KB: For me when projects happen, I think there was a full sock here and private lessons and I did those for whenever I complete something, there I ended up cutting it down and the about a year and a half and that’s is a big sort of sweep and all the resi- other half is within another sculp- when I irst started oil painting. due from that gets collected. But I ture, and I think this will eventually think predominantly I work really well be in some sculpture—I have a lot of ME: What type of college did when I’m able to see a lot of things them. Things like this—parts and you go to? happening because I don’t necessarily pieces of things, or even on like a plan like this thing, work on this proj- much larger scale—I’m going to pull KB: I went to an arts school for my ect, then work on this project. They all this out. Like that was part of two— Bachelor's of Fine Arts. Then I went kind of fold over the top of each other. so they’ll probably get separated at to Yale for my Master's in Fine Arts. So having them all visible is really some point, they were one, but I important for me, but I also know that think now they’ll end up being mul- ME: When you were young, did you if there’s something that’s completed tiple pieces and they may not look make any sculptures? or done, then I need to have some kind the same. of order. You know, there comes a KB: I did. I had a lot of action igures point where the space around needs ME: Where were you born? and stu“ed animals, and I actually to be very clean and really iled. But in used to take the stu“ed animals, pil- the creative process, when I’m actually KB: I was born in Lynchburg, lows and clothes and wrap them all working and putting things together, I Virginia. up. I would ill a long-sleeve shirt need to be able to quickly grab things, with all of my other clothes and pil- so it all is just sort of like splayed out. ME: What inspires your artwork? lows and then put a bear as a head and boots on them, and I would tie ME: This is my second time doing an KEVIN: I am mostly inspired by an them up and make these people. interview, and this is a question I asked accumulation of all of these things. There’s actually a photo that my par- in my irst one. Do you like green or There are certain artists and works ents have of one of those in the hall- red apples? that I’ve seen that have compelled way, just laying out. I used to do that me to continue to make work. David lot. That’s probably the irst sculp- KB: I like Gala apples a lot and they’re Hammons has been someone—you tural thing that I used to make that I kind of yellowish red. They’re kind of know, you can’t make work without think I still do. like a mix, but if I had to choose having some sort of response or con- between a red or green apple, I would sidering his in luence as an artist. choose a red apple. They don’t call it But then other people such as Ralph delicious for nothing. Lemon have also been inspirational as a person to have a conversation with. Summer/Fall 2015 68

DIY Design a Float

by Elan Ferguson, Family Programs Coordinator and Teaching Artist

Lorraine O’Grady Art Is... (Window Grilles), 1983/2009 Courtesy Alexander Gray Associates, New York © 2015 Lorraine O’Grady/Artist Rights Society (ARS), New York

This project is inspired by Lorraine O’Grady’s 1983 perfor- mance Art Is.... In the performance, O’Grady and a group Supplies • Styrofoam tray of ifteen dancers took part in the African-American Day • Cardstock in various colors Parade in Harlem in September. They rode a majestic • Construction paper gold loat decorated with the words, “Art Is...” They all • Two stirrers or straws carried empty gold picture frames of various sizes, and • Found decorative objects (string, then jumped on and o“ the loat periodically to hold the buttons, streamers, etc.) frames in front onlookers—as a way of making portraits • Clay of the people and landscapes of Harlem. If you were in • Scissors a parade, how would you design your loat? • Colorful tape • Glue Studio Jr. 69

DIY Design a Float

Step 1 Make wheels for the loat by cutting out four 1” x 6” rectangles. Tape the shorts ends of each one together to make cylinders.

Step 2 Tape a cylinder to each corner of the styrofoam tray, and then lip it over.

Step 3 Make a sign for your loat with a piece of cardstock or construction paper. Tape stirrers or straws to the sides of the sign to hold it up.

Step 4 Glue a rectangular piece of cardstock on top of the the styrofoam tray, to make the loor of the loat.

Step 5 Decorate your loat as you like, using decorations and embellishments to make it one of a kind! Summer/Fall 2015 70

Middle School Mondays

by Shanta Lawson, Education Manager

During the 2014™15 school year, more than four between art and their own experiences. With the gal- hundred sixth, seventh and eighth grade students leries all to themselves, the students explored a range from across New York enjoyed interactive gallery of artworks throughout the year, including portraits in tours through Middle School Mondays, a new Studio Titus Kaphar: The Jerome Project and abstract paint- Museum initiative that provides gallery tours at no ings in Kianja Stobert: Of This Day in Time. Many cost for middle school students on Mondays, when were especially excited to discuss the photographs the Museum is closed to the public. featured in Harlem Postcards, and select a favorite to Middle School Mondays tours enlivened the galler- take home. ies as students engaged in dialogues with one In February, MS 118 students participated in a tour another and Museum educators about the visual with a guiding question from their teacher: “How information presented in the artworks on view. Open- does art in luence our daily lives?" Our education ended questions, such as, “What strikes you about team was excited to receive letters from the students this work?” and “What are your thoughts about the with their careful considerations of this vital question, artist’s choice of materials?” invited students to along with general thoughts about their Museum share their observations, opinions and connections experiences. Here are a few of our favorites.

Photo: Alani Bass Studio Jr. 71 Summer/Fall 2015 72 Studio Jr. 73

Summer/Fall 2015 76 Friends Friends 77

Spring Luncheon 2015

Joan Nicholson, Will Nicholson, Shanta Lawson, Monique Hedmann Photo: Julie Skarratt

Angelica Calderon Photo: Julie Skarratt

On Friday, April 24, 2015, The Studio Museum in Harlem hosted more than three hundred guests at the eighth annual Spring Luncheon at the Mandarin Oriental, New York. The afternoon was dedicated to “Celebrating Creativity, Community and Culture” and included remarks from current Expanding the Walls student Angelica Calderon, Arts and Minds participant Joan Nicholson and 2011™12 artist in residence Xaviera Simmons. Proceeds from the lun- cheon are critical to sustaining the Museum’s outstanding exhibitions and public programs, as well as the Museum’s arts education programming. The Studio Museum would like to acknowledge the following businesses and individuals for their generous support and e“orts in raising nearly $350,000. Summer/Fall 2015 78

Spring Luncheon 2015

Thelma Golden, Judia Black Rebecca Eisenberg and Thelma Golden Sandra Jackson-Dumont*

Deborah Roberts, Malaak Compton-Rock Joyce K. Haupt, Sarah Irby, Mignon Espy-Edwards, Thelma Golden, Carol Sutton Lewis Jenna Bond-Louden Joeonna Bellorado-Samuels, Aisha McShaw, Dawanna Williams Toyin Odutola Nicole A. Bernard, TaRhonda Jones

Benefactor Patron Laurie M. Tisch Illumination Fund Laura Day Baker Merele Williams Adkins Raymond Learsy Nicole A. Bernard / Fox Audience Strategy Susan Almrud Miyoung Lee Bloomberg Philanthropies Patricia Blanchet Ninah Lynne Kathryn C. Chenault and Carol Sutton Lewis Marianne Boesky The Margaret and Daniel Loeb - Third Point Gavin Brown’s enterprise Jacqueline L. Bradley Foundation Holly Peterson Foundation Michèle Lallemand Brazil Susan and Glenn Lowry Marie-Josée Kravis Tory Burch Shirley Madhère, M.D. LVMH Moët Hennessy Louis Vuitton Inc. Peggy Cooper Cafritz Deirdre Stanley Massiah Crystal McCrary and Raymond J. McGuire Amy Cappellazzo Diane L. Max Morgan Stanley Community A“airs Robyn Coles Ronay Menschel Dr. Amelia Ogunlesi Malaak Compton-Rock Laura Michalchyshyn Karen M. Proctor Jocelyn Cooley Iva Mills Barbara H. Scott Saundra Williams Cornwell MZ Wallace Ann Tenenbaum and Thomas H. Lee Beth Rudin DeWoody Brooke Garber Neidich Viacom/ BET Networks Rebecca Eisenberg Holly Phillips, M.D. Vicky L. Free Erica Reid Kathy Fuld Tracy Reese Tarin M. Fuller Deborah Roberts Denise Gardner Jeanne Greenberg Rohatyn Dr. Kenneth Graham II and Fiona and Eric Rudin Dr. Deborah Pilgrim-Graham Jean Sha iro“ All photos by Julie Skarratt except as noted: Agnes Gund Kimberly Ayers Shari“ *Photo by Scott Rudd halley k harrisburg Lisa Simonsen Friends 79

Spring Luncheon 2015

Louise Neri, Duro Olowu Nancy L. Lane, Gail Knox Amsale Aberra, Saundra Williams Cornwell

Thelma Golden, Agnes Gund Xaviera Simmons Laura Day Baker, Lindsay Taylor, Gabrielle Nakash* Crystal McCrary, Thelma Golden, Thelma Golden, Debra Lee Lisa Skeete Tatum, Judia Black Diane L. Max, Joan Hornig*

Melissa Schi“ Soros Lindsey Elwin Brittain and Cheryl Finley Sotheby’s William Henry Rougeau Collins Delores Franklin Lindsay Taylor Maria Perez Brown Gabrielle Glore Teri Trotter Melva Bucksbaum Jan F. Golann Monique Ware Carla Camacho / Lehmann Maupin Cristina Grajales Kate R. Whitney Constance R. Caplan Maxine GriŒith Dawanna Williams Charlita C. Cardwell Shannon J. Hales Janice Savin Williams Richelle Carey Shirley Robinson Hall Tren’ness Woods-Black Faith Childs Ti“any M. Hall Deborah C. Wright Pippa Cohen Marjorie Harris Patricia Miller Zollar Harriette Cole / Harriette Cole Media Joyce K. Haupt Stuart Comer Leslie M. Hewitt Donor Susan C. Courtemanche Barbara Ho“man Shelley Fox Aarons, M.D. Dawn L. Davis Joan B. Hornig Allison E. Allen Peggy Cooper Davis & Gordon J. Davis Arthur J. Humphrey Jr. Peg Alston Lisa E. Davis / Frankfurt Kurnit Klein & Selz Rosemarie Y. Ingleton, M.D. Anonymous Lisa Dennison Sandra Jackson-Dumont Jacqueline Avant Trinh Doan / U.S. Trust Sarah James Irby Tamara Belinfanti Dominique Lévy Gallery Jack Shainman Gallery Judia Black Elizabeth Easton Dana Roberson Johnson Laura Blanco Mignon Espy Edwards Karen Mauersberg Design, Inc. Jenna Bond-Louden Louise Eliasof Irene Kim Isolde Brielmaier and Stacie Henderson / Susan Fales-Hill George & Gail Knox West ield World Trade Center Sima Familant Koszyn and Company LLC Summer/Fall 2015 80

Spring Luncheon 2015

Ti“any M. Hall, Shirley Robinson Hall Thelma Golden, Iva Mills Teri Trotter, Judy Byrd

Jean Sha iro“, Thelma Golden, Debbie Bancroft, Erana Stennet, Joyce K. Haupt, Dawanna Williams Thelma Golden, Bethann Hardison Amsale Aberra, Amelia Ogunlesi Lucy Wallace Eustice, Monica Zwirner* Deirdre Stanley Massiah, Lana Woods, Merele Williams-Adkins, Tamara C. Belinfanti, Patricia Miller Zollar* Rosemarie Ingleton, Kimberly Ayers Shari“

Nancy L. Lane Xaviera Simmons Lara Cocken Deborah Larrison / U.S. Trust Margaret E. Stokes Felicia N. Crabtree Nyssa Fajardo Lee Latham Thomas Linda F. Daitz Courtney Lee-Mitchell Larry and Brenda Thompson Rhana Devenport Lesley Heller Workspace Connie Rogers Tilton Leah Dickerman Marianne Boesky Gallery Jorge Daniel Veneciano Erin Dooley Gail Marquis Jeanette Sarkisian Wagner Lucia Engstrom Courtney J. Martin Maria Weaver / Interactive One Samantha Erskine Carolyn Mason Karen R. Weiss / U.S. Trust Shawn Evans Rhonda Medina Constance White Melissa C. Fajardo Deborah Needleman Deborah Willis The Foundation, To-Life, Inc. Louise Neri Carmen Rita Wong Constance Elaine Golding Kevin and Jacqueline Nickelberry Zubatkin Owner Representation, LLC Jennifer Goldson PanAfrican Investment Co (Dana M. Reed) Alicia Goldstein Amber Patton Contributors Cristina Grajales Prentice Art Communications Gena Atwood Elizabeth Gwinn Jonelle Procope Quentin Bajac Kim Hastreiter Denise L. Quarles Sadie Barnette Leila T. Heller The Robert Mapplethorpe Foundation Kristen E. Becker Lesley Heller Robin Wilson Home Monica Bertran Stacie Henderson Craig and Modupe Robinson Todd Bishop Sarah Curtis Henry Frances Savage Dana Brown Charlotte Hitchcock Susan S. Sawyers Erika Irish Brown Hallie S. Hobson Ann and Mel Scha“er Caryn E. Campbell Laura Hoptman V. Joy Simmons, M.D. Mary Schmidt Campbell Debby Hymowitz Friends 81

Spring Luncheon 2015

Gail Marquis, Audrey Smaltz, Susan Fales Hill* Laurie M. Tisch, Kathy Fuld, Jeanne Greenberg Thelma Golden, Susan Fales Hill* Rohatyn, Dr. Mary Schmidt Campbell, Lara Cocken, Susan Almrud* Ann Tenenbaum* Sandra L. Richards, Thelma Golden

Thelma Golden, Sherry Bronfman Jacqueline Nickelberry, Jeanine Liburd* Barbara H. Scott

Thelma Golden, Monica Zwirner, Pippa Cohen*

Julia Joern Kedma Pognon H. Patricia R. Johnson Marquita Pool-Eckert Tashia Joyner Miriam L. Raccah Claudia Kozma Kaplan Leslie Rankow Dominique Kelly Tracy L. Reese Lucy J. Lang Nick Relph Brady V. Lea Joyce Pomeroy Schwartz Miyoung Lee Sharon Socol Katina A. Lee Sa iyah Spann-Brisbane Hara Lewis Tara Ford Spiegel Sonya Lockett Erana Stennett Andrea London Maisha Stephens-Teacher Marilyn Machlowitz Martino Stierli Marilyn & Michael Mennello Mona Sutphen Jocelyn McGeachy-Kuls Ann Temkin Depelsha McGruder Carla and Cleophus Thomas Rhonda Mims Karen Toulon Margaret S. Morton Judene Walden Erica Motley Liz Wamai Nisa Ojalvo Nicole A. Weiss Taylor Olson Alexandra Winokur Constance Orlando Lana Woods Jane Penn Karen A. Phillips Audrey P. Pickens Summer/Fall 2015 82

Members Summer/Fall 2015

The Museum’s Membership Elizabeth Szancer Kujawski Adrienne Booker Daniel S. Loeb & Margaret Munzer Loeb Dana E. Brown Program has played an important Robert L. Marcus William R. Brown role in the institution’s growth for Kerry James Marshall & Cheryl Lynn Bruce Wilma Bucci and Bernard Maskit Anthony Meier Edward Blake Byrne over forty years. Thank you to all Edward Tyler Nahem Tanya Caesar-Waller the following who helped maintain Eileen Harris Norton Elaine Carter Monique Rinere Deborah Cates our ambitious schedule of Sarah Ringle Kimberly Charles exhibitions and public programs Ugo Rondinone Chris Cheesman Lacary Sharpe Robert Clemons during the 2015 season. Craig F. Starr Nancy L. Clipper Jeanette Sarkisian Wagner & Paul A. Wagner Patricia G. Coates CORPORATE MEMBERS Lyn & E. Thomas Williams Velma L. Cobb American Express Beth Zubatkin Pippa Cohen Bloomberg Ronald and Linda Daitz New York University Associate Tyrone M. Davenport Pžizer, Inc. Daryl & Rodney Alexander Carlton Davis Peg Alston and Willis Burton Charles Davis SPECIAL MEMBERSHIPS Barbara E. Anderson Sasha Dees Studio Society Beverly J. Anderson Ellyn & Saul Dennison Drs. Answorth and Rae Allen Anne Newman and Joe M. Bacal Karole Dill Barkley & Eric J. Barkley Valerie J. Blanks, Esq. Peggy & John Bader Kathleen A. Dill Jonathan Caplan & Angus Cook Vence Bonham Ryan Drake-Lee Garžield A.D. Clunie M.D. Randolph C. Cain Thelma & David Driskell Lisa Downing Sally Dill Georgia E. Ellis Okwui E. Enwezor Russell J. Drake and Rebecca C. Drake Susan & Arthur Fleischer, Jr. Dr. Kenneth Graham II & Dr. Deborah Elaine G. Drummond Patricia Freeman Pilgrim-Graham Ruth Fine Adriane Gelpi Dr. Celeste B. Hart Eugena C. Foxworth Richard Gerrig Barbara T. Ho¤man Arti & Harold Freeman Alvia Golden Sarah and Derek Irby Charlynn & Warren Goins Herman Gray Larry & Tina Jones Ira Goldberg Hackeling Family Lucy J. Lang Anne Gorrissen Sarah Haga Andrea J. London Maxine Gri¨ith Ira & Carole Hall Elizabeth Marks Joshua Guild & Carla Shedd Ms. Charlene Hardy David Maupin / Lehmann Maupin Robert & Patricia Gwinn Sanjeanetta Harris Ronald and Ophelia Person Marilyn Holižield Steven Henry and Philip Shneidman Veronica Pollard & Joel Dreyfuss Charla Jones Jennifer Herard & Edem Black Brenda & Larry Thompson Eungie Joo Stefan Idowu-Bello Katherine Wilson-Milne Phyllis L. Kosso¤ Barbara Johnson Lorenzo McRae Wayne H. Kelton GENERAL MEMBERSHIP Kynaston McShine Erika Kirkland-Pizzo Benefactor Ernest Mensah Mary M. Kresky Douglas Baxter / The Pace Gallery Jason Moran & Alicia Hall Moran James D. Lax, M.D. Heather Rae Byer Derek G. Nichols / ICFNY Je¤rey A. Leib Agnes Gund Amy and Joeseph Perella Joyce Lowinson, M.D. Sondra A. Hodges Marquita & Knut Eckert Karen Lumpkin Melva Bucksbaum & Raymond Learsy CCH Pounder-Koné PJ Maglione Gwen & Peter Norton George Nelson Preston, Ph.D. Daisy W. Martin Donville and Rashaan Reid Allyson Martinez Donor John Silberman Teresa Mason Kathleen Adams Sheryl and Roger C. Tucker Sheila Ann Mason-Gonzalez Elizabeth Alexander Ellie & David B. Tweedy Laurence Mathews & Brian Saliman Dorria Ball Gwen & Arnold Webb Terry McMillan Valerie S. Brown Patrick Williams Karen McMullen Reginald Browne & Dr. Aliya Browne Douglas Zywiczynski Sal Miele and Max McCauslin Tanya Crossley Jeanne-Marie A. Miller Lonti Ebers Supporter Cerisa Mitchell Mia Enell & Nicolas Fries Tarrie Alexis & Julius Butler Diane Moershel Ken Gilbert Barbara Andalcio Monique Meloche Gallery Angela Jackson Gloria Batiste-Roberts Angeline Monroe-Mayo Barbara Jakobson Robert D. Bielecki Jacob Morris William Bowen King III Rosemary Blake Phoebe Morris Friends 83

Members Summer/Fall 2015

Maryanne Mott Cherry A. Banks Deborah Ross Madeline Murphy Rabb Jo-Anne L. Bates Hyacinth Ross Stacia Murphy Ard Berge & Alisa LaGamma Carol & Aaron B. Russell Jill Nelson Simone Booker Anna & Wolfgang E. G. Saxon Robert Newman Professor Lois Brown Joyce Pomeroy Schwartz Christopher Oates Dr. Sheila Brown Abukarriem Shabazz Laureen Ojalvo Maria Magdalena Campos-Pons Jerard Shannon Cynthia Orage Nia Chambers and Paula Steele Elza Rohan Sharpe Jonathan W. Parker Andrew & Rachel Chesley Langdon Soares Jelena Pasic Deirdre Cooper Owens Leanne Stella George D. Patterson Kevin R. Curry & Abdou Seye Stan Stuetley Martin Puryear & Jeanne Gordon Lynda & Raymond Curtis Julian Taub Regina Quattrochi Alice M. Dear Michael Taubman & Gabriella Rodriguez Kellie Jones and Guthrie Ramsey Kay Deaux & Sam Glucksberg Dr. Janet Taylor Jane Ratcli¤e Nichole Elizabeth Noreen Tomassi Cynthia M. Reed Cheryl Finley Eva Velasco Pena Adrian Relu Coman Darrell & Helen Forbes Fields Lorraine Warnsley Elmore Richmond III Vilma E. France Chloe Wayne Bill and Georgia Ringle James E. Frazier Harriet M. & Charles Weiss Judy Rogers Dolly and Jack Geary Dyana Williams Carol Rosario Jeanne Gerrity & Ben Petrosky Gilbert S. Williams, Jr. Mildred B. Roxborough Eleanor & Lyle Gittens Reva Rudman Kristen B. Glen Individual Linda Schmidt-Scheuber Carol and Arthur Goldberg Anonymous Irene Scott Susan Goodman Jeanette Adams Kenneth Sills Tyson and Martha Hall Sheneekra Adams David and Elise Simon Elizabeth & Rahsaan Harris Sister Khuumba Ama Patterson Sims and Katy Homans Ruth Eisenberg & Greg Hendren Jonathan Arak Laura Skoler Geo¤rey Hendricks & Sur Rodney Mary Ellen Arrington Sippio Small Marie Hines Cowan George Arterberry Judith W. Smith Lindsey Johnson Dr. Kenneth Ashley Seton Smith Lynda M. Johnson Michael D. Atkins Cynthia Stivers Carmen Jones Jacqueline A. Bailey Salim I. Talib Denise Jones & Dennis Jordan Larissa Baili¤ Magda Teter Robert M. Jordan Hilary M. Ballon Cambrey Thomas Susan Kreitzman Kondwanz Banda Carla and Cleophus Thomas Amy B. Kuhn & Stuart L. Rosow Rodney Barnette Susann Thomas Kimberly P. & Roderick E. Lane Astrid Bas Opal Tometi Nancy Latimer Andrea Battleground Edith Van Slyck & James R. Hammond Joshua Leach & John Thomspon Carolyn Bell Josef Vascovitz Felicia R. Lee Dr. Rich Blint Sametta Vick Rosalyn Lee & Beverly Tillery Sheena Bouchet Clara C. Villarosa Tonya Leigh Kim Bressant-Kibwe Carolyn & Ed Wagner Jerome M. Lewine Cynthia D. Brown Charles & Cheryl Ward Miya Masaoka & George E. Lewis David N. Burt Joy Wellington Dawn Lille Tammi Butler Kendal Whitlock Shola Lynch Cal-Poly Pomona Library Periodicals Darryl S. Williams Mr. and Mrs. Jason Markham Cathleen Campbell Bobbie Willis Tulis McCall Milton G. Campbell Jeanne Willis Suzanne McClelland Harriette A. Cole & George Chinsee Robert & Barbara Willner James & Vanessa McKnight Emma Conyer Hugh A. Wilson Jason McNary Valerie A. Cooper / Mark Worrell Jed Montgomery & Ben Ilany Picture That Art Consultants Paula Wynter Ozier Muhammad Felicia N. Crabtree Kathryn Yale Assaf Nuriel Emily Crayton-Kane Barbara & Stephen Pearlman Laura Cronin Family/Partner Gloria C. Phares & Richard Dannay Margaret Daly Vernona Adams Nancy Delman Portnoy Deborah Daughtry Jessica Alvarado Paul & Melinda Pressler Sylvia de Cuevas Mr. and Mrs. Byron and Timicka Anderson Cheryl R. Riley & Courtney Sloane Dennis Decker Richard Armstrong Joyce Robinson Bunny Dell Nevah Assang Francisco & Hope Rodriguez William Deluca Anaelsa Aviles Patricia A. Rojas Edward Dew Angela M. Banks Michael & Esther Rosenberg Louise S. Dockery Summer/Fall 2015 84

Members Summer/Fall 2015

Kimberly Drew Bruce Morrow Senior Sylvia Christian Edwards Ernesto Mujica Anonymous Peter Erickson Denise M. Murrell O'Neal Abel Paul Fearon Julia Myers-Bartley Beverly C. Abisogun Holly Fetter Babacar Ndiaye Kojo Ade Daria Foner Eileen Newman Sherli Allen Shade Freeland Chanda M. Nunez Emma Amos Suzanne Frye Dr. Nell Painter Martha Andujar Nichelle Gainer Sandra M. Payne Ann B. Armistead Linda Galietti Denise A. Penn Jimmy Arnold Ervin J. Garrison Alexis Percival Anna R. Austin Michael C. Gillespie Olivia E. and Paul Bruce Perkins Frederic H. Bacon David & Marilyn Glater Steven Pikes Nellie H. Bailey Caren Golden & Peter Horzberg Mary Porteržield Wanda Baker-Smith Ms. Maloni Goss Annette Purnell Lillian M. Bartok Jo-Ann Graham Maria Ramos-Faulkner Dolores H. Bedford Ieisha Gray Ann Ranniar Tessie Bingham Joan Greenžield Valerie A. Rhodes Barbara Boggs Marion T. Greenup Mariama Richards Elizabeth T. Bolden Constance Grey Mary E. Riley Barbara Boyd Angela E. Gumbs Floree Roberson Bertha Brandon Janice Guy Reginald Roberts Lavonnie Brinkley Shannon J. Hales Corane Robinson Ava Brown Donna Hargrove Richard Rodriguez Beverly F. Bryer-McLean Deborah L. Harley Odetta Rogers Jean Bunce Radiah Harper Nada Rowand Vinie Burrows William A. Harper Makkada Selah Maryanne Byington Ti¤any J. Harris Tigist Selam Janice L. Bynum Herbert Henry Farah Severin Diana Cagle Janet O. Henry Ellen Sha¤er Cheryl Chisholm Shaunda Holloway Daryl Shore Veronica Clyborn Scott Karen Hughes Stefanie Siegel Sadie & Roberto Codling Kristina Jacob Adelaide E. Simms Milton Collins Al-lyce Eloise James William Sloan Joyce Conoly-Simmons The Honorable Debra A. James Joel Snyder Aaron Cox Erica M. James Kim Speights Charlotte H. Crawford Dr. Patricia Jones Gregory Clara R. Stanton Brent Crayton Jane Kirkland Madlyn Stokely Robert Oba Cullins Lara Land Elena Tavecchia Ruth Curtis Perrin Lathrop Ethel Terrell Carl F. Davis Brad Learmonth Randy Thomas Diane D. Dean Marie LeDoux Delmar Thompson Veronica DeLuze Charles LeDray Lloyd E. Thompson Joan Deroko Mary Ann Lee Anthony Todman Susan C. Dessel Lisa Lefebvre John D. Treadwell Gwen Dixon Susan Lichy Elizabeth A. Turnock Betty Donerson Lynn Lieberman Alia Uduhiri J.A. Durades Carrie Lowery Clemence White Joan M. Eastmond Leslie A. Lowery Doris D. White Charlene Edwards David Lucas L. H. Whitehead Gertrude F. Erwin Kilolo Luckett Michelle Joan Wilkinson George D. Everette Hellura I. Lyle Hubert Williams Lucille Eversley Anuja Madar Nicole Williams Theodore C. Fair Andrea Mahon Barbara M. Wilson Charles A. Forma Larry Mantello Samuel Wilson, Jr. Marilyn Gailliard Stacy Martinez Yiyi Wong Pearl Gill Jennifer Matthews Anita J. Wright Gary & Bernice Giscombe Roslyn McClendon Bird Yaelle Kathleen E. Goodin Autumn D. McDonald Antoinette Young Carla Grant Julie L. McGee Robin Zimelman Elaine L. Greene Christine McKay Nadla Zonis Peter Alan Harper George McKinley Martin Sandra Harper Jennifer R. McZier Susan Harrigan Henry Mitchell Olivia C. Hector Friends 85

Members Summer/Fall 2015

Kathryn D. Holmes Jacqueline K. Randolph The Studio Museum in Harlem makes every John O. Hopkins III & Claudia Love Hopkins Rita I. Reid e¤ort to ensure the accuracy of its lists of James Herbert Howell Margaret A. Robbins Members. If your name is not listed as you Jon Hutton Virginia Robinson prefer or if you believe your name has been Esther Jackson Miriam Rosen omitted, please let us know by contacting the Faith R. Jacobs Lois Sažian Development O¨ice at 212.864.4500 x221 or Joan James Gloria J. Scott [email protected]. Olga C. Jenkins Gwendolyn A. Simmons Pat J. Johnson Cheryl Smith Cynthia G. Jones Joyce E. Smith Hettie Jones Edward L. Snyder Ronald June Madelyn Soussoudis Lois M. Kahan Thomas Southern Angela Keiser Edward Esty Stowell, Jr. Ernece B. Kelly Tamara D. Tabb Regina M. King Laura E. Tandy Beth M. Lawrence Beverly Taylor Susan Lawrence Abraham Thomas Sandra Lee Muriel F. Thomas Dubaka K. Leigh Phyllis Thorpe Nicole Levin Inez B. Vanable Gwendolyn and Sherwood Lewis David Walters James N. Lewis Winona Watson Janice Livingston Eva Welch Eleanor Lowe Carol White Delores E. Mack Carol Williams Susan T. Mackenzie Patricia D. Williams Susan E. Madigan Gerri & Harold Woods Frank B. Marshall III Ruth C. Wright Carmen & Herbert B. Matthew Martina Yamin Y.P. Benn McElderry Odette McNeil Student Sonia Mendez Katie Apsey Michael Metz Claire Brandon Erich Meyerho¤ Reginaldo Cerolini Herman Milligan Delano Dunn Daphna H. Mitchell Malcolm Ebanks James Morton Alecia Edwards-Sibley C. Moultrie Erika Ewing Michael Myers, M.D. Uraline S. Hager Isobel H. Neal Jasmin Hernandez Jeanne Nedd Suzanne Johnson James P. Newson Jeremy Lentz Oluyemi Omowale Barry Malin Benjamin W. O'Nealos Koren Martin Paul O'Neil Saretta Morgan James T. Parker Koži Norsah Michele Patterson Ricky Panayoty Jacqueline Patton Stephanie Pearson Muriel Z. Pivalo Frank Leon Roberts Giselle King Porter Jacqui Shine Helen Evan Ramsaran Akili Tommasino Andrea Ramsey Nolberto Zubia Summer/Fall 2015 86

Member Spotlight Angela Jackson

Level: Donor Member since 2014

Angela Jackson Photo: Verta Ayanna

What is your connection to Harlem? What has been your favorite experience or exhibition at the Museum so far? I moved to Harlem in 2002. I grew up in Chicago, reading and hearing about Harlem and its place in I really enjoyed The Bearden Project. Romare Bearden’s African-American history. Since I was a little girl, it was history and work are so tied with Harlem, speci ically his always my dream to make my home in Harlem and live work in helping to found the Studio Museum. It was a trib- in a brownstone. I am living my dream in the Mount ute and treat to see the work of contemporary artists who Morris Park neighborhood. Also, I run a program called were all inspired by Bearden keeping his legacy alive. Global Language Project that works with public elemen- tary schools in Harlem to expose students to world lan- Why do you think it is important to become a Member guage and culture. I like to say we are creating the next of the Studio Museum? generation of global citizens right here in Harlem! I am a patron of the arts. The Studio Museum has been a What do you enjoy most about the Harlem community? pillar in the community as the face of Harlem changes rapidly. In my work with Global Language Project we I enjoy the diversity and the people. I love that Harlem introduce Harlem students to world language and cul- is a close-knit community. I know my neighbors and can ture. I encourage every parent and student to visit the count them as friends. In a big city like New York, I ind Studio Museum, as it serves as a door into our commu- that this is particularly special and rare. nity and has become a gateway to the world.

When did you žirst visit The Studio Museum in Harlem?

I irst visited the Studio Museum in 2001 to attend a panel discussion on minorities in the entertainment industry. I came for the panel but was really swept away by the art and the artists who looked like me and reminded me of my own experiences. It is powerful to see yourself, your culture and your history on the Museum’s walls. Friends 87

Stanley Whitney Untitled, 2014 Courtesy the artist and team (gallery, inc.), New York Summer/Fall 2015 88

Supporters Spring 2015

The Board of Trustees and Director Joan S. Davidson Viacom Rebecca & Martin Eisenberg Wells Fargo Philanthropic Services of The Studio Museum in Harlem The Estée Lauder Companies, Inc. Xerox Foundation extend deep gratitude to the GE Asset Management Agnes Gund $5,000 to $9,999 donors who supported the Museum Mr. & Mrs. John B. Hess Anonymous between July 1, 2014, and April 30, Jerome Foundation Noreen K. Ahmad Marie-Josée & Henry Kravis The Atlantic Philanthropies Director / 2015. We look forward to sharing Bernard I. Lumpkin & Carmine D. Boccuzzi Employee Designated Gift Fund the complete 2014/2015 žiscal year Macy's and Bloomingdale's Ed Bradley Family Foundation / The Perelman Family Foundation, Inc. Patricia Blanchet donor roll in the winter issue of Corine V. Pettey Melva Bucksbaum & Raymond Learsy Studio magazine, including a com- Cli¤ord Ross Colgate-Palmolive David Zwirner Gallery plete list of our Spring Matching $10,000 to $24,999 T. Warren Jackson / DirecTV Gift Challenge supporters. Anonymous John H. Friedman Amy and Joe Perella Charitable Fund Kathy and Richard S. Fuld Jr. Douglas Baxter / The Pace Gallery Constance Green $500,000 and above Nicole A. Bernard / Fox Entertainment Group Sandra Grymes The Andrew W. Mellon Foundation Debra L. Lee / BET Networks Martin M. Hale, Jr. Ford Foundation Susan & Jonathan Bram Linda Johnson Rice & Mel Farr Raymond J. McGuire Pippa Cohen Joseph and Joan Cullman Foundation Amelia & Adebayo Ogunlesi The Cowles Charitable Trust for the Arts Elizabeth Davis & Luis Penalver Nyssa & Chris Lee $100,000 to $499,999 Dedalus Foundation, Inc. Arthur Lewis Jacqueline Bradley & Clarence Otis, Jr. / Doris Duke Charitable Foundation Dr. and Mrs. Michael L. Lomax Darden Restaurants, Inc. Eileen Harris Norton Foundation Mehretu and Rankin Family Mitzi & Warren Eisenberg David Flemister / EmblemHealth Cheryl & Philip Milstein The Horace W. Goldsmith Foundation Lisa E. Davis, Esq. / Frankfurt Kurnit Klein & Selz Dr. and Mrs. Kenneth Montague The New York City Department of Dr. Henry Louis Gates, Jr. Edward Tyler Nahem Cultural A¤airs Gavin Brown's Enterprise New York University New York State Council on the Arts, GCM Grosvenor Dele Oladapo a state agency Gladstone Gallery Pierre and Tana Matisse Foundation Target Donald E. Graham Fred Terrell and Jonelle Procope Ann Tenenbaum & Thomas H. Lee Agnes Gund Janelle Reiring Teri & Lloyd Trotter / GenNx360 halley k harrisburg & Michael Rosenfeld The Robert Mapplethorpe Foundation Capital Partners Joyce & Ira Haupt, II Craig & Modupe Robinson Reginald Van Lee HBO / Henry McGee Jeanne Greenberg Rohatyn & Holly Peterson Foundation Nicolas S. Rohatyn The James A. & Mary H. Bell Fiona & Eric Rudin $50,000 to $99,999 Charitable Foundation Robert Soros Frank & Laura Day Baker Pamela J. Joyner Jessica Sta¤ord Davis Kathryn C. & Kenneth Chenault / George & Gail Knox Ellen & Jerome L. Stern American Express Miyoung Lee & Neil Simpkins Margaret E. Stokes Peggy Cooper Davis & Gordon J. Davis Marjorie and Michael Levine Kathleen M. Tait The Institute of Museum and Library Services Lily Auchincloss Foundation The United States Life Insurance Company Joyce and George Wein Foundation Margaret and Daniel Loeb – Angela Vallot & Jim Basker Nancy L. Lane Third Point Foundation Dawanna Williams Glenn Ligon May and Samuel Rudin Family Foundation, Inc. Windels Marx Lane & Mittendorf, LLP / Rodney M. Miller, Sr. MetLife Foundation Charles Simpson Morgan Stanley Iva and Scott M. Mills Jason Wright Monica Zwirner and Lucy Wallace Eustice / Marcus Mitchell & Courtney Lee-Mitchell Assemblyman Keith L.T. Wright, 70th A.D. MZ Wallace Marilyn & Jim Simons / MJS Foundation Inc. Samuel I. Newhouse Foundation Inc. Sandra L. Richards / Morgan Stanley $1,000 to $4,999 Keisha Smith / News Corp Pepsi Cola North America Anonymous Jerry I. Speyer & Katherine G. Farley / Pžizer, Inc. Merele Williams Adkins Tishman Speyer Properties L.P. The Poses Family Foundation Gerald and Gwen Adolph Carol Sutton Lewis & William M. Lewis, Jr. Timothy and Karen Proctor Gail & Gilbert Ahye José Tavarez and Holly Phillips, M.D. / Tracey and Phillip Riese Alexander Gray Associates LLC Bank of America Merrill Lynch Barbara H. Scott Susan Almrud James H. Simmons III / Ares Management LLC Peg Alston / Peg Alston Fine Arts $25,000 to $49,999 Alphonso E. Tindall, Jr. / Ann & Steven Ames Mr. Martin H. Nesbitt & Dr. Anita K. Blanchard Squire Patton Boggs LLP Carl Apfel & Iris Barrel Apfel Bloomberg Philanthropies Verizon Communications Ariel Investments, LLC Friends 89

Supporters Spring 2015

Judia Black Gregory R. Miller & Michael Wiener $500 to $999 BMO Capital Markets Milton and Sally Avery Arts Foundation Anonymous Marianne Boesky Shelly & Neil Mitchell Shelley Fox Aarons Linda D. Bradley Movado Group, Inc. Allison Allen Michèle & Joseph Brazil Ruthard C. Murphy II Jacqueline Avant Isolde Brielmaier Deborah Needleman Tamara Belinfanti Deborah & Willard Brittain Louise Neri Marc Berman in honor of John P. Belle Salim & Mara Brock Akil Net Communications LLC Laura Blanco Valerie S. Brown / AllianceBernstein LP New York Council for the Humanities Constance R. Caplan Tory Burch Patty Newburger & Bradley J. Wechsler Charlita Cardwell Peggy Cooper Cafritz Michelle Papillion Richelle Carey Carla Camacho / Lehmann Maupin Laura Paulson / Christie's Harriette Cole / Harriette Cole Media Amy Cappellazzo Kim Powell Stuart Comer Lisa & Dick Cashin R & B Feder Charitable Foundation Susan C. Courtemanche Faith Hampton Childs for the Beaux Arts Helen & William Covington Columbia University Dana Reed Trinh Doan / United States Trust Malaak Compton-Rock Tracy Reese Drs. Keith Downing and Gabrielle Page-Wilson Jocelyn Cooley Erica & Antonio Reid Louise Eliasof Paula Cooper and Jack Macrae Doreen Remen Mignon Espy-Edwards Valerie A. Cooper / Picture That Robin Wilson Home Susan Fales-Hill Art Consultants David Rockefeller Sima Familant Saundra W. & Donald Cornwell Rockwell Group Ralph & Melba Farquhar Elizabeth & Scott Corwin Daryl & Steven Roth Cheryl Finley Robyn Cummings Coles Beth Rudin DeWoody Dr. Delores Franklin Elizabeth W. Easton Ann & Mel Scha¤er Gabrielle Glore Debbie & Ron Eisenberg Melissa Schi¤ Jan and Steven Golann Fieldstead & Company Inc Steven Schindler Cristina Grajales Charlotte Feng Ford Randi & Eric Sellinger Maxine Gri¨ith Vicky L. Free Jean Shažiro¤ Shirley Robinson Hall & Elliott Hall Tarin M. Fuller Jack Shainman Gallery Ti¤any M. Hall Galerie Lelong Kimberly Ayers Shari¤ Marjorie Harris Robert Gober & Donald Mo¤et Cindy Sherman Kim Hastreiter Charlynn & Warren Goins Sikkema Jenkins & Co. Lesley J. Heller Dr. Kenneth Graham II & Dr. Deborah John Silberman Barbara T. Ho¤man Pilgrim-Graham Andrew and Nancy B. Simmons Joan B. & George Hornig Diana and William Gray Marsha E. Simms Ingleton Dermatology Herman Gray Lisa Simonsen Sarah and Derek Irby Paul & Dedrea Gray Bruce & Bernadette Smith Sandra Jackson-Dumont James F. Haddon Shaun Stanley & Deirdre Stanley Massiah Dana Roberson Johnson Kathy Halbreich The Studio in a School Association Peter and Maria Kellner George Haywood Lindsay & Matthew Taylor Irene Kim Steven Henry and Philip Shneidman David Teiger Deborah Larrison / United States Trust Leslie M. Hewitt Franklin A. Thomas and Kate R. Whitney Robert L. Marcus Arthur J. Humphrey, Jr. Latham Thomas Constance & Martin Margulies Stephanie & Tim Ingrassia Norma & John T. Thompson Courtney J. Martin James Cohan Gallery Times Square Alliance Carolyn Mason Johnson & Johnson Laurie M. Tisch Karen I. Mauersberg Kevin D. Johnson & Karen Jenkins-Johnson Rima Vargas-Vetter Rhonda Adams Medina Vernon E. Jordan, Jr. Jeanette Sarkisian Wagner & Paul A. Wagner Jacqueline & Kevin Nickelberry Jayme Koszyn / Koszyn & Company LLC Monique Ware Amber and Charles Patton Evelyn Lasry Nancy and Milton Washington Maria Perez-Brown Dorothy Lichtenstein Maria Weaver/ Interactive One, LLC Bill Powers & Cynthia Rowley Susan & Glenn Lowry George Wein Bettina Prentice Michael Lynne Brooke Williams Denise L. Quarles Shirley Madhère, M.D. Janice Savin Williams Beverly and Raymond Ransom, M.D. Marian Goodman Gallery Darryl S. Williams Frances Savage Marianne Boesky Gallery Mark Willis Susan S. Sawyers Gail Marquis Carmen Rita Wong Schwartz Schulte Roth & Zabel David Maupin / Lehmann Maupin Deborah C. Wright Jamel Shabazz Diane & Adam Max Sheena Wright / United Way of New York City Jean Shažiro¤ Richard & Ronay Menschel Zubatkin Owner Representation, LLC V. Joy Simmons, M.D. Metropolitan Museum of Art Xaviera Simmons Laura Michalchyshyn Sotheby's Patricia Miller Zollar Colleen Ritzau Leth, Vice President of TRIP Summer/Fall 2015 90

Supporters Spring 2015

Brenda & Larry Thompson Robert & Patricia Gwinn Tala Russell Connie Rogers Tilton Shannon J. Hales Ingrid L. Scha¤ner Jorge D. Veneciano Stacie Henderson Daryl Shore Lorraine & Adam Weinberg Linda A. Hill David Simon Karen R. Weiss / United States Trust Charlotte Hitchcock Simons Foundation Wien Family Fund Hallie S. Hobson Gena Smith Deborah Willis Laura Hoptman & Verne Dawson Jon D. Smith Tren'ness Woods-Black Debby Hymowitz Seton Smith Begum Yasar Nicole Ižill Joel Snyder Patricia & Freddie James Howard & Sharon Socol $499 and below Joan James Sažiyah Spann-Brisbane Cynthia D. Adams Jeanne Frank Art Tara Spiegel Barbara E. Anderson Julia Joern Nancy and Carl Stein Claudia Anderson Patricia R. Johnson Erana Stennett Jimmy Arnold Jennie C. Jones Maisha Stephens-Teacher Quentin R. Bajac Susan C. Joseph Martino Stierli Veronica Banks Tashia Joyner Edward Esty Stowell, Jr. Sadie Barnette JPMorgan Chase Foundation Mona Sutphen Kristen Becker JustGive.org Drew Tagliabue Betsy Berne Margaret Kane in honor of Ann Jackson Anthony Tait Monica Bertran Angela Keiser Charles Tarver, Sr./Black Art Shaun D. Biggers, M.D. & Dominique Kelly Beverly Taylor Kenneth Alleyne, M.D. Kiss the Sky Productions, Inc. Cassandra Taylor Todd Bishop Claudia Kozma-Kaplan Ann Temkin Jenna Bond-Louden Lucy J. Lang The Prudential Foundation Matching Gifts Luca & Mahen Bonetti Brady V. Lea Carla and Cleophus Thomas Dana E. Brown Katina A. Lee Randy Thomas Erika Irish Brown Hara Lewis Milton A. Tingling Caryn Campbell Marjorie A. Lewis Karen A. Toulon Drs. George Campbell and Julia T. Lo Truist Mary Schmidt Campbell Sonya D. Lockett Jacqueline Tuggle Cynthia A. Carter Andrea J. London Sheila Vaughan C. Edward Chaplin & Karen L. Chaplin J. Macarena-Avila Judene Walden Sophia Chricton Stuart Marilyn M. Machlowitz Elizabeth Wamai Evelyn Clarke Tamara McCaw Yelberton Watkins Lara Cocken Sheila McDaniel Nicole A. Weiss William H. R. Collins Joycelyn McGeachy-Kuls & Norbert Kuls L. H. Whitehead Jeanne Colucci in honor of John P. Belle Depelsha & David N. McGruder Derrick D. Wilder Felicia N. Crabtree Sandra G. Meehan Barry Williams Sarah Curtis Henry Michael Mennello Eleanor D. & James D. Williams, Sr. Linda F. Daitz Rhonda Mims Simpson Alexandra Winokur Tyrone M. Davenport Cerisa Mitchell Lana Woods Carl A. De Brito Phoebe Morris Wyndham Worldwide Operations, Inc. Rhana Devenport Margaret Morton in honor of Lisa Quiroz Leah A. Dickerman Erica Motley Mildred J. Yearby Erin Dooley Anne Newman & Joe M. Bacal Jeanine B. Downie, M.D. Nancy Novogrod Valentino and Ingrid Ellis Nisa Ojalvo Lucia Engstrom Taylor Olson Samantha Erskine Monica Parham Shawn Evans Jane Penn George D. Everette A.P. Pickens Melissa C. Fajardo Muriel Z. Pivalo Leslie A. Fleuranges Kedma Pognon Marilyn L. Francis Marquita & Knut Eckert Carol and Arthur Goldberg Jennifer Prince & Deborah Thornhill Constance E. Golding & C. Ellen Golding Miriam L. Raccah Jennifer Goldson Leslie Rankow Alicia Goldstein Nick Relph Marguerite D. Greene Bill and Georgia Ringle Geraldine Gregg Dana Roberson Tonya Gregg Guy Roberts Constance Grey Jeanette & Granville P. Rogers Elizabeth J. Gwinn Scott Rothkopf in honor of Thelma Golden Friends 91

Supporters Spring 2015

Gifts in Memoriam Gifts in Memory of Dorothy H. Divins The Studio Museum in Harlem makes every Eileen Connelly e¤ort to ensure the accuracy of its lists of Below are the names of those who James Crown / Henry Crown and Company supporters. If your name is not listed as you gave gifts to The Studio Museum in Margaret Garber prefer or if you believe that your name has been GCM Grosvenor / Michael J. Sacks omitted, please let us know by contacting the Harlem in memory of their loved Eleanor Hinds Development O¨ice at 212.864.4500x221 or ones between July 1, 2014, and Ian Hinds [email protected]. Candice Johnson April 30, 2015. We are very grateful Hazel Mair to the friends and family members Cheryl & Eric McKissack James Mohler who directed this support to the Jenne Myers Museum in memory of their loved Isobel H. Neal Brenda Palm ones. John W. Rogers, Jr. Mr. and Mrs. Demetrios Siatos Gifts in Memory of Evelyn Dill James Smith Lorna Anderson Leslie Thomas Marc Badrichani Janice Wagner Margaret & James Barkley Mr. and Mrs. Timothy Warland Gloria Boyce & Brian S. Wright Mrs. Michelle Wimberly Mary Beth Buck Mark Zaander Melissa B. Caldwell Andrea E. Calise Gifts in Memory of Lea K. Green Elizabeth G. Calise Bonnie Brennan Lori A. Cantale Christie’s Lynn K. Carlson Constance Green Christine J. Chao & James O. Shaver Ross Elgie Joan M. Eastmond Cathy Elkies Marquita & Knut Eckert Karen Gray Eddie Erlich Gwendolyn and Sherwood Lewis Lauren E. Galliker & Michael Spivey Jennifer Pitman Dina Sheridan Grant Jonathan Rendell Katie and Seth Hendon William B. Russell, Jr. JPMorgan Chase Allison Whiting Mr. and Mrs. Debbie Meyer and Eric Rosenthal Assemblyman Keith L. T. Wright, 70th A.D. Moni & Erik-Jaap Molenaar Je¤ and Paola Roelofs In Kind Tina Schippers HarlemFlo The Shah Family Champagne PAUL GOERG Susanne A. Smith Microsoft Corporation Deirdre Stanley Massiah Pillsbury Winthrop Shaw Pittman LLP Bess R. Terry Red Maple Leaf Mrs. Ti¤ani Thompson Je¤rey & Kimberly Veber Judith Welcom Charles and Stephanie Wright Summer/Fall 2015 92

The Studio Museum in Venice

The opening of All the World’s Futures, the centerpiece exhi- Studio Museum travelers at the Hotel Monaco and Grand Canal on the ²irst day of our trip. From top left: George Knox, Noreen Ahmad, bition of the 2015 Venice Biennale, o“ered a spectacular Naima Keith, Anita Blanchard, Marty Nesbitt, Amanda Hunt, Lauren opportunity to celebrate both curator Okwui Enwezor’s his- Haynes, Ruthard C. Murphy II, Patricia Blanchet, Nancy Lane, Dawanna Williams, Gail Knox, Thelma Golden, Sarah Aranha, Baby Eli toric appointment as the irst African Artistic Director of the and Kenneth Montague Biennale and the unprecedented thirty- ive-plus artists of African descent featured in the exhibition. The Studio Museum was privileged to attend the Biennale in early May 2015 with a group of our fabulous Museum Trustees, and members of our Acquisition Committee and Global Council. During our three-day trip we met with numerous artists whose work is central to the Studio Museum’s mission, including Sonia Boyce, Melvin Edwards, Ellen Gallagher, Theaster Gates, Isaac Julien, Samson Kambalu, Glenn Ligon, Kerry James Marshall, Steve McQueen, Jason Moran, Oscar Murillo, Wangechi Mutu, Chris O ili and Gary Simmons. Each of these brilliant artists generously agreed to speak with us and provided amazing insights into their Friends 93

The Studio Museum in Venice

participation in the Biennale. Top Left: The Studio Museum group with Chris O²ili and his work in the Arsenale, one of the primary Biennale sites As we viewed the work of so many Studio Museum alumni and friends, we were struck by how much the Bottom Left: Lunch at the Hotel Londra Palace on day two of our trip (left to right: Trustee Nancy L. Lane, Acquisition Committee Member Museum, our mission and our family of artists have Dawanna Williams and Trustee George L. Knox) become part of the international conversation about art. Right: The tiniest Studio Museum traveler, Eli Montague, naps after a The 2015 Venice Biennale truly marked a powerful long morning at the Arsenale moment in history, and we are all so thankful to have

witnessed it. To learn more about Global Council, Donor trips, such as our excursion to Venice, play an please call Erin Dooley at 212.864.4500 x265. important role in building the Studio Museum’s reputation in an increasingly global contemporary art world. Travel opportunities are open to those at the Global Council level and above. Council members, who gather a few times each year for events with Studio Museum leadership, demonstrate their commitment to the Museum by making gifts of unrestricted support at the level of $5,000 or above annually. Summer/Fall 2015 94

Membership Join today! Info Becoming a Member has never been easier.

Photo: Scott Rudd

Individual $50 ($25 for Student/Senior) Associate $250 (Fully tax-deductible) ($220 tax-deductible) — Free admission to the Studio Museum for one — All the preceding bene its plus: — Personalized membership card — One complimentary Studio Museum — One-year subscription to Studio exhibition catalogue — E-vite to exhibition opening receptions — 20% discount on exhibition catalogues Donor $500 published by the Studio Museum ($450 tax-deductible) — 15% discount on all Museum Store purchases — All the preceding bene its, plus: — Invitations to Member Shopping Days with — Invitations to behind-the-scenes tours and additional discount o“ers throughout the year talks with art connoisseurs and curators — Free admission or discounted tickets — Two complimentary guest passes for to all Studio Museum educational and family and friends public programs — Special discounts at select local Harlem businesses — Annual recognition in Studio

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Supporter $125 (Fully tax-deductible) — All the preceding bene its, plus: — Member privileges of the North American Reciprocal Museum Program, allowing free or member admission and discounts at over 760 museums across the United States — Free admission for one guest Friends 95

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Address General Info Museum Hours 144 W. 125th St. New York, NY 10027 T 212.864.4500 Thursday and Friday, noon–9 pm; (between Malcolm X and Adam C. F 212.864.4800 Saturday, 10 am–6 pm; Powell Jr. boulevards) Sunday, noon–6 pm. Media Contact Admission 212.864.4500 x213 The Museum is closed to the public Suggested donation: $7 (adults), [email protected] on Monday, Tuesday and Wednesday $3 (seniors and students). but available for school and group Public Programs Info Free for Members and children tours by appointment on these days. 212.864.4500 x264 (12 and under). For more information on scheduling [email protected] a tour, visit studiomuseum.org Follow us on social media! Membership Info studiomuseum 212.864.4500 x221 [email protected]

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