Moniquemeloche Off the Wall for FREEDOMS
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
America God Damn1 — Par Dread Scott
30Essai Dread Scott 31Essai Dread Scott America God Damn1 — par Dread Scott Dread Scott sera en résidence à Paris ce printemps, dans le cadre d’une collaboration entre L’Institut des mondes africains – CNRS, L’École européenne Artiste activiste, Dread Scott pratique un « art révolutionnaire s’allonge dans une effroyable analogie. Pourtant, quelque chose pour faire avancer l’histoire ». Né en 1965 à Chicago, il vit semble nouveau : ce « refus de vivre ainsi plus longtemps » et travaille à New York. De son vrai nom Scott Tyler, il choisit dont parle Dread Scott qui, cette fois, a embrasé le pays et au-delà. le pseudonyme de Dread Scott pour des raisons politiques : Ce qui a changé, c’est le choc des images d’une mort en direct. la première et la plus évidente est la référence à Dred Scott, Désormais, les gens filment les exactions, plus personne célèbre esclave noir ayant plaidé en justice pour sa liberté ne se taira. autour de 1850 et qui est devenu une figure de la lutte On est frappé par la portée universelle du texte de Dread abolitionniste. Mais en anglais, « Dread » signifie aussi la crainte, Scott. Le meurtre de George Floyd a précipité une mondialisation la terreur, l’effroi, sentiments qu’il lui plaît d’inspirer. de la cause pour la justice raciale, y compris en France, C’est enfin un clin d’œil au mouvement Rastafari, dont l’image où le combat contre les violences policières, longtemps niées est celle d’un peuple opprimé luttant pour la justice. par les autorités, est incarné par Assa Traoré, qui réclame Diplômé de la School of The Art Institute of Chicago sans relâche depuis six ans, la vérité sur le décès de son frère en 1989, il s’installe à New York, où il suit le programme d’étude Adama et, à travers son action, sur ceux de toutes les victimes. -
Download Rashid Johnson Résumé
177 NW 23rd Street, Miami, Florida 33127 (786) 332-4736 Rashid Johnson Born in Chicago IL, 1977 EDUCATION Bachelor of Arts, Columbia College, Chicago IL, 2000 School of the Art Institute, Chicago, Chicago IL, 2004 – 2005 Lives and works in New York NY SELECTED SOLO EXHIBITIONS 1999 Seen In The Dark, G.R. N’Namdi Chicago, Illinois 2000 Seen In The Dark G.R. N’Namdi, Detroit, Michigan 2000 National Black Fine Art Show, G.R. N’Namdi, New York, New York 2001 Manumission Paper, G.R. N’Namdi Chicago, Illinois 2001 Manumission Paper, G.R. N’Namdi, Detroit, Michigan 2013 Ballroom Marfa, ‘New Growth’, Texas TX High Museum of Art, Atlanta ‘Rashid Johnson: Message to Our Folks’, Atlanta GA Kemper Art Museum, ‘Rashid Johnson: Message to Our Folks’, St. Louis MO 2012 David Kordansky Gallery, ‘Coup d’état’, Los Angeles LA Miami Art Museum, ‘Rashid Johnson: Message to Our Folks’, Miami FL South London Gallery, ‘Shelter’, London, England Hauser & Wirth, ‘Rumble’, New York NY Museum of Contemporary Art Chicago, ‘Rashid Johnson: Message to Our Folks’, Chicago IL 2010 Massimo De Carlo, ‘25 Days after October’, Milan, Italy Carlson/Massimo De Carlo, ‘Between Nothingness and Eternity’, London, England Galerie Guido W. Baudach, ‘There are Stranger Villages’, Berlin, Germany Salon 94, ‘Our Kind of People’, New York NY 2009 David Kordansky Gallery, ‘Other Aspects’, Los Angeles CA Sculpture Center, ‘Smoke and Mirrors’, Long Island City NY Power House Memphis, ‘The Dead Lecturer: Laboratory, Dojo, and Performance Space’, Memphis TN 2008 Richard Gray Gallery, ‘Cosmic -
Chicago 2017 JUSTICE
Chicago 2017 JUSTICE Open Engagement Table of Contents A note about this program: 4 Director’s Welcome This document, just like the conference itself, is a 6 OE 2017 Team labor of love split between a tiny part-time staff and a 7 Curatorial Statement few interns. Please be kind and gentle with us if you see an error, omission, typo, or any other human mistake 8 Featured Presenters while reading this document. 10 Locations 11 Chicago Info Schedule Social Media 12 Overviews Follow us on Instagram, 18 Featured Presentations Twitter and Facebook @openengagement 19 Conversation Series 20 Pre-Conference Share your posts from this year with #OE2017 23 Open House 26 Saturday Parallel Sessions Find further details at www.openengagement.info 28 Saturday at Co-Prosperity Sphere 31 Sunday Parallel Sessions OEHQ 33 Parties & Projects The Open Engagement Headquarters (information and registration) is located 36 Open Platform at UIC, Art and Exhibition Hall, 1st floor, 37 Trainings 400 S Peoria Friday 9:00am – 12:00pm 38 Contributor Bios Saturday 9:00am – 5:00pm Sunday 9:00am – 4:00pm 2 3 Co-Prosperity Sphere/Lumpen Radio, Columbia College Director’s Welcome Presenter Demographics Chicago/Glass Curtain Gallery/Wabash Arts Corridor, Gallery We are proud that the conference continues to be a site Open Engagement in Chicago is the second in our three- support for this work. In an effort towards transparency of our 400/Threewalls/Propeller Fund, Hyde Park Art Center, Jane committed to diversity and the representation of a wide part thematic trilogy that is taking the conference from process, and as we move toward the ten year anniversary of Addams Hull-House Museum, Museum of Contemporary perspective of the multitude of human experience. -
Rashid Johnson: Anxious Men October 2–December 20, 2015
Rashid Johnson: Anxious Men October 2–December 20, 2015 Drawing Room Opening Reception: Thursday, October 1, 6–8pm For further information and images, please contact Molly Gross, Communications Director, The Drawing Center 212 219 2166 x119 | [email protected] August 5, 2015 New York – The Drawing Center will present Rashid Johnson: Anxious Men, a site-specific installation created by Johnson for the Drawing Room gallery. Universally accessible and employing common visual tropes such as the monochrome and the grid, Johnson’s work is also self- referential, making specific allusion to his upbringing in Chicago in the late seventies and eighties and the Afro-centric values of his parents. The core of the exhibition is a new series of black-soap- and-wax-on-tile portraits that Johnson calls his “anxious men.” Executed by digging into a waxy surface, they enact a kind of drawing through erasure and represent the first time Johnson has worked figuratively outside of photography or film, and on such a small scale. Whereas Johnson’s Rashid Johnson, Untitled previous work has taken a more cerebral approach to questions of race and political identity, the Anxious Men, 2015. White ceramic tile, black soap, drawn portraits confront the viewer with a visceral immediacy. wax, 47 1/2 x 34 1/2 x 2 inches. © Rashid Johnson, Courtesy the artist and Hauser & Wirth. Photo by The portraits will be set within a multi-sensory environment that includes wallpaper depicting a Martin Parsekian. photograph of the artist’s father from the year Johnson was born, and an audio sound track comprised of Melvin Van Peebles’s “Love, That’s America,” a song originally featured in Peebles’s 1970 film Watermelon Man and that was recently pressed into service by the Occupy Wall Street movement. -
Galleries & Museums
24 CHICAGO READER | DECEMBER 2,2005 | SECTION T WO Galleries & Museums installation; work by Elvia Rodriguez- Skestos Gabriele 212 N. Peoria. Beverly Ochoa, through Sat 12/24. E Opens Fri Fishman, screen prints on vinyl, through 12/2, 6-10 PM. Sat noon-5. 773-344-1940 Sat 12/31. Tue-Fri 11-6, Sat noon-5. 312-243- 1112 Portals 742 N. Wells. Jorge Simes, paint- ings and works on paper, through Wed 3/1. South Side Community Art Center 3831 Tue-Fri 10-5, Sat 11-5. 312-642-1066 S. Michigan. Elizabeth Catlett, prints, through Sat 12/3 C . Wed noon-5, Sat 9-5, Practical Angle 161 E. Erie. Work by Vlado Sun 1-5. 773-373-1026 Ketch and Stuart Brent, through Fri 12/16. Mon-Fri 10-6, Sat 10-5. 312-280-8118 Steelelife 4655 S. King, 2nd fl. Max Sansing, paintings, through Sat 12/10. Tue- Printworks 311 W. Superior #105. “The Art Sat 1-8. 773-538-4773 of the Bookplate,” work by 72 artists, through Sat 2/4. E Opens Fri 12/2, 5-8 PM. Stutz Studiowerks 5303 N. Clark. Deanna Tue-Sat 11-5. 312-664-9407 Andrews, photos, through Mon 12/12. Wed, Fri & Sun 11-5, Thu 1-7. 773-907-8889 Byron Roche 750 N. Franklin. Rebecca Shore, Paul Hunter, Jiwon Son, paintings, 33 Collective 1029 W. 35th, 3rd fl. “Post through Sat 12/31. Tue-Sat 11-6. 312-654- Abstraction Figuration,” work by members 0144 of the Midwest Paint Group; Marivi Ortiz, photos, through Thu 12/22. -
Rashid Johnson: Message to Our Folks September 20, 2013 – January 6, 2014
Educator’s Guide Rashid Johnson: Message to Our Folks September 20, 2013 – January 6, 2014 ABOUT THIS GUIDE This guide is designed as a multidisciplinary companion for K-12 educators bringing their students to view Rashid Johnson: Message to Our Folks, IN THIS GUIDE on view at the Mildred Lane Kemper Art Museum from September 20, Before You Visit | p.2 2013, through January 6, 2014. Our intent is to offer a range of learning In the Gallery | p.3 objectives, gallery discussions, and postvisit suggestions to stimulate the Collection Connections | p.6 learning process, encourage dialogue, and help make meaning of the art In the Classroom or at Home | p.7 presented. Teachers at all grade levels should glean from this guide what is Vocabulary | p.8 most relevant and useful to their students. Vocabulary words that appear in Additional Resources | p.9 bold are defined at the end of the guide. The Mildred Lane Kemper Art Museum would like to thank the Museum of Contemporary Art Chicago for the development of the content from which this guide has been adapted. All quotes from Rashid Johnson are from the exhibition catalog Rashid Johnson: Message to Our Folks by Julie Rodrigues Widholm (Chicago: Museum of Contemporary Art Chicago, 2012) unless otherwise noted. ABOUT THE EXHIBITION Rashid Johnson: Message to Our Folks is the first major solo museum exhibition to survey the career of this Chicago- born, New York-based artist. Using photography, painting, sculpture, and video, Johnson challenges entrenched ways of thinking about the black experience in America and, by extension, seminal issues of race in today’s society. -
Download Full Issue (Pdf
EDITOR’S STATEMENT // problem-solving. imaginative and tion - As a nomadic research and event space, UltraViolet Archive provides Queens International: Volumes // participa civic hands-on through lems - visibility for and access to challenged creative works. Named after Queens Museum prob common approaching are who the wavelengths of light outside the visible spectrum, the material October 7, 2018 - February 24, 2019 people creative other and artists nurture featured within this archive has faced the threat of public invisibility, to programs creates that organization Culture Push Culture due to banning, cultural amnesia, bias, self-censorship, and other Since its inauguration in 2002, Queens International has highlighted the contemporary cultural production of Queens communities in formats driven by the artist-run an is challenges. artists represented, the perspectives of its curators, and current social and cultural issues. QI 2018, titled Volumes, follows in this tradition, and for the frst time includes a partnership with the Queens Library. For Queens International: Volumes (2018-2019), the participatory installation features items on loan from the Queens Library relating QI 2018: Volumes is organized by QM Assistant Curator Sophia Marisa Lucas, with New York-based performance artist Baseera Khan and additional collab- to the censorship history of New York. Items in the installation will orators at the Queens Museum and Queens Library including. An exhibition website and web-based catalog accompany QI 2018, co-edited with QM Curator continue to be available to the public at the Queens Library follow- Larissa Harris, with design concept and development by Queens-based artist Ryan Kuo. Learn more at qi2018.queensmuseum.org ing the exhibition. -
Protest #Journalism: ~ - Black Witnessing As Counternarrative" 1) - IFM: Z - Email: T..+- Or- Imprint: EMAIL: 0 0 Odyssey: 150.135.238.6 N
Borrower: RAPID:AZU Call #: E185.615 .R5215 2020 ;....>. ro ;.... Lending String: Location: Dimond Library Dimond - ..0 .-~ Level 5 ;.... 1) Patron: ....... c -= Journal Title: Bearing witness while black 1) ;.... Charge ...c.- = Volume: Issue: Maxcost: C/l - Month/Year: 2020Pages: 45-71 0- - E - Shipping Address: ro Article Author: Allissa V Richardson NEW: Main Library ::r: University of Arizona Article Title: "The New Protest #Journalism: ~ - Black Witnessing as Counternarrative" 1) - IFM: Z - Email: t..+- or- Imprint: EMAIL: 0 0 Odyssey: 150.135.238.6 N .......>. co ILL Number: -17822866 .-C/l ;.... "'" "'".. 1111111111111111111111111111111111111111111111111111111 NOTICE: This Material May Be Protected 1) Z > l- By Copyright Law (Title 17 US Code) e "C :J l'Il ....J ....J 3 The New Protest #Journalism Black Witnessing as Counternarrative 1 strolled with my mobile journalism students one afternoon through the close- knit neighborhood ofKliptown in Johannesburg, South Africa, A few of the girls called the town home. and they wanted me to see it before 1returned to the United States. Kliptown is a neighborhood of stark contrasts. There are houses made of nothing more than rusty corrugated metal-no insulation or plumbing fills them but there is love bursting inside. There are dirt roads that look as if no cars have driven along them for months, yet children are kicking up their orange dust in rousing soccer games. 1 remember sitting down to speak with a young woman and her daughter as my students swarmed about, gathering oral histories from their families and friends with an iPod Touch. After a few minutes, the woman asked me to watch her daughter. -
Storm King Art Center to Stage Live, Site-Responsive Performances of Rashid Johnson’S the Hikers, in Collaboration with Choreographer Claudia Schreier
STORM KING ART CENTER TO STAGE LIVE, SITE-RESPONSIVE PERFORMANCES OF RASHID JOHNSON’S THE HIKERS, IN COLLABORATION WITH CHOREOGRAPHER CLAUDIA SCHREIER Adapted from Johnson’s 2019 ballet and film of the same name, The Hikers is presented in conjunction with the artist’s site-specific sculptural installation at Storm King, The Crisis THE HIKERS Five performances at select times from August 20–21, 2021 RASHID JOHNSON & CLAUDIA SCHREIER IN CONVERSATION August 20, 2021 at 6PM THE CRISIS On view until November 8, 2021 From left to right: (1) Rashid Johnson, The Hikers (2019). Film shoot documentation. Courtesy of the artist. Photo: Van Wampler. (2) Rashid Johnson, The Crisis (2019). Courtesy of the artist and Hauser & Wirth. Photo: Stephanie Powell courtesy of Storm King Art Center. New Windsor, NY, July 22, 2021—Storm King Art Center will stage five site-responsive performances of Rashid Johnson’s ballet, The Hikers, from August 20 to 21, 2021. Adapted from the film and corresponding performances of the same title, The Hikers follows the journey of two solo hikers, both Black: first alone, then crossing each other’s path—an encounter that unfolds in sometimes lithe, sometimes lumbering balletic movements, challenging modern conceptions of blackness and fetishizations of black bodies in motion. In collaboration with choreographer Claudia Schreier, Johnson explores the physical and psychological repercussions that attend the black body in space. Originally debuted at the Aspen Art Museum in 2019, The Hikers has subsequently been performed at Hauser & Wirth in New York, with presentations of the film at Aspen Art Museum, Museo Tamayo in Mexico City, and Hauser & Wirth. -
Once Overlooked, Black Abstract Painters Are Finally Given Their
ARTS AND LETTERS Once Overlooked, Black Abstract Painters Are Finally Given Their Due In the 1960s, abstract painting was a controversial style for Black artists, overshadowed by social realist works. Now, it’s claimed its place as a vital form of expression. By Megan O’Grady Feb. 12, 2021 IN 1998, THE ARTIST Jack Whitten, then 58, jotted down 32 objectives, a manifesto of sorts, which included the following: Learn to understand existence as being political. Avoid art-world strategies. Erase all known isms. Don’t succumb to populist aesthetics. Remove the notion of me. Eliminate that which qualifies as a narrative. Learn to live by the philosophy of jazz. Only fools want to be famous (avoid at all cost). Remain true to myself. Published posthumously in his 2018 book, “Jack Whitten: Notes From the Woodshed” — a collection of studio logs, essays and poetry spanning 50 years — the list points to some of the tensions, formal and psychic, that shaped his art (for jazz musicians, to “go to the woodshed” means to work in solitude, trying out ideas and testing instincts before taking them public). Growing up in Jim Crow Alabama, Whitten was barred from the public library but, by 1960, he was in New York, studying art at Cooper Union. The Abstract Expressionist Norman Lewis (a Black American) befriended and mentored him; so did Willem de Kooning (a white European). Art allowed Whitten to bridge the country’s racial divides with a practice that embodied the possibility of individual freedom and improvisation within larger social identities. His insistence that painting was about something ran counter to — or expanded upon — the Minimalist ideals of the time, which privileged form over meaning (“Erase all known isms”). -
Rashid Johnson
Rashid Johnson Born in Chicago IL, 1977 Bachelor of Arts, Columbia College, Chicago IL, 2000 School of the Art Institute, Chicago, Chicago IL, 2004 - 2005 Lives and works in New York NY Selected Solo Exhibitions 2017 Hauser & Wirth, 'Stranger', Somerset, England Milwaukee Art Museum, 'Rashid Johnson. Hail We Now Sing Joy', Milwaukee WI The Kemper Museum of Contemporary Art, 'Rashid Johnson. Hail We Now Sing Joy', Kansas City MO McNay Art Museum, 'Rashid Johnson. The New Black Yoga and Samuel in Space', San Antonio TX 2016 Hauser & Wirth, 'Rashid Johnson. Fly Away', New York NY Garage Museum of Contemporary Art, 'Rashid Johnson. Within Our Gates', Moscow, Russia GAMeC, 'Rashid Johnson. Reasons', Bergamo, Italy 2015 Grand Palais, 'Shea Wall', Paris, France Studio des Acacias, 'New American Art', Paris, France The Drawing Center, 'Anxious Men', New York NY The High Line, 'Blocks', New York NY Hauser & Wirth, 'Smile', London, England 2014 David Kordansky Gallery, 'Islands', Los Angeles CA George Economou Collection, 'Magic Numbers', Athens, Greece Kunsthalle Winterthur, 'Three Rooms', Winterthur, Switzerland Museum of Contemporary Art, Denver, 'New Growth', Denver CO 2013 Ballroom Marfa, 'New Growth', Marfa TX Hauser & Wirth, 'The gathering', Zurich, Switzerland High Museum of Art, Atlanta 'Rashid Johnson: Message to Our Folks', Atlanta GA Kemper Art Museum, 'Rashid Johnson: Message to Our Folks', St. Louis Page 1 of 7 MO Mildred Lane Kemper Art Museum, 'Message to Our Folks', Atlanta GA 2012 David Kordansky Gallery, 'Coup d'état', Los Angeles LA Hauser & Wirth, 'Rumble', New York NY Miami Art Museum, 'Rashid Johnson: Message to Our Folks', Miami FL Museum of Contemporary Art Chicago, 'Rashid Johnson: Message to Our Folks', Chicago IL South London Gallery, 'Shelter', London, England 2010 Carlson/Massimo De Carlo, 'Between Nothingness and Eternity', London, England Galerie Guido W. -
View the Faith Ringgold Guide, Opens in New
American People, Black Light: Faith Ringgold’s Paintings of the 1960s Educator’s Guide American People, Black Light: Faith Ringgold’s Paintings of the 1960s Educator’s Guide Dear Educator, This resource packet was created by the Education Department of the National Museum of Women in the Arts, with contributions from interns Manique Buckmon and Brittany Carpenter. It was developed in conjunction with the exhibition American People, Black Light: Faith Ringgold’s Paintings of the 1960s, organized by the Neuberger Museum of Art and on view at the National Museum of Women in the Arts from June 21–November 10, 2013. It contains digital images of nine early works by renowned artist Faith Ringgold. Information about the artist and each of these works of art is also included, together with suggested discussion questions for each artwork. You will also find worksheets outlining suggested classroom activities and related standards of learning for Washington, D.C., Maryland, and Virginia. The text is based primarily on the scholarship and ideas presented in the exhibition catalogue, American People, Black Light: Faith Ringgold’s Paintings of the 1960s, edited by Thom Collins and Tracy Fitzpatrick, and Ringgold’s memoir, We Flew Over the Bridge. A bibliography credits additional sources and serves as a resource for further exploration by teachers and students. We also have provided a glossary of selected art terms and movements, as well as historical moments. We hope you find this packet a valuable reference and teaching resource even beyond the exhibition. Sincerely, Deborah L. Gaston Director of Education NMWA Educator’s Guide for American People, Black Light: Faith Ringgold’s Paintings of the 1960s Page 1 Table of Contents Educator’s Guide Faith Ringgold Biography .....................................................................................................................