Summer 2009 Summer Studio/

The Studio Museum in Harlem Ma∂azine/ Summer 2009 James VanDerZee / Barefoot Prophet / 1929 / Courtesy Donna Mussenden The Studio Museum in Harlem Ma∂azine / 2009–10

02 What’s Up / Hurvin Anderson / Interview: Hurvin Anderson and Thelma Golden / Encodings / Portrait of the Artists / We Come With the Beautiful Things / Collected. / StudioSound / Harlem Postcards / 30 Seconds off an Inch / Wardell Milan: Drawings of Harlem 22 Sign of the Times 24 Collection Imagined 26 Facts + Figures 28 Elsewhere / Yinka Shonibare MBE / Project Room 1: Khalif Kelly: Electronicon / design for a living world / Stan Douglas: Klatsassin / Chakaia Booker: Cross Over Effects / Momentum 14: Rodney McMillian / Pathways to Unknown Worlds: Sun Ra, El Saturn & Chicago’s Afro-Futurist Underground, 1954–1968 34 Icon / Ernie Barnes 38 Feature / Islands of New York by Accra Shepp 44 Feature / Correspondence: Toomer & Johnson 46 Commissioned / Nina Chanel Abney 48 Feature / In the Studio 50 Icon / Robert Colescott 52 Feature / Expanding the Walls 54 Target Free Sundays at the Studio Museum 57 Education and Public Programs 61 New Product / Coloring Book 64 Development News / Spring Luncheon / Supporters 2008–09 / Membership 2009–10 72 Museum Store / More-in-Store: T-shirts Galore!

Aishah Abdullah / Underdog / 2009 / Courtesy the artist 3 Studio 01/ Hurvin Anderson 02/ Hurvin Anderson Peter’s 1 Barbershop 1 What’s Up 2007 2006 Courtesy Government Courtesy Bridgitt Hurvin Anderson Arts Collection, London and Bruce Evans Peter's Series 2007–2009 July 16–October 25, 2009

The Studio Museum in Harlem is proud to present the shop was not only a place to get a haircut, but also a social first solo U.S. museum exhibition of the work of London- space in which to meet and talk with one’s friends and based artist Hurvin Anderson. Born in 1965 in Birming- neighbors. ham, United Kingdom, to parents of Jamaican descent, Anderson engages the formal traditions of landscape For Anderson, the barbershop functions as a personal painting and abstraction. He explores his own relationship space loaded with imagery, and also houses intertwined to the Caribbean through depictions of complex personal political, economic and social histories. “Peter’s Series” spaces and memory. takes as its subject one of the last-known of these spac- es—a small attic that was converted into a barbershop Continuing Anderson’s fascination with and exploration of where the artist’s father went for haircuts. Finding the places imbued with social history, meaning and memory, space both complex and ambiguous, Anderson explored this exhibition presents seven paintings from “Peter’s the technical exercise of recreating it many times. At first Series” (2007–09) and nine works on paper. These works intrigued by the physical features of the attic, Anderson reimagine spaces created by Caribbean immigrants dur- focused on the architecture of the room in early paintings, ing the 1950s and 1960s. At that time, barbershops and providing multiple perspectives of the space, like a series other places for personal services often were opened in of portraits. Working from photographs, memory and people’s homes and functioned as sites for both social imagination, Anderson painted and repainted the space, gatherings and economic enterprise. The shop owners and even repainted a painting of it, continually reducing and their customers were among a significant wave of the interior architecture to its basic colors and simple immigrants to the United Kingdom from the Caribbean geometric forms. In later paintings, he centralizes an Commonwealth countries after World War II. The barber- anonymous figure in the barber’s chair, further negotiating between functional space and shared experience, while also providing a voyeuristic glimpse of a private moment.

Anderson studied at the Wimbledon College of Art and the Royal College of Art in London, United Kingdom. His first solo gallery show was in 2003 and in 2006 he was the artist in residence at Dulwich Picture Gallery in London. Earlier this year, Anderson had his first solo museum show at the Tate Britain.

Organized by Thelma Golden, Hurvin Anderson: Peter's Series 2007-2009 continues the Studio Museum’s commit- ment to the presentation of new work by international artists of African descent, in solo presentations of work by artists such as David Adjaye, Meschac Gaba, Issac Julien, Chris Ofili and Yinka Shonibare MBE, and in group exhibitions such as Africanne (2002), Africa Comics (2006) and Flow (2008) .

Hurvin Anderson: Peter’s Series 2007-2009 is supported, in part, by a grant from The Horace W. Goldsmith Foundation.

01 02 5 Studio 01/ Hurvin Anderson 02/ Hurvin Anderson Peter’s 2 Peter’s Series: Back Interview 2007 2008 Courtesy Lodeveans Courtesy Fern and Hurvin Anderson and Thelma Golden Collection, London Lenard Tessler

TG The barbershop is a recurring theme in your work. For me this was the first time it became a purely technical Why? exercise—just dealing with the paint. I could play spatial HA When I started Peter’s I, I didn’t imagine it would turn games and make the space more than what it was, it al- into a series of eight works, but in working through each most becomes a maze and feels like it could be outdoors. painting, the barbershop became such a complex and Everything has been reduced to simple geometric forms. ambiguous place that I felt compelled to return to it again and again. I was initially intrigued by the space because With Peter’s: Sequel, I wanted to remake Peter’s II by mak- there was much to uncover; the space had such a curious ing it from memory. The idea of repainting something and history. In the back of my mind I also knew that the figure returning to the first version of the space intrigued me. from my photographs would eventually have to make I also knew the space better, so I knew how to draw out an appearance. But how and when this figure would be what I wanted to extract. In Peter’s (Pioneer) IV I took this brought into the picture was unclear to me. further and brought in more figurative detail. However, I was always plagued by the idea that I was giving too much TG How much of the inspiration for these away. The barbershop to me is fundamentally a personal works comes from memory and how much from space, someone else’s private space, and I feel protec- imagination? tive towards it, so the series is also about my process of HA They both play a part, memory starts things off and negotiating this sense of invaded privacy. imagination tends to keep them moving and fills in the gaps. In the back of my mind, as the series progressed, I was thinking about the need to address the figure in the chair. TG How did the series develop? After dealing with the complexities of representing the HA Peter’s I and Peter’s II were made at the same time. In 02 barbershop itself, the last three paintings focus on the 01 the first painting there are more details and texture. As I client and the viewer’s relationship to him. Without the started to paint the cabinet with the wooden veneer, the figure, the function of the space is unclear and the nature Thelma Golden Can you describe the inspiration for stools, bottles, clocks and music speakers, these objects of the room remains ambiguous. The appearance of the this new body of work? came together to create a record of a real space. I could figure introduces a shift of emphasis. Upon completing Hurvin Anderson ”Peter’s Series” examines a small attic have kept adding more figurative details, but I wanted to the eighth canvas it became clear to me that the custom- that had been converted into a barbershop. When people hold back. I wanted to erase a sense of nostalgia by remov- er had become the central subject of the paintings. from the Caribbean first arrived in Britain in the 1950s, ing or abstracting details. they often set up their own services and places of enter- TG Do you think of your interior paintings as different tainment. This attic barbershop doubles as a place for a Peter’s III was different; it was about the treatment of the from the landscapes? trim and a place in which to socialize. For me it is not only a paint. It pared back the space even further, reducing it to its HA Most of the time I am not differentiating between land- personal space loaded with imagery, but it also bears the physical framework. This painting was a test. I knew all the scape and interior, I am just considering the significance stamp of political, economic and social history. moves before I even began and just started laying the paint of each space, for example the “Country Club” series down. First I painted a thin, diluted layer of cobalt blue and (2002–08) or the “Welcome” series (2003–07), both One day I went to pick up my father after his haircut. While let it dry. Then I taped and covered over all the walls. This al- of which use the formal device of fencing or a grill as a I was waiting for him I took some photographs. At first it lowed me to drag the white translucent paint from the top means of distancing the viewer. Like “Peter’s Series”, was the physical space itself that intrigued me, the attic of the canvas to the bottom, thereby painting in the ceiling they deal with complex locations that have a personal seemed to have a presence; it seemed like somewhere and the floor. Finally, I painted in the flat central wall in a resonance for me, enabling me to explore my own that had been forgotten, some sort of secret meeting hall. solid cobalt blue. Part of me just wanted to see the space relationship to the Caribbean. When I looked at the photographs much later, I realized emptied out—what would it become? that there was something about the figure in the chair and Text courtesy Tate Britain's Art Now series of contemporary British Art displays. the whole nature of that intimate but shared space that was compelling and that I wanted to paint. 7 Studio 01/ Adam Pendleton 02/ Khalif Kelly 03/ Dawit L. Petros Notes on Black Dada Blue Boy (study) Untitled (Water Barriers; Occupying What’s Up Nihilismus (proper nouns) 2009 the space between two rivers) 2009 Courtesy the artist 2009 Encodings / Artist in Residence 2008–09: Courtesy the artist Courtesy the artist Khalif Kelly, Adam Pendleton and Dawit L. Petros July 16–October 25, 2009

The Studio Museum is proud to present the latest install- During his residency, Dawit L. Petros took a series of walks ment of the Artist-in-Residence exhibition, featuring bod- around Harlem. Out of these meanderings came Petros’s ies of works by Khalif Kelly, Adam Pendleton and Dawit L. “Harlechrome” series (2008–09), which photographically Petros. This year’s residents consider looking at an artwork isolates and captures colors and textures from the area to akin to the act of reading. In his own way, each shows a create an abstract and semiabstract photographic archive deep concern with how images generate meaning and has of Harlem. By editing images to reduce the neighborhood developed his own grammar and narrative system with to texture and color, Petros offers an alternative narrative which to make images. The resulting works and projects for the community, one told through formal attributes that make up Encodings reflect contemporary art’s con- rather than social history and mythology. cern with language and its use across media and beyond the studio and gallery spaces. For these artists, images are There is no one key to understanding the work of these as much containers for information that can be read as three artists, but each practice engages the viewer in they are systems for masking information in puzzles. an active process. As a result, it is the viewer who must ultimately complete the artworks in this exhibition by Khalif Kelly’s paintings depict the allegorical tale of a “reading” them and making meaning from the art. preadolescent hero and his friends on their adventures in The Artist-in-Residence program and annual exhibition are presented with the sup- a mythical land. While the paintings’ composition and sub- port of Nimoy Foundation; National Endowment for the Arts; New York State Council on the Arts, a state agency; Jerome Foundation; Robert Lehman Foundation, Milton jects are often borrowed directly from historical old master and Sally Avery Arts Foundation; and by endowments established by the Jacob and paintings, they feature hard edges and striations from the Gwendolyn Lawrence Trust and Andrea Frank Foundation. 02 low-bit computer graphics that inspire their style. Drawing from pop-cultural references as diverse as 1930s and 40s cartoons and Stanley Kubrick’s films, these canvases give viewers a story out of sequence, so Museum visitors must

01 actively reconstruct the narrative from fragments.

Adam Pendleton’s conceptual practice uses language as its medium. Sometimes he works with language literally by combining text and image, and other times figuratively by treating sculptural objects as an alphabet. Pendleton’s practice demonstrates how a single idea can be repre- sented in multiple media and manners, and how at its most extreme, in works such as Code Poem, image (Han- nah Wiener) (2009), it refuses concrete representation altogether. By playing with signs and their systems, Pendle-

ton’s artworks and the meaning we extract from them rely 03 as much on divergent sources as they do on context. 9 Studio 01/ Adam Pendleton (AP) 02/ Dawit L. Petros (DP) 03/ Khalif Kelly (KK) b. 1980, Richmond, VA b. 1972, Asmara, Eritrea b. 1980, Nashville, TN Portrait of the Artists: Lives and works in Lives and works in Lives and works in New York, NY New York, NY New Haven, CT and New York, NY Khalif Kelly, Adam Pendleton and Dawit L. Petros Education Education 2000 Artspace 2007 MFA, School of Education Independent Study the Museum of Fine Arts, 2008 MFA, Yale University, Program, Boston, MA New Haven, CT Pietrasanta, Italy 2003 BFA, Concordia Uni- 2003 BFA, The School of versity, Montreal, Canada the Art Institute of Chicago, 1996 BA, University Chicago, IL of Saskatchewan, Saskatoon, Canada

What is the most interesting exhibition you’ve seen KK Being a visual person, I play DVDs in the studio—usually recently? something that I have seen enough that it functions both AP It is not a recent exhibition, but one I appreciated a as entertainment and ambient noise that won’t distract while back was Wolfgang Tillmans at the Museum of Con- me too much as I work. temporary Art in Chicago. DP Tangled Alphabets: León Ferrari and Mira Schendel at What gadget could you not live without? the Museum of Modern Art, a show of two Latin American AP Laptop artists with whom I’ve only recently become acquainted. DP A lint brush. I live with two dogs. It has a range of exquisite works exploring the visual struc- KK Cell phone tures of language and words. KK The Picasso show at the Gagosian Gallery—awesome Finish the sentence: Black is . . . AP ? What do you most like about being on 125th Street? DP. . . a supple proposition, a surface perpetually awaiting AP We’re on one of the best blocks in the city. inscription, a condition of possibility. DP Points of departure and arrival; sustained spaces of KK . . . virtual. motion; impenetrable, solid, teeming; fluid, thin, empty, probable; concrete and symbolic structures, sedentary If you could have dinner with anyone, dead or alive, and nomadic; residue of past, future, present who would it be? KK You don't have to look to find inspiration—there is AP Karl Marx always something to respond to on the street. DP Hannah, my sister KK Barack Obama What is your favorite thing to do after completing a work of art? What’s next? AP I think about how it’ll lead to the next one. AP I am working on a short film, BAND, a refashioning of

01 02 03 A. Llanos Ray Photo: DP I relish time’s passing, and with it, the resulting per- Jean-Luc Godard’s Sympathy for the Devil (1968). It will What is the title of the last work you completed? What artwork has had a profound influence on your work? spective needed to grasp the work that’s been done. be screened at De Appel, The Kitchen and the Toronto AP Hannah Weiner an Argument for Black Dada for Talk AP Joan Jona’s The Shape, The Scent, The Feel of Things KK Tell somebody, then reflect on the work International Film Festival. Show at the ICA in London DP Stanley Brouwn’s step pieces. These works that mea- DP Fulfill long-standing invitations to visit the Southwest DP A sampling of a sequence of thoughts, meditations, sure movement through space are significant conceptual What music do you listen to while you’re working in and research new landscape works digressions, associations and recollections derived from a markers for my current project, but more importantly are the studio? KK I always wanted to do a series of paintings in which series of walks in Harlem lessons for the merits of simple, economic gestures. AP Lately, Deerhoof, Dirty Projectors, High Places, Lucky some kids went around solving mysteries. But in a way I KK Brother to Brother KK Jacopo Pontormo’s The Deposition from the Cross Dragons . . . think that I am already doing that, so . . . more crazy adven- (c. 1525­–28), which I had the pleasure of seeing in person DP I’ve had four playlists in heavy rotation during the tures. One word to describe your work? while studying in Florence during college residency and each flavors my mood differently. The first AP Oriented is a selection of dub music: Lee “Scratch” Perry, Gregory Name the artist who has influenced you the most. DP Permissive Isaacs, Israel Vibration and Scientist. The second is Bilen AP Cerith Wyn Evans KK Retrofuturistic and Tigrinya music from Eritrea: Said Abdela, Helen Meles, DP Neil Young. He has had an extensive and spirited Wedi Tikabo and Idrisai. The third is more tranquil: Glenn career with numerous permutations and is a model for Gould, Talk Talk, Mogwai, Mercator Rejection and Nina creativity, flexibility and integrity. Simone. And lastly, the infinite sounds that drift in from KK Stanley Kubrick 125th Street. 11 Studio 01/ Loodjie Louisca 03/ Loodjie Louisca Circular World Don’t Even Try, We Don’t Match What’s Up 2009 2009 Courtesy the artist Courtesy the artist We Come With the Beautiful Things 02/ Jordana Churchman 04/ Ashley Moore Khalif Stations Of The Cross 2009 2009 Expanding the Walls Student Exhibition Courtesy the artist Courtesy the artist July 16–October 25, 2009

Expanding the Walls: Making Connections between range from issues rooted in race and sexual identity to Coupling James VanDerZee’s photographs with the work Photography, History and Community is an annual, seven- abstract perspectives on the body. of these twelve students will provoke interesting dialogues, month, photography-based program that uses the James not only about photographic aesthetics, but also about VanDerZee (1886–1983) archive—housed at The Studio You will see black males in knotted and entangled ropes— social and political changes over the course of eighty Museum in Harlem—as a springboard for conversation and symbols of bondage and immobility—and a study of the years. VanDerZee’s photographs embody true documen- art-making. The juxtaposition of the student’s contempo- fascination black women have with conceptions of beauty. tation and the intentions of these young artists echo his. rary work with VanDerZee’s timeless photographs in the These images are disturbing in their depiction of issues that exhibition illustrates the enduring relationship between persistently and historically affect the black community. Now in its ninth year, the program and exhibition continue to photographer and subject. Several portrait series exude casual familiarity, revealing be dedicated to VanDerZee’s themes and the mission of the the complexities of teenage life and sexuality, or intimacy Studio Museum. This didactic program maintains its com- This year’s exhibition, We Come With the Beautiful Things, with close friends and family. Personal, thematic photo- mitment to the rich community of Harlem, as well as educa- is comprised of twelve raw, distinct visual narratives. Using graphs portray the love one feels toward possessions tion, which facilitates thought, conversation and action. black-and-white photography as a medium, each artist has and the anxiety at the inevitability of change. Each pho- created a body of work that articulates and documents tograph is a curious amalgam of the traditional and the To learn more about these young artists, please visit the their surroundings in a cleverly threaded patchwork of modern, giving the show a unique and captivating voice. computer console in the mezzanine reading room. 02 distinct themes. These young photographers’ themes The exhibition includes the work of: Aishah Abdullah, Jor- dana Churchman, Adriana Frazier, Marly González, Court- ney Howell, Loodjie Louisca, Kelsey Mills, Tiana Mincey, Ashley Moore, Rakeisha Mulligan, Sasha Smith, Brandon Venable and, of course, James VanDerZee.

Expanding the Walls is supported by the New York State Council on the Arts, a state agency; Colgate-Palmolive; Dubose and Dorothy Heyward Memorial Fund; JPMorgan Chase Foundation; and Time Warner Inc. 03

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01/ Marley González 03/ Sasha Smith 05/Rakeisha Mulligan 07/ Courtney Howell In The Shades Lady S Take The Body, Take Untitled 2009 2009 The Mind 2009 Courtesy the artist Courtesy the artist 2009 Courtesy the artist Courtesy the artist 02/ Kelsey Mills 04/ Adriana Frazier The Saviors Look Me In The Eyes 06/ Marley González 2009 2009 What About In Front Courtesy the artist Courtesy the artist 2009 Courtesy the artist

03 15 Studio 01/ Adia Millett Inventing Truth (detail) What’s Up 2001–02 Projects of View The Studio Museum in Harlem; museum purchase with funds Collected. Propositions on provided by the Acquisition StudioSound: Dreaming in Sound by Ramon Silva Committee 02.10.17 the Permanent Collection July 16–October 25, 2009 July 16–October 25, 2009 by Nico Wheadon

The abstract ethereal beats from Studio Sound artist Ramon Silva’s Dreaming In Sound are all-at-once nostalgic and contemporary, evoking the languor and beauty of a remembered or imagined summertime. Electronically produced beats meld with more organic sonic textures to produce a soundscape into which the listener is invited to envision the vibrancy and tradition of a diverse selection of urban locations. Interested in the modes by which sound affects and recalls memories, Silva pulls inspiration from concurrent exhibiting artist Hurvin Anderson, whose paintings of both public and private sites of social assem- bly such as barbershops and city parks are translated into stitched-sounds that evoke Harlem’s rich musical tradi- tions and conjure new images of the vibrant streetscapes of a Harlem summer. Much like Anderson’s barbershop paintings, Silva’s compositions are serene and minimal, inviting the listener to fill in the sonic space with their own memories and narratives.

Silva’s self-exploration through sound recalls Stevie Wonder’s “That Girl” as a departure point for an artistic 01 approach that prioritizes emotion over formal musical Photo: Brian Ferguson Brian Photo: comprehension. Untrained in any academic musical During our spring 2009 exhibition season, The Studio Today, the collection contains over 1,600 works of art, capacity, Silva learned to create music by listening and, new approach to music making that melds the visual and Museum in Harlem presented Collected. Propositions including paintings, drawings, sculpture, photography, though he did not exactly understand the lyrical compo- the aural, the sensory and the imaginary. on the Permanent Collection. Collected offered multiple video and mixed-media installations. It traces the evolu- nent of “That Girl”, he does recall listening to the track on takes on the Museum’s collection and included over two tion of the Museum from its inception through the growth repeat because of the way the rhythm made him feel. In Silva—a multi-disciplinary artist with interests spanning hundred works of art by over a hundred artists. Inspired of the collection and the expansion of the exhibition and the artists’ own words, “I always listened to music very from music to video to visual art—grew up in a rural town by our fortieth anniversary, this unique look allowed us to Artist-in-Residence programs. Today, the Studio Museum critically and studied every nuance that I could find in an- in southern California and moved to New York from San view the collection with fresh eyes. During this process, continues to build the collection through the stewardship ticipation of the breaks bridges and the harmonies. I grew Francisco in the summer of ‘99 to pursue his visual art countless themes emerged. This season, we are thrilled of its Acquisition Committee and through gifts. up on Hip Hop and was a big fan of not only the music but aspirations. He began his foray into music production after for several of these themes—By Hand: The Craft Tradi- also the cultural identity associated with it: the graffiti, the acquiring an ASR X drum machine while living in a Williams- tion in Contemporary and Visionary Art, Small Things, Organized by the curatorial team, Collected continues to break-dance crews, and the fashion. I was completely burg loft full of artists, musicians and writers. His experi- Color Consciousness: Black and Color Consciousness: give us an opportunity to reflect on the great treasures in enthralled by this phenomenon. But what resonated in ence as a visual artist has greatly impacted his music Blue—to remain on view. our care, and we hope it will continue to prompt wonderful me the most was the great emotion emitted from certain production as he equates the process of blending sound discussions about art made now and in the past as seen music. It could be from any genre, it was just about the and color to the process of composition and sequencing. Founded in 1968, the Studio Museum began with a mis- through these works. Throughout the Museum’s history feeling and the mood it put me in.” Pulling inspiration from Silva currently lives and works in Brooklyn. sion to present the work of African-American artists and we have proudly shown the collection and have been other artists such as Miles Davis and Carlos Santana, Silva artifacts of the African diaspora. In the early history of honored to loan works around the country and the world. experienced a shift where he noticed the way complex yet Web Extension the Museum, the mandate to collect works of art was We are excited that at this moment we can continue to minimal compositions allowed the listener to transcend Visit studiomuseum.org/studiosound- strong. Guided by the transformative vision of its founding highlight our collection and encourage a new era of explo- the listening experience, close their eyes, and actually see ramonsilva to download a track from directors and curators, the Museum began its permanent ration and presentation. the music. Dreaming in Sound conjures up multiple states Dreaming in Sound! collection through the generosity of artists and donors. of reminiscence whist simultaneously driving forward a 17 Studio What’s Up Harlem Postcards July 16–October 25, 2009

Represented, revered and reco∂nized by people Jeremy Kost around the world, Harlem is a continually expandin∂ Born 1977, Corpus Christi, TX nexus of black culture, history and icono∂raphy. Lives and works in New York, NY Venerable landmarks, such as the Abyssinian Baptist Boulevard of . . . , 2009 Church, the Apollo Theater, Hotel Theresa, Audubon Ballroom and 125th Street, remain popular emblems I work to tell stories, capturing life as it happens (most of important historic moments and moods. often in the underground subcultures of New York and beyond) or through staged situations that evoke specific The Studio Museum’s on∂oin∂ series Harlem Postcards ideas of presentation, transformation, desire, power, pag- invites contemporary artists of diverse back∂rounds to eantry and pride, among others. reflect on Harlem as a site for artistic contemplation and production. Installed in the Museum lobby and available For Harlem Postcards, I thought about 125th Street as to visitors, Harlem Postcards present intimate views and the “Champs-Élysées of Harlem”—a center of posturing, fresh perspectives on this famous nei∂hborhood. bravado, presentation and celebration, and a mixing bowl of cultures, attitudes and economies. With this in mind, I Derrick Adams created a video and a series of Polaroids, both titled Bou- Born 1970, Baltimore, MD levard of. . . . Referencing Nan Goldin’s photograph Jimmy Lives and works in Brooklyn, NY Paulette + Taboo! In the bathroom, N.Y.C. (1991), the works Joe Louis Boxing Gym (Police Athletic League, 119th Street feature African-American drag queen Ericka Toure Avi- & Manhattan Avenue), 2009 ance as she parades down 125th Street from Park Avenue, sauntering and strutting west and eventually entering the Housed in the basement of the Police Athletic League, subway station to go “downtown.” She walks confidently, the Joe Louis Boxing Gym serves Harlem’s youth from as if in her own world, a symbol of freedom, of “going west ten to nineteen years old. The program focuses on the young man,” of the common stereotype of gays on Man- positive aspects of boxing: physical fitness, healthy eating, hattan’s West Side, all the while listening to Grace Jones disciplined training, socio-emotional control and respect singing of independence, strength, womanhood and her for self and others. mother, who chastises: “why Grace can‘t fit in and be more Ray A. Llanos like her sister. . . ” Born 1972, Christiansted, St. Croix, United States Dedicated in 2008, the gym is named after legendary Virgin Islands boxer Joe Louis­­—The Brown Bomber—who, during the Through the walk we encounter feelings of encourage- Lives and works in Harlem, NY Great Depression, captivated the minds and hearts of ment, praise and pride for Harlem, but also of hatred. Uptown Babylon by Bus, 2006 America, especially those of Harlem. This combination of feeling and response is obviously something that makes Harlem such a special and colorful When I moved to Harlem I knew right away it would be a I was compelled to capture this vibrant yet gritty space place, and also leads to the title, Boulevard of . . . , in which special place for me. I often felt (personally and profes- where paradigms shift and lives are changed. The images the ellipsis could be anything, based on one’s personal sionally) the energy of Harlem’s rich past, and knew it mirror the complex dynamics between the dedicated, Marley González relationship to 125th Street and Harlem itself. would serve as a source of inspiration. Capturing this im- technically knowledgeable trainers and the young lives Expanding the Walls participant, born 1991 age solidified that sentiment for me; the flag is a reference they forever alter. And although new, the facility captures High School for Arts, Imagination and Inquiry to the Marcus Garvey movement and the young girl in the the aura of Louis and the history of boxing in Harlem. Scent of Harlem, 2009 window symbolizes the promise of the future. Like the subjects, I too have great pride in my people. The many little boxes of incense in this photograph come together to make one shape. This reflects the way the smells of the many oils and incense sticks sold on 125th Street combine to create a unique scent. I can never figure out exactly what goes into that fragrance. If you go anywhere that isn’t Harlem, the smell would not be the same. Harlem just has that perfect scent! 19 Studio 01/ Clifford Owens Text Piece (video still) What’s Up 2008 What’s Up Courtesy the artist and On Stellar Rays Gallery, 30 Seconds off an Inch New York, NY Wardell Milan: Drawings of Harlem November 12, 2009–March 13, 2010 November 12, 2009–March 13, 2010

The Studio Museum in Harlem will open the fall/winter Presenting approximately one hundred works by doz- A city within a city, Harlem is in a season with a major exhibition entitled 30 Seconds off ens of artists, the exhibition will provide an overview of a constant state of flux. It is hard- an Inch. This survey will bring together contemporary generation of artists who use a variety of media, includ- edged. It is immediate. It is fantasti- artworks by a group of artists who, having absorbed the ing photography, video, large-scale sculpture, figurative cal. It is real, hyper-real and hyper- lessons of U.S.-based Conceptual art and identity politics, painting and site-specific installations.30 Seconds aims to realized. In counterbalance to this imbue their respective practices with a critical sense of show how this group of artists engages with the body and reality, Wardell Milan: Drawings of play and irreverence adopted from Fluxus, Arte Povera, race in clever, subtle and astute ways. Harlem offers a new physical pos- Gutai and Neoconcretism, among other international sibility for experiencing this space. 30 Seconds off an Inch has been generously supported by a grant from the Jacques movements. 30 Seconds takes the singular practices and Natasha Gelman Trust and with additional support from The Andy Warhol The works in the exhibition illustrate, and conceptual methods of black artists active on the Foundation for the Visual Arts. in panoramic scope, the people, West Coast in the late 1960s and early 1970s as a starting places, storefronts, churches, iconic point—work that inspired a bodily engagement in concep- fixtures and moments in time that tual practice. are the essence of this cosmopolitan neighborhood.

Commissioned and organized by Studio Museum PR Manager and Editor in Chief Ali Evans, this exhibi- tion originated from Milan’s 2008 sketches of Harlem created for the pages of Studio magazine, follow- ing his year as an artist in residence. Upon his completing the sketches, the Museum invited him to continue drawing throughout the following year for this project.

A merger of the artist’s photo- graphic eye and impressionistic hand, the exhibition includes more than forty works on paper based on photographs Milan took throughout Harlem. Some works are loosely drawn, while others display a close attention to detail. Some have color, though most are black and white. Representing moments experienced as fleeting, the works in Drawings of Harlem bring together contemporary photography and the fundamental artistic practice of drawing.

01 Dawit L. Petros / Harlechrome (Expansive Structure No. 2) installation view/ 2009 / Courtesy the artist / Photo: Adam Reich 23 Studio 01/ James VanDerZee 02/ Ali Evans Lenox Ave, 127th Looking Harlem √ Michael South 2009 n.d. Courtesy Donna Sign of the Times Mussenden VanDerZee

The last time we published Studio, in April, I had the honor We have returned to our good and ingenious friends at of putting Kwaku Alston’s beautiful photograph of Presi- 2x4, New York, who created the original design for dent Barack Obama on the cover—it was our first issue Studio (as well as our logo) to redesign and relaunch since the election and we had to celebrate. Since then, studiomuseum.org later this year. The redevelopment of the economy has led us down on an unpredictable path, the website was made possible thanks to generous sup- many major corporations and publications have closed port from the Upper Manhattan Empowerment Zone De- their doors and a wise Latina from the Bronx is headed to velopment Corporation, which has significantly enhanced the Supreme Court. And many people (myself included) the Museum’s ability to execute and expand its programs. are still sad over the untimely passing of one of the most iconic figures in popular culture—Michael Jackson. It has The same way that the Museum’s physical space is only been a few months, but the world is a different place. a home for our artists in residence, collection and exhibi- tions, Studio is a venue for the creativity of artists of Afri- In the face of so much change and uncertainty, I am can descent. These pages will always reflect the moment, pleased to tell you that Studio will continue to be a through the work and ideas of contemporary artists, and printed record of the work of today’s artists and a space display a deep reverence for the past. for creative expression. For the past four years, over fourteen issues and nearly a thousand pages, we have So, yes, the world is a different place—but it always will been dedicated to the work of artists of African descent. be. Luckily, we have artists to help us Remember the Time. Whether through artist commissions, feature articles, exhibition highlights from around the world, studio visits, Til then, bits of Harlem history or the coloring pages, Studio reflects 01 the essence of this institution, the artists we serve and the world they present us. Starting with this issue we will pub- lish two expanded editions of Studio each year, along Ali Evans with @Studio, a new mini-publication that presents the Editor in chief exhibitions and public programs each season. We want to make sure you’ll always know what’s going on uptown at the Studio Museum.

Using the breadth and possibilities of the Internet, I will continue to expand the creative space we established in these pages by commissioning more work, with greater scope. The next iteration of the Museum’s presence in the world, the website (studiomuseum.org) will grow to serve as our new platform for communicating with you and sharing the work and voices of contemporary artists. We will be able to give you more from our collection, more scholarship, more critical thought and more art. We will expand on our creative support of artists, and bring you more of what artists (and institutions) across the country and around the world are doing (and thinking). And of course, we will continue to look back at the art and artists of the past, so we can reflect on the present. 02

Collection Imagined Collected (Flamingo George) by Adam Pendleton

Collection Imagined is a new initiative of The Studio Museum in Harlem that activates and reinvigorates the permanent collection. Conceived and organized by Studio Museum PR Manager and Editor in Chief Ali Evans, with installation direction by Exhibition Coordinator Marc Bernier, this project invites contemporary artists to ex- plore the work, ideas, themes and artists in the Museum’s collection to produce new works of art.

For Collected (Flamingo George) (2009), inaugural artist Adam Pendleton (artist in residence 2008–09), used the titles of works in the permanent collection to create a work installed on the wall of the Studio Museum’s courtyard. Pendleton’s text-based installation challenges the norma- tive function and construction of language, through a process of chance and specificity. This work joins other public works created for the Museum, including David Hammons’s (African-American) flag (2004) on the Mu- seum’s facade and Glenn Ligon’s Give Us a Poem (2006) neon work in the atrium.

Courtesy the artist Photo: Russell Watson 27 Studio As the nation’s leading venue for black art and culture and a site for the dynamic exchange of ideas about art and society, The Studio Museum in Harlem is committed to sustaining innovative exhibitions, the Artist-in-Residence program for emerging artists and an extensive schedule of enlightening education and public programs. We rely Facts + Figures on the generosity of members and individual donors to support the Museum’s exhibitions and programs. Please con- sider making a 100 percent tax-deductible contribution today. At each donation level, your support will:

compiled by Gabrielle Lopez, Special Projects Assistant

Since its inception in the Studio Museum has been the nexus for artists of The Museum’s Provide Support one African descent locally, nationally and internationally, Artist-in- $ $ and for work that has been inspired and influenced by Residence supplies Expanding the Walls for one child to 2 black culture. program has participate in a photography student supported over 50 1968 HandsOn 5 Now in its 108 workshop Support one contemporary artist to take part in the $ 0 Day in the Life of an Artist 9th year, More than artists Allow the 25 program, which offers studio tours to high school art students who have gone on Museum the to continue Expanding to establish highly regarded careers. $ The $ the Walls 80,000 Artist’s program 100 people from near Provide one Museum Voice, has More than tour intimate for a group conversations served and far have visited between artists 122 high 400 of seniors and curators the Museum in the last artists are school represented in the 150 students. twelve months. Museum’s permanent Help keep $ Help cover $ collection. Studio the cost of 2,500 1 Allow the The Museum’s permanent collection Magazine conserving an Located on Museum Harlem’s historic spans 200 years of history and available and artwork in our includes over 1,600 paintings, free of charge 0 permanent to sustain its 125th Street, sculptures, watercolors, drawings, to all Museum collection Books & the Museum has earned recognition for its 0 catalytic role in promoting the works of artists pastels, prints, photographs, mixed members and $ Authors of African descent. media works and installations. visitors 0 500 program The Museum’s Education Department Support us $ Keep the Museum’s served 685 students in collaboration with by calling Family Fun! 212.864.4500 10,000 free of charge 9 NYC schools. x200. Underwrite a portion $ of one of our exhibition seasons 5,000 Support by calling 212.864.2500 x 218 or donate online at studiomuseum.org/support. Support by calling 212.864.2500 x 218 or donate online at studiomuseum.org/support. 29 Studio 01/ Yinka Shonibare 02/ Khalif Kelly 03/ Béhar’s final design Lady Walking a Tightrope Hero Encountering Bre'r calls for stainless steel and Elsewhere: Art Beyond the Studio Museum 2006 Rabbit study sustainably-harvested Courtesy/ Newark Museum; 2009 Costa Rican hardwood. His Purchase 2007 Helen Courtesy the artist chocolate shaving tool is Completely Biased, Entirely Opinionated Hot Picks McMahon Brady designed to rest on the lip of Cutting Fund a mug and resemble a twig. by Thelma Golden 2007.5A,B Photo: Dan Whipps

Heremust–see are some Yinka Shonibare MBE Brooklyn Museum, Brooklyn, NY exhibitionsI’m not that June 26–September 20, 2009 going to miss! www.brooklynmuseum.org

Yinka Shonibare MBE Party Time: Re-Imagine America Newark Museum, Newark, NJ July 1, 2009–January 3, 2010 www.newarkmuseum.org

One of the very first solo shows I curated at the Studio

Museum was a Yinka Shonibare exhibition in 2002. I am so 02 thrilled to see his work back in New York and New Jersey with two exciting shows: a major mid-career survey at the Project Room 1: Khalif Kelly: Electronicon Brooklyn Museum that includes sculpture, photography, Santa Monica Museum of Art, Santa Monica, CA film and a site-specific installation, as well as a commis- May 16–August 22, 2009 sioned piece in the Newark Museum’s historic Ballantine www.smmoa.org House. One of our 2008–09 artists in residence, Kelly works with themes of memory and identity through aesthetic idioms that draw on digital worlds and popular culture. For this exhibition, Kelly presents a dynamic new series of works, some of which were created during his residency here at the Studio Museum.

design for a living world Cooper-Hewitt, National Design Museum, New York, NY May 14, 2009–January 4, 2010 www.cooperhewitt.org

Organized by the Cooper-Hewitt and The Nature Conser- vancy, this exhibition commissioned ten leading designers, including Maya Lin, Stephen Burks and Ezri Tarazi, to each focus on a natural material from a specific place where the Conservancy works—from Idaho to the southwest coast of China’s Yunnan Province. Each designer has transformed organic materials such as wood, plants and wool into beau- tiful and useful objects, revealing fascinating stories about our connection to the natural environment.

01 03 31 Studio 01/ Stan Douglas 02/ Chakaia Booker 03/ Rodney McMIllian 04/ Sun Ra Pursuit, Fear, Catastrophe: Pass the Buck Untitled Aye Ruskin, B.C. (video still) 2008 2008 c. 1970 1993 Courtesy Katonah Courtesy Artpace Courtesy the Hyde Park Art Center, Courtesy Collection of Museum of Art San Antonio and Collection of the Chicago Jazz the Vancouver Art Gallery, Photo: M. Fox Susanne Vielmetter Archive, Special Collections Research Vancouver, Art Gallery Los Angeles Projects Center and University of Chicago Library. Acquisition Fund Photo: Todd Johnson

Stan Douglas: Klatsassin Momentum 14: Rodney McMillian Vancouver Art Gallery Institute of Contemporary Art, Boston, MA Vancouver, British Columbia July 29–November 1, 2009 May 30–November 8, 2009 www.icaboston.org www.vanartgallery.bc.ca The Institute of Contemporary Art hosts Rodney Two years ago the Studio Museum McMillian’s first solo museum show in the United States. presented a solo exhibition of Doug- One of five artists who collaborated onPhilosophy of las’s work that included film and pho- Time Travel (2007), and part of Frequency (2005–06), tography inspired by the artist’s trips McMillian incorporates sculpture, video, painting and to Cuba. For this exhibition at the Van- performance into his diverse practice to investigate the couver Art Gallery, Douglas presents boundaries assigned to class, culture and race. 03 two film-based installations shot in Vancouver, his birthplace and current residence, and the surrounding area. Pathways to Unknown Worlds: Showing the history of settlement Sun Ra, El Saturn & Chicago's in Canada’s westernmost province, Afro-Futurist Underground, Douglas’s works call attention to the 01 1954-1968 forces of capitalism and colonialism Institute of Contemporary Art, and how they have shaped the narra- University of Pennsylvania, tive of his native country. Philadelphia, PA April 24–August 2, 2009 www.icaphila.org Chakaia Booker: Cross Over Effects Katonah Museum of Art, Katonah, NY This exhibition presents a collec- May 2–October 4, 2009 tion of paintings, drawings, prints, www.katonahmuseum.org manuscripts, ephemera and videos produced by Ra and his associates, An artist in residence in 1995–96, Booker has since been with much of it being seen for the first included in several Studio Museum shows, including time. The show examines how Ra and Collected. Propositions on the Permanent Collection his dynamic, continuously evolving (2009). Presented in the garden of the Katonah Museum, ensemble, the Philadelphia-based these large outdoor works are made of tires, a material the Arkestra, crafted their otherworldly artist has incorporated into her practice since the early images and independent approach 1990s. The various tread patterns, colors and widths of to music. the rubber tires coalesce to create fantastic and powerful

works. 04

02 33 Studio 01/ Edgar Arceneaux 02/ Deborah Grant 03/ Leslie Hewitt Sound Cannon Double When the Disease Penis Untitled (Epiphany of Circumstance) Projection Reveals Throttle Marks 2006-08 2009 2008 The Studio Museum in Harlem, Museum Courtesy Creative Time Courtesy the artist Purchase with funds provided by the Photo: Charlie Samuels Acquisition Committee, 08.22.1a-b Courtesy the artist and D’Amelio Terras Gallery, New York.

Edgar Arceneaux: Sound Cannon Double Projection New Photography 2009 PLOT/09: This World & Nearer Ones The Museum of Modern Art Governors Island, New York, NY September 30, 2009 – January 11, 2010 Fridays–Sundays, summer 2009, beginning June 27 New York, NY www.creativetime.org www.moma.org In 2003, the Studio Museum hosted Edgar Arceneaux’s Drawings of Removal, I am so delighted to see Leslie Hewitt (artist in residence, 2008, Frequency, an ongoing project in which the artist explores memory, perception and the 2006) included in this show at MoMA that thematically presents significant role of the viewer by using exhibition spaces as active studios to create layered, recent work in photography. The exhibition examines and expands the con- cut-out, excavated, drawn and redrawn images. Also one of five artists who ventional definitions of the medium and also includes work by Walead Beshty, collaborated on Philosophy of Time Travel (2007), Arceneaux employs an Daniel Gordon, Carter Mull, Sterling Ruby, and Sara VanDerBeek. investigative approach that is apparent in Sound Cannon Double Projection, a fascinating sound-installation project in a historic home on Governors Island. The work consists of “infrasound cannons,” powerful bass speakers that emit sounds at inaudible frequencies that have been known to induce subtle physi- cal effects, including the sensation of an otherworldly presence.

01

03 Deborah Grant: Bacon, Egg, Toast in Lard / MATRIX 228 UC Berkeley Art Museum, Berkeley, CA May 31–October 11, 2009 www.bampfa.berkeley.edu Don't Miss! Tavares Strachan: Steve McQueen An artist in residence in 2003, Grant’s works have also been The Distance Between What British Pavilion, 53rd Venice Biennale included in several group shows at the Studio Museum, including We Have and What We Want Venice, Italy (2001) and (2004). The centerpiece Freestyle Seeds and Roots Living and Dreaming (Arctic Ice Project) June 7–November 22, 2009 of the exhibition at UC Berkeley is a twenty-foot long painting The Bronx Museum, Bronx, NY Brooklyn Museum, Brooklyn, NY layered with symbols, graphic elements, diagrams, drawing and June 21—September 13, 2009 April 30—September 27, 2009 Tarjama/Translation collaged elements. The subject matter is a fictionalized meeting Queens Museum of Art between Jackie “Moms’ Mabley, of Vaudeville fame, and the Universal Code Dress Codes: The Third ICP Queens, NY Irish-born painter Francis Bacon. While at first thought an The Power Plant, Toronto, Canada Triennial of Photography May 10—September 27, 2009 unlikely pairing, the work brings to surface commonalities June 12—August 30, 2009 and Video between the two personalities, opening up dialogue on race, Photoconceptualism, 1966-1973 Posing Beauty: The Portrait in violence and sexuality. Whitney Museum of American Art African American Culture 02 New York, NY International Center of Photography, May 22—September 20, 2009 New York, NY October 2, 2009—January 17, 2010 35 Studio Icon Ernie Barnes 1938–2009 by Lauren Haynes, Curatorial Assistant

On April 27, 2009, the African-American arts community Marvin Gaye’s 1976 album I Want You. The painting was suffered the loss of well-known African-American painter also featured in the closing credits of the television show and former professional football player Ernie Barnes. Good Times. Known for his unique figurative style that emphasized the fluidity and movement of the human body, Barnes was Barnes was also an actor and a writer. During the 1970s, he seventy at the time of his passing. had various television roles. In 1995, he wrote his auto- biography, From Pads to Palette. In 1984, in perhaps the Barnes’s skill in portraying his subjects with energy and ultimate connection of art and sports, Barnes was named power was influenced by a lifetime of playing sports. His the official artist of the XXIII Olympiad and was commis- love of art developed at an early age, when he was al- sioned by the Los Angeles Olympic Committee to create lowed to look at the art books in the home of his mother’s five paintings for the Games. In 1996, the National Basket- employer. To escape bullies in junior high school, Barnes ball Association commissioned him to create a painting drew in his sketchbook. One day while drawing, his life was to commemorate the league’s fiftieth anniversary. Barnes changed forever by a teacher who discovered him hiding created works for various football teams and his paintings away and set him down the path of sports by beginning are featured in numerous public and private collections him on a weightlifting program. Like many young artists, throughout the country. In 2004, Barnes was named Barnes was told that he would never be able to make a ca- “America’s Best Painter of Sports” by the American Sport reer of art and that he should focus on something else, but Art Museum & Archives. he never gave up on his artistic dreams. Barnes went on to play football and compete in track and field in high school. Throughout his life, Ernie Barnes connected his talent After majoring in art at North Carolina College (now North for and love of both art and football. His life was an Carolina Central University) on a football scholarship, he inspiration to generations of artists and athletes and went on to play in the National Football League. During his he will be missed greatly. five seasons of professional football, Barnes played for

Photograph Courtesy of the Trust of Ernie Barnes © 2007, Photo: Luz Rodriguez. three teams. In 1965, the owner of the New York Jets saw Barnes’s artistic potential and gave him his football salary for one season so he could take the time off and devote himself completely to his art. One year later, Barnes had a sold-out solo exhibition at Grand Central Art Galleries in Manhattan and retired from football at the age of twenty- eight.

In his career, Barnes’s most visible work was the paint- ing Sugar Shack (1971). The painting features a dance party at “The Sugar Shack” and is an excellent example of the artist’s signature neo-Mannerist style, which cel- ebrates science, art, mythology and history. In it, as in all of Barnes’s paintings, the figures have their eyes closed. Barnes used this to represent the idea that, as he once put it in an interview, “we are blind to one another’s humanity.” A reproduction of Sugar Shack appeared on the cover of 37 Studio © 1976 Ernie Barnes. Ernie 1976 © Sugar Shack Sugar 39 Studio We invited artist Accra Shepp to come to Harlem as he investigates the more than thirty islands that comprise New York City. Many of these islands are often invis- Islands ible to causal observers—especially people who live and work here. Shepp reveals the nature of this maritime city through the cohabitation of its manmade architecture of New York and its natural state as a collection of islands. A photography commission by Accra Shepp 41 Studio

45 Studio Feature Correspondence: Toomer & Johnson (1930)

Chicago, Illinois July 26th, 1930 July 11, 1930 My dear Mr. Toomer: Dear Mr. Johnson, I have your letter, and I regret very much your unwillingness to have your My view of this country sees it composed of people who primarily are Ameri- poetry represented in the revised edition of The Book of American Negro Poetry. I cans, who secondarily are of various stocks or mixed stocks. The matter of descent, must admit that it is a bit difficult for me to reconcile this with the act that and of divisions presumably based on descents, has been given, in my opinion, due your work is included in Caroling Dusk—An Anthology of Verse by Negro Poets. It ap- emphasis, indeed over-emphasis. I aim to stress the fact that we all are Americans. pears to me that an “an anthology of verse by Negro poets” is more restricted than I do not see things in terms of Negro, Anglo-Saxon, Jewish, and so on. As for me a “book of American Negro poetry”; because it is wholly conceivable that a Chinese personally, I see myself an American, simply an American. poet might write “Negro” poetry. As regards art I particularly hold this view. I see our art and literature However, I think I understand, and I do appreciate your point of view; and as primarily American art and literature. I do not see it as Negro, Anglo-Saxon, and your point of view is not far from one I myself have often expressed. In most of my so on. writings I have stressed the truth that the work done by the colored creative artist Accordingly, I must withdraw from all things which emphasize or tend to em- is a part of our common, national culture, and that within the past decade it has phasize racial or cultural divisions. I must align myself with things which stress begun to be so recognized. I think such difference as there may be lies mainly in the experiences, forms, and spirit we have in common. its definitions. This does not mean that I am necessarily opposed to the various established Certainly, all you have written is a part of American literature; yet I feel racial or sociological groupings. Certainly it does not mean that I am opposed to you must agree that anyone reading Cane would call the stories in the book “Negro” the efforts and forces which are trying to make these groups creative. On the con- stories, if for no other reason than that their subject matter is concerned with the trary, I affirm these efforts. I recognize, for example, that the Negro art moment life of the group so designated. This designation does not, in my opinion, imply has had some valuable results. It is, however, for those who have and who will ben- any limitations upon the work or the author. In fact, the stories in Cane might have efit by it. It is not for me. My poems are not Negro poems, nor are they Anglo-Saxon been written by a Russian author—and well might they have been—and still called or white or English poems. My prose, likewise. They are, first, mine. And, second, “Negro” stories or stories of the “Negro” life. in so far as general race or stock is concerned, they spring from the result of ra- The elements going into the making of the new American race or stock have cial blendings here in America which have produced a new race or stock. We may call not yet reached a state of fusion, and until they do these group designations if this stock the American stock or race. My main energies are devoted and directed to- only as a matter of linguistic convenience will continue to be used. In this I am wards the building of a life which will included all creative people of correspond- merely stating what appears to me as a fact. ing type. I take this opportunity of noting these things in order to clear up a misun- With kind regards, in which Mrs. Johnson joins me,I am, derstanding of my position which has existed to some extent ever since the publish- Sincerely, ing of Cane. I am stating the same things whenever opportunity allows to everyone James Weldon Johnson concerned. I feel that just now the time is ripe to give a definite expression of these views. My best wishes for your anthology; and my warm regards to you and Mrs. Johnson.

Sincerely, Jean Toomer

These letters are excerpted from Letters from Black America, edited by Pamela Newkirk. Previous page/ James Weldon Johnson Above/ Letter from of Grace and James Letter from Jean Memorial Collection. James Weldon Johnson Weldon Johnson. Toomer to James Beinecke Rare Book and to Jean Toomer dated Weldon Johnson, Manuscript Library. July 26, 1930, is reprint- In this exchange with James Weldon Johnson (1871–1938), Jean Toomer replies to a request dated July 11, 1930 ed by permission of Dr. from the Jean Toomer Sondra Kathryn Wilson, for a contribution to Johnson’s revised edition of The Book of American Negro Poetry (1922). Papers. executor for the Estate 47 Studio 2009 Commissioned Nina Chanel Abney January/ in Janitor Ivythe and 49 Studio

Emerging Writers Visit Contemporary Artists Photo: Ven Sherrod Ven Photo: Higgins Chester Photo:

Clifton Henri Clifton Henri, 29 of Chicago, speaks to his meticulous recreation of scenes; a composi- Simone Leigh When Simone Leigh opens the video of Zira, heroine of Planet of the Apes (1968)—refer- Photographer has been taking photographs tions' conceptual statement, as well as the placement of Artist red front door of her Brooklyn ence Leigh’s ongoing interest in Frantz Fanon, Japanese Chicago, IL for more than a decade, and objects and characters, may develop and change between Brooklyn, NY loft, her hands are white with sculpture, science fiction, and colonial narratives. by Corey E. Walker over the past several years the moment of inspiration and the studio's dark-room. by Uri McMillan porcelain. Inside, she con- has devoted himself entirely verses while working in her Yet, as the display of objets d’art throughout her studio re- to the craft. His composi- If there are common figures in Henri’s work, they are the living room-cum-studio. Fresh veals, shapes, surfaces and materiality pique Leigh’s inter- tions and portraits display a keen sense of color and object young and the elderly. “In the middle, we are too con- off the installation of her show The Gods Must Be Crazy at est. The convergence of her interests in anthropology, black placement. These qualities stem from years of studying fused,” Henri says. In his compositions such as Wings SculptureCenter in Long Island City, Leigh meticulously female subjectivity and “women’s work” is evident when his artistic forebearers, such as James VanDerZee, Gordon (1999), Destiny’s Solo (2008) or the Air Up There (2008), attaches white, banana-shaped objects to a terracotta torso we discuss the historical legacy of nineteenth-century Parks and Roy DeCarava. The Chicago photographer's per- children and youth are self-actualizing without the self- resembling a medieval chest plate. On the floor beside her, performer Sarah Baartman. Leigh—in mid-thought—looks sonal touch mines urban settings, extracting an emotive consciousness of adulthood. The elderly, as depicted in two colorful plastic bowls are filled with ornate porcelain over at a terracotta vessel on her windowsill from her “Hot- urban spirituality from the rough. Simpler Times (2007), and Old School Prep (2008), have roses, glazed with a mother-of-pearl luster, that are recog- tentot Venus” series and asks, “What does it mean to say, their years etched into their physical bodies--worn hands nizable from her recent “Head Piece” sculptures. ‘She does it naturally?’” Henri describes his aesthetic and work as documentary, and slack faces. Henri’s portraits and compositions are even though most of his shots are staged; “[The work] is grounded by the emotional gravity of their figures. A digni- Leigh takes her influences from various sources, including Simone Leigh continually ponders the historic linkage of a documentary, as it happened, though not verbatim,” he fied and optimistic sheen makes the compositions nearly (in her words) “tropes of the ethnographic object,” French essentialist narratives to black diasporic bodies—particu- explains. The documentary nature of Henri’s style, then, buoyant. feminist Chantal Akerman, Pan-Africanism, black woman- larly black women—through her art. Yet she also explores hood and surrealism. Moreover, the discrete objects in art objects themselves not only as artifacts, but also as The Gods Must Be Crazy—including a thirty-foot cage, means of exploring alternative visions of time, space a terracotta pot glazed in yellow automotive paint and a and identity. 51 Studio 01/ Robert Colescott Gift of the Sea Icon 1984 Courtesy estate of the artist, Robert Colescott Tucson, Arizona 1925–2009 by Lowery Stokes Sims, Curator, Museum of Arts and Design

Robert Colescott (1925-2009) didn’t shy away from Within two years, Bob left the San Francisco Art Institute painting the political. His works depict all races, sati- for an accelerated tenure track position at the University rizing culture and racial stereotypes, reflecting on the of Arizona in Tucson. He married his fourth wife, artist way race is portrayed and dealt with within art and Colleen Hench, and produced a fifth son, Cooper. (I was our society. Taking cues from both world and art his- appointed godmother.) His paintings took another turn as tory, Colescott is best known for reimagining famous he developed a polymorphic narrative structure not unlike American and European paintings and replacing the that of alternative cartoons. He reconnected with his inner figures with caricatures of African Americans. “Robert Crumb,” who had produced the naughty-but-nice signature Colescott paintings of the 1970s. In 1987, his Born in Oakland, California in 1925, Colescott was first retrospective, at the San Jose Museum of Art, was educated at the University of California, Berkeley in organized by John Olbrantz and Miriam Roberts. Mitchell 1949. Afterward he studied in Paris with the Cubist Kahan, who is now director of the Akron Art Museum, and I painter Fernand Léger and returned to Berkeley for wrote essays. For the next decade and a half, Bob decon- his masters. In 1997 was the first African American to structed historical truths and half-truths, implicating us all represent the United States at the Venice Biennale. in the hypocrisies that have propelled world history and His striking and vivid paintings continue to voice his predicated global culture. These works were the focus of ideas about the way we view ourselves and how we his installation in the U.S. pavilion for the 1997 Venice live our lives. Colescott’s longtime friend and colleague, Biennale. Miriam Roberts was the commissioner. Lowery Stokes Sims, remembers him and his work. By this time, Bob had hooked up with Jandova Cattron, doyenne of the international-European-Old-Masters- Bob Colescott’s paintings set. She was the perfect foil: a crackerjack iconographer and a committed genealogist (her white Most Excellent Year and black lineage is as convoluted as Bob’s) from Detroit. Far from being the Orwellian nightmare that we’d been led When they married in 2007, Alfred Quiroz and I were to believe it would be, 1984 was a good year for Bob Co- witnesses. When I think about it, Bob and I were unlikely lescott (1925–2009). He was the cover boy for the March friends, separated as we were by age (twenty-four years) issue of Artforum, which published my article on his work. and gender. (And that curator/artist thing can get tricky.) (It still surprises me with its cheeky and daring analysis, Although we started out worlds apart in outlook and opin- produced through the prodding of Charles Hagan, the ion, we worked our way to mutual respect and affection— editor Ingrid Sischy had assigned to me). By that year Bob without yielding one bit in our individual perspectives. I had broken out of his well-known strategy of image appro- suppose that is all one can hope for in a friendship. 01 priation and had started a series of paintings, “The Bathers Pool.” In these not-so-idyllic scenes of a “far, far away” of a postcolonial kind, he sampled, remixed and riffed off of Giorgione (Arcadia), Cézanne (Bathers), Gauguin (Paradise Lost) and Matisse (Luxe, Calme, et Volupt). His painting technique had changed; he reconnected with his inner Abstract Expressionist from the 1950s and 60s. The surfaces became more textural as he composed tales of a black Eden disrupted by a white, blond woman who mysteriously washes up on shore. Dramas of lost self- image and celebrations of non-canonical beauty ensue. 53 Studio EXPANDING THE WALLS MAKING CONNECTIONS BETWEEN PHOTOGRAPHY, HISTORY AND COMMUNITY

ATby Russell Watson, ETW and A Youth Programs CoordinatorGLANCE

Coordinating the Expanding the Walls program demands a Introduction to VanDerZee’s Harlem subtle blending of two primary objectives. The first is to en- Working with eighty VanDerZee images for them to include courage the program’s teen participants to develop a critical in their exhibition, program participants spend two months and historically informed understanding of their present. The discussing the themes and history of these images. They second, which requires a great deal more listening, is about discuss how these themes apply to contemporary life, and 05 06 absorbing all the complexity of their individual perspectives by extension their own experiences. They work on hands-on and guiding them to the tools and references they can use to art-making activities, including collaging, curatorial exercises, Introduction create images through which to communicate. The binding Polaroid activities and slide presentations. to the camera agent between these two objectives is exposure to the com- In late March, program plicated pictorial history of the Museum’s VanDerZee archive. participants are given Introducing the program’s participants to this material and giv- 35mm cameras for the ing them the chance to respond to it generates the program’s first time. They are guided 08 annual exhibition. through the operation of the camera by a series of slide lectures and exercises designed to develop their understanding of pho- Introduction tographic exposure and to the Museum composition. Participants are immersed 07 09 in the inner workings of the 02 Museum through a series Exhibition of visits. During this part Once their projects are complete, participants switch from being artists to being curators so they 01 of the program they learn can construct the narratives of the exhibition. They consider the visual and thematic relation- about the history of the ships among their projects, and between their work and the VanDerZee pieces, to create a Individual projects Museum and spend time stimulating exhibition. From the beginning of the with staff in several depart- program, participants are 10 ments, including having asked to keep a journal of one-on-one conversations found images and written with Director and Chief Education programs entries to inform the core Curator Thelma Golden. Once the work is printed, themes of their projects. Most importantly, they framed and installed, the This journal is condensed 03 are given rare access to participants work with into a project statement our permanent collec- 01/ School and Family 05/ Curatorial Assistant 10/ ETW09 participants Education Department that each student explores Programs Coordinator Thomas Lax discussing Aishah Abdullah and staff to prepare tours and tion storage facility, where Shanta Scott leading a final selections with pro- Kelsey Mills working on a 12 and develops over two they get a firsthand look at VanDerZee slide show gram participant Marley Polaroid activity activities to support the months. Regular visits with activity. González. the precious VanDerZee 11/ ETW09 participants exhibition. The tours and our Curatorial and Educa- 02/ Exhibitions Manager 06/ ETW Alum Ivan Forde (l to r) Sasha Smith, Kelsey materials. workshops are designed to tion departments and Marc Bernier showing discussing his work pre- Mills and Courtney Howell samples form the VanDer- sented at Bloomingdale’s discussing final selections appeal to summer camps, artists in residence help the Zee archive to program with ETW09 participants for exhibition. college-level interns, participants expand and participants. Jordana Churchman and Tiana Mincey. 12/ ETW09 participant seniors and others. deepen their perspec- 03/ ETW09 participant Marley Gonzalez working Jordana Churchman 07/ ETW09 participants on her final selection for tives, as well as develop working on a collage visit with art dealer exhibition. 11 13 critical thinking, literacy and activity. Collette Blanchard at her Lower East Side gallery. 13/ ETW09 participant communication skills. This 04/ Curatorial Assistant Tiana Mincy working on a The Expanding the Walls program is an immersive introduction to major themes in history, Lauren Haynes discussing 08/ ETW09 participant curatorial exercise. phase also includes a series the Harlem Postcard Jordana Churchman community and art, and an opportunity to slip through time. From one photo to the next, viewers / ETW08 and 09 visit of off-site visits to artist stu- project with program discussing her work with 14 can visit a gathering of Garveyites in 1930 or sit among teenagers in 2009. They can study recent participants. AIR09 Dawit L. Petros. an exhibition of ETW08 dios, galleries, exhibitions photographs at Bloom- arrivals from the Jim Crow South at one moment and in the next examine the generation that will and other art spaces. 09/ ETW09 participants ingdale’s. visit with collector and inherit the future. SMH board member 04 Nancy Lane. 14 55 Studio The Artist’s Voice: 2008–09 Artist-in-Residence Moderated by Naomi Beckwith Target Free Sundays 3–5 pm Theatre at the Studio Museum Join the current Studio Museum artists in residence, Khalif Kelly, Adam Pendleton and Dawit L. Petros,for an in-depth discussion of their exhibition, work and residency experiences.

Sunday, September 13 Community Jam: Coloring Book Launch! Sunday, August 2 12–4 pm Studio View: Films by Horace Ové Courtyard 3–6 pm Courtney Howell / Suave Dapper/ 2009 / Courtesy the artist In celebration of the debut of the Studio Museum’s first color- Theatre ing book, join us for a day of activities for the whole family fea- Pressure and Baldwin’s Nigger directed by Horace Ové turing live music, a magic show, art activities and refreshments. Hailed as Britain's first black feature film, Pressure is a Studio View: Afro-Latin Perspectives in Media hard-hitting, honest document of the plight of disen- 3-5 pm Studio View: A Different World Marathon chanted British-born black youths. Set in 1970s London, it Theatre 1–4 pm tells the story of Tony, a bright school dropout, son of West This program will present an opportunity to learn more Theatre Indian immigrants, who finds himself torn between his about the diverse Afro-Latin cultures by screening After a long summer, going back to school can feel like A parents' church-going conformity and his brother's Black samples of various Afro-Latin-themed documentaries Different World! Join us for a day of free popcorn and a Power militancy. An angry but sincere and balanced film, and fictional films. This series of shorts will be followed Adriana Frazier / You Can't See What I See / 2009 / Courtesy the artist marathon of classic episodes of the sitcom that made it Pressure deals with the identity struggles that children of by a conversation with filmmakers and local representa- cool to be in school. immigrants have to face. tives from communities represented in the films that will address the lack of Afro-Latin media and how these Sunday, July 19 Sunday, September 20 Baldwin's Nigger is a striking portrait of the writer James communities are trying to tell their stories. This program is The Making of Joe Louis Boxing Gym Studio View: Let Freedom Sing! How Music Baldwin at his sharp-witted best addressing a group of presented In association with Abstract Nomadic Media. by Michael Chuapoco Inspired the Civil Rights Movement radical West Indian students in 1960s London. Accom- 12–6 pm 1–3 pm panied by comedian and civil rights activist Dick Gregory, Sunday, August 23 Theatre Theatre Baldwin discusses black experience and identity in both Interactive Performance: Take a seat in our theatre for a quick behind-the-scenes Let Freedom Sing! powerfully retells one of the greatest Britain and America. Impassioned and entertaining, this is New York City Puppet Theatre view as videographer Michael Chuapoco follows artist stories in American history, the tale of the civil rights move- a fascinating snapshot of one of America's most powerful 1–2 pm Derrick Adams as he photographs the Joe Louis Boxing ment, in a compelling new way, through the singers and novelists and spokesman for a generation. Theatre songwriters who fought for change through their music. Gym for the creation of his Harlem Postcard. This video Join us for a performance by New York City Puppet highlights the many artistic possibilities of the space and Sunday, August 9 Theatre, the oldest African-American puppet theatre provides a glimpse into the Adams’s approach to captur- HandsOn: CD Disco Ball HandsOn: Hurvin Anderson Recollages in the country. ing one of Harlem’s rare gems. Be sure to pick up the 2–4 pm 1–3 pm postcard from the Museum lobby! Lower Level Education Space Lower Level Education Space HandsOn: Paper Puppets Take compact discs for a new spin. Use them and Styro- Get inspired by Hurvin Anderson’s “Barbershop” series 2–4 pm HandsOn: The Art of Animation foam balls to turn that disco out! and make your own barbershop using paint and precut Courtyard 2–4 pm materials. Can you turn an ordinary paper bag into a creative charac- Vital Expressions: The Art of the Album Cover Courtyard ter? Or animate a paper manikin? Grab some art-making Explore artist in residence Khalif Kelly’s exhibition, which 3–5 pm Access Tour: Verbal Description supplies and give it a try! contains notes of early cartoons. Then make your own Theatre 2 pm animated cartoon—a thaumatrope! Learn the basic prin- The history of album cover artwork spans from the 1930s Galleries Sunday, August 30 ciples of animation with these simple optical illusions. through today. These era-defining images forged the Visitors who are blind or visually impaired are invited to join HandsOn: Expanding the Walls Photo Collages reputations of many leaders of the music, art and design a guided tour of the exhibitions. 2­–4 pm worlds. In commemoration of artist Ernie Barnes, whose Sunday, July 26 Courtyard Eye Spy Gallery Scavenger Hunt painting was used for Marvin Gaye’s I Want You, join us in Sunday, August 16 Explore the 2009 Expanding the Walls photography 1–3 pm conversation that will explore how album cover design Studio Games exhibition, and then remake your “world” using images Galleries has influenced and been influenced by popular culture. 2–4 pm and the technique of collage to express your vision. Bring Roam our exhibitions looking for clues that lead to prizes The panel will include Harry Weinger, vice president of Courtyard in your own pictures and use images from the Studio and treats! the Universal Music Group and Hollis King, art director for Join us for a day of interactive fun and cool prizes! Museum’s collection. Verve Records. 57 Studio Sunday, October 4 Studio View: Robert Colescott: The One-Two Punch 3–5 pm Education and Theatre Colescott is considered one of the most important Public Pro∂rams American figurative painters of his generation. Throughout his professional career, he stood at the cutting edge of painting from a position outside the mainstream art world. His work is sarcastic, satirical, humorous, and disturbing as he tackles racial and gender stereotypes.

Directed by David Irving / 28 min. / 1992

HandsOn: Storyboards 2–4 pm Lower Level Education Space Inspired by the work of artist in residence Khalif Kelly, this workshop will introduce visitors to the basics of story- boarding. Storyboards are like comic books that many movie directors use to help them make their films. Come draw a storyboard for a scene from your own movie.

Hurvin Anderson/ Peter’s (Pioneer) IV/ 2007/ Courtesy Guy and Alexandra Halamish Sunday, October 18 Adam Pendleton/ System of Display: SPC (Spectacle/Burial Adam Pendleton/ System of Display: EE (Generates/Giulio HandsOn: Canvas Design mask, Mmo Society. Ibo [Onitsha province]. Br. Nigeria/ Paolini, Young man looking at Lorenzo Lotto, 1967/ 2008-09/ 2–4 pm 2008-09/ Courtesy the artist Courtesy the artist Sunday, September 27 Lower Level Education Space Story Arts: Children’s Book Corner Inspired by artist in residence Adam Pendleton’s exhibi- New! 2–4 pm tion of silkscreen images, this workshop will introduce visi- Books & Authors Book Club July Museum Store tors to the basics of graphic design. Join us for a fun day of Want to explore contemporary ideas and issues through Lil’ Studio! Visit the Museum Store and curl up with a good book! color and puffy paints. Take home your own work of art! literary works? Curious about the practices and processes Fun with Scrapbooking Enjoy story time in the book corner, set up for families of today’s most acclaimed authors? Looking to socialize Wednesday, July 29, 11-12 pm to enjoy together. Sunday, October 25 with other avid readers? Looking for a ‘good read’? Then Parents, bring your little ones ages 2.5 to 4 for an afternoon Studio View: Michael Jackson Classics join us for Books & Authors Book Club—the Museum’s at the Studio Museum! Meet other parents, view the Studio View: United States of Poetry: 1–4 pm new book club. We will begin by sharing our thoughts current exhibitions, enjoy art-making and other activities The Land and the People Theatre about the chosen literary work, and then enjoy some that encourage creative time and bonding. 2–4 pm Ghosts is a short film starring Michael Jackson and light refreshments and stimulating conversations. Theatre directed by film director and special effects guru Stan Join a fun hands-on scrapbooking workshop in which This film explores a place where our different origins and Winston. The film tells the story of a scary Maestro with By joining as a Studio Museum member today, you will you’ll learn tips and strategies for preserving baby’s most lineages come together as new poetry. It features former supernatural powers, who is being forced out of a small receive 15% off the Book Club books as well as all other precious memories. For this activity, designed for families U.S. Poet Laureate Rita Dove, Indian cowboy poet Henry town by its mayor. The movie includes a series of dance purchases in the Museum Store and a year’s worth of ac- to enjoy together, bring a few photos or small items to Real Bird, poet Tracie Morris, Palestinian-American poet routines performed by Michael Jackson and his "family" of cess to the preeminent institution devoted to work by art- include in your scrapbook. All participants will receive a Naomi Shihab Nye, Amiri Baraka, Pedro Pietri, Quincy ghouls. Every song from the film was taken from Michael ists of African descent. To join, simply pick up a brochure special gift, and refreshments will be served.

Troupe and Michael Franti. Jackson's HIStory and Blood on the Dance Floor albums. at our front desk or in the Museum Store. You can also See below for pricing information. The film is also notable for an early film appearance of sign up online at studiomuseum.org/membership or call rapper Mos Def. us at 212.864.4500 x244 and we’ll help you select the level of membership that is right for you.

The Making of Michael Jackson's Thriller The first meeting ofBooks & Authors Book Club will be on Tuesday, September 8. Released on video in 1983, the video thriller was the first

big budget music video featuring all the latest special ef- Books & Authors Book Club Studio Sessions is $15 for The Artist’s Voice is FREE. Lil' Studio is FREE. Uptown Fridays is $15 fects of the time. This film shows the behind the scenes is FREE. Seating is limited and members, seniors and stu- Seating is limited and available Pre-registration is required. for members, seniors and available on a first-come, dents and $20 for the general on a first-come, first-served Please call 212.864.4500 x264 students and $20 for the making of the "Thriller" music video including the full first-served basis. Please call public. Tickets are available at basis. Please call 212.864.4500 to register. general public. length video "Thriller", as well as interviews with Michael 212.864.4500 x264 to reserve the Museum Store. Please call x264 to reserve a space. a space. 212.864.4500 x264 for more Jackson and some of the cast and crew. information. 59 Studio September Books & Authors Book Club, featuring Midnight: A Gangster Love Story by Sister Souljah Tuesday, September 8, 7–9 pm Join us for the first meeting of Books & Authors Book Club, where we will discuss Midnight: A Gangster Love Story. Sister Souljah, the hip-hop generation's number one author and most compelling storyteller, delivers a power- ful story about love and loyalty, strength and family. In her bestselling novel, The Coldest Winter Ever, Sister Souljah introduced the world to Midnight, a brave but humble Tiana Mincey / Epitome / 2009 / Courtesy the artist lieutenant to a prominent underworld businessman. Now, in a highly anticipated follow-up to her million-selling mas- terpiece, she brings readers into the life and dangerously close to the heart of this silent, fearless young man. October See page 57 for pricing information. Special Program: Brandon Venable / I’m Still a Brownstone / 2009 / Courtesy the artist Art: 21 – Art in the Twenty-First Century co pre- Vital Expressions: sented by Art 21 and the Studio Museum in Harlem The Art of the Album Cover October 15 August Sunday, September 20, 3–5 pm Join us for a special presentation of Art:21 Season The history of album cover artwork spans from the 1930s 5 at the Studio Museum in Harlem. Studio Sessions: Uptown Fridays: through today. These era-defining images forged the Art in the Twenty-First Century is the first broadcast A Celebration of Afro-Latin Rhythms “Afro-Latin Style” with Geko Jones & Ethegy reputations of many leaders of the music, art and design series for national public television to focus exclusively on Friday, August 7, 7 pm Friday, August 21, 7 pm worlds. In commemoration of artist Ernie Barnes, whose contemporary visual art and artists in the United States. In (Rain date: August 14) (Rain date: August 28) painting was used for Marvin Gaye’s I Want You, join us in the series, contemporary artists speak directly to the au- Africa's connection to Latin America has historically had Join us for an “Afro-Latin edition” of Uptown Fridays! conversation that will explore how album cover design has dience in their own words, reflecting on their lives, sources a significant influence on the incredibly fertile and diverse Dance to the worldly beats of Global Ghetto Technician, influenced and been influenced by popular culture, and of inspiration, and working processes. Profiled artists cultural traditions from these regions, especially within Geko Jones, along with a warm-up by up Eclectic Techni- has responded to artistic movements and technological include painters, sculptors, printmakers, photographers, Latin music. Come celebrate these hypnotic, percussive cian Ethegy. Experience this high-energy party flow into developments and change. This program will appeal to installation and video artists, and artists working with new rhythms as musicians and poets representing the Afro- paint as visual artists create Afro-Latin inspired work live to design aficionados and music fans alike. The panel will in- media, environmental or public issues, and hybrid forms. Descendant communities of Colombia, the Dominican the beats! clude Harry Weinger, vice president of the Universal Music Republic, Honduras, Puerto Rico, Peru and others perform See page 58 for pricing information. See page 57 for pricing information. Group and Hollis King, art director for Verve Records. the many flavors of Afro-Latino music and spoken word in The Artist’s Voice: a “cultural jam session”. The Artist’s Voice: Vital Expressions introduces and illuminates connections Fantasy & Fiction See page 57 for pricing information. 2008–09 Artist-in-Residence between the visual arts and other disciplines through Sunday, October 25, 3–5 pm Moderated by Naomi Beckwith conversations, concerts, theater and dance. The mainstream media have expressed a renewed inter- Sunday, August 30, 3–5 pm est in fantasy and speculative fiction which overlap the Join current Studio Museum artists in residence Khalif Open House for Educators genres of science fiction, superhero fiction, utopian and Kelly, Adam Pendleton and Dawit L. Petros for an in-depth Tuesday, September 22, 4:30-6pm dystopian fiction and alternate history, among others. Join discussion of their exhibition, work and residency experi- Teachers are invited to attend a guided tour of the current us for a conversation with illustrator Shawn Martinbrough, ences. Conceived at the formation of the Museum over exhibitions, meet Education staff, and learn about pro- writer Joseph Illidge and writer, producer and director M. forty years ago, the Artist-in-Residence program remains grams that will help you use the arts and cultural institu- Asli Dukan, as they discuss the varying applications of vi- central to the Studio Museum’s mission. tions as a tool for learning. Don’t miss this great opportu- sual storytelling, and the perspectives of practicing artists nity to learn about group tours, resources for educators, See page 57 for pricing information. of color in this field. and collaboration opportunities for your school! See page 57 for pricing information. See page 58 for pricing information.

Open House for Educators Art: 21 Season 5 at the The Artists-in-Residence Foundation, Milton and Sally Books & Authors The Artist's Voice Family Programs Recreation & Historic Preserva- is FREE! Refreshments will be Studio Museum in Harlem Program and annual exhibition Avery Arts Foundation and is made possible by support is made possible, in part, by are funded in part, by public tion made available through served. To register or to receive is $15 for members, seniors and are presented with the support by endowments established from the New York State MetLife Foundation and an funds from Council Member the office of Assemblyman more information, please call students and $20 for the of: Nimoy Foundation, National by the Jacob and Gwendolyn Council on the Arts, a state endowment established by the Inez E. Dickens, 9th C.D. and Keith L.T. Wright. 212 864-4500 x264. general public. Please call Endowment for the Arts, New Lawrence trust and Andrea agency, and MetLife Ron Carter Family in memory Speaker Christine Quinn and 212.864.4500 x264 to reserve York State Council on the Frank Foundation. Foundation. of Studio Museum in Harlem the New York City Council, the a space and for more info. Arts, a state agency, Jerome Trustee, Janet Carter. New York State Office of Parks, 61 Studio New Product Coloring Book / c.1920 / Courtesy Donna Mussenden VanDerZee Mussenden Donna Courtesy / c.1920 /

From its inception, Studio has been proud to support artists of African descent and artists who highlight the African-American experience by commissioning them to create works for the magazine. In each issue, we provide Knights of the Commandery Commandery the of Knights a creative space for children’s book illustrators to create

© Elaine Pedlar May Created exclusively for original works of art for children to color. This year, we’ve The Studio Museum in Harlem

brought all of our past commissions together in a new 38 / coloring page 55 Studio / Spring 2009 coloring book for children (and adults) to enjoy. James VanDerZee / / VanDerZee James

We turned to our original coloring page illustrator, Chris Myers, to create some new works, which also are featured

William Mwazi Captain America–Barack Obama (The Future of Leadership) 2009 Created exclusively for © 2005 Javaka Steptoe The Studio Museum in Harlem I am powerful created exclusively for in this issue (and a special one exclusively in the book). The Studio Museum in Harlem Myers designed our first coloring page, which appeared in the 2005 debut issue of Studio. With more than fourteen reproductions, the Coloring Book will provide hours of fun and creativity for everyone—young artists and their families can even design their own masterpieces on the blank back pages.

Reproductions of past coloring pages were generously donated by the artists: Benny Andrews, Bryan Collier, E.B. Lewis, Frank Morrison, William Mwazi, Christopher Myers, Kadir Nelson, Elaine Pedlar, Paul Rogers, Javaka Steptoe, and Nicole Tadgell. Designed by Metagee, the Coloring Book can be purchased in the Museum Store (see page 73).

Support for the coloring book is provided by the Upper Manhattan Empowerment Zone Development Corporation.

Try your hand at filling in a life-sized reproduc- tion of a coloring page at the Coloring Book launch during our Target Free Sundays program on September 13 (see page 55). 63 Studio

Chris Myers 2009 Created exclusively for The Studio Museum in Harlem 65 Studio Development Spring Luncheon

On Thursday, April 23, 2009, The Studio Museum in Harlem held its third annual Spring Luncheon at the Mandarin Oriental New York. This year, guests saluted Amsale, founder, co-CEO and creative director of the Amsale Design Group. Amsale has contributed greatly to fashion and art through her amazing designs. The wonderful afternoon continued with inspired words from participants in the Museum’s Expanding the Walls program. The proceeds from the Luncheon benefit the Museum’s education and public programs. Photos: Ray A. Llanos Ray Photos:

Spring Luncheon 2009 Dr. Bettye Fletcher/Fletcher Donor Edris Nicholls Miyoung Li Asset Management Inc. Shelley Fox Aarons Patricia Pickens The Robert Mapplethorpe Benefactor Gwendolyn Frempong-Boadu Rae Wright Allen Marquita Pool-Eckert Foundation Bloomberg Maryellen Gordon and Veronica Julie Bernstein Kim Powell Raymond J. McGuire Kathryn C. Chenault & Chambers/Glamour Judia Black Tracy Reese Kendall Reid Carol Sutton Lewis Magazine Tinika Brown Shaun Caley Regen Virginia Robinson Debra L. Lee/BET Networks halley k. harrisburg Melva Bucksbaum Cynthia Rowley Andrea Rosen Dr. Amelia Ogunlesi Joyce K. Haupt Amy Cappellazzo Jean Shafiroff Joyce Pomeroy Schwartz Ann Tenenbaum & Kim Heirston Debra Martin Chase Jack Shainman Elza R. Sharpe Thomas H. Lee Alitash Kebede Pippa Cohen Michele Smalley Lowery Stokes Sims Christina Lewis Wendy M. Cromwell Jane Sutherland Sharon G. Socal Patron Dorothy Lichtenstein Gordon & Peggy Cooper Davis Janet Hill Talbert Sophie Crighton Stuart Debra Tanner Abell, MD Margaret Munzer Loeb & Ria A. Davis Vanessa Webster Sheila G. Talton David Addams/The Oliver Daniel Loeb Lisa Dennison Constance White Larry & Brenda Thompson Scholars Program Catie Marron Suzanne T. Donaldson Seana Linnehan Wood Ernestine Washington Jacqueline L. Bradley Jenna Lyons Mazeau/J. Crew Bernice L. Giscombe Sally & Dan Wigutow Michèle Lallemand Brazil Crystal McCrary Gabrielle Glore Contributor Robin Brooks Laura Michalchyshyn Cristina Grajales Anonymous This list is current as of May 5, Peggy Cooper Cafritz Eileen Harris Norton Bethann Hardison Khandi Alexander 2009. The Studio Museum in Pamela G. Carlton Holly Phillips, MD Carla A. Harris Denise V. Burrell-Stinson Harlem makes every effort to Malaak Compton-Rock Deborah Roberts Dr. Virgil A. Hatcher Anne B. Cammack ensure the accuracy of its list Saundra Williams Cornwell Jeanne Greenberg Rohatyn Gayle King Linda F. Daitz of supporters. If your name Mary Sharp Cronson Lisa Schiff Andrea London-Gilstrap Susan Fales-Hill has been omitted, please let Dawn Lazette Davis Melissa Schiff Soros Ginger McKnight-Chavers Joan Hornig us know by contacting Special Reginald & Sharon Davis Teri Trotter Lanie McNulty Angelique Francis Projects at 212.864.4500x218 Muna El Fituri Veronica Webb Bridget Moore Constance B. Green or [email protected]. Sima Familant Alicia Hall Moran Elizabeth Szancer Kujawski $5,000 to $9,999 Pam Grier $500 to $999 Constance & Alan E. Green 67 Studio American Express Company Samuel L. Guillory, MD Philip E. Aarons & Dr. Shelley Fox Aarons Joan Greenfield Philanthropic Program Eileen Harris Norton Answorth A. Allen, M.D. & Consuelo Hudgins Supporters Corey M. Baylor & Racquel Chevremont Kim M. Heirston Rae Wright-Allen, M.D. Nene Humphrey Membership List Baylor George Hornig Paola Antonelli & Larry Carty IBM Corporation Matching Grants Jemina R. Bernard Helen Hostin Julie Bernstein Program 2008–09 Judia & Daniel Black Ann N. Jackson Amy Cappellazzo/Christie's Bert Jeffrey April 1, 2009– Patricia Blanchet Ross Jacobs Debra M. Chase Barbara Johnson Ben Bramm Alitash Kebede Susan Courtemanche Dr. Christopher A. Johnson Tinika Brown Gayle King Wendy Cromwell Mr. and Ms. Jeh Johnson, Sr. March 31, 2010 Colgate Palmolive Elizabeth S. Kujawski Ria A. Davis Susan Joseph Davis Brody Bond, LLP Rachel Lehmann Lisa Dennison Wanda Kemp-King DuBose and Dorothy Heyward Toby D. Lewis Philanthropic Fund Suzanne T. Donaldson Beth Lawrence Memorial Fund Dorothy Lichtenstein Jeanine B. Downie Tilden J. Lemelle Rebecca & Martin Eisenberg Daniel Loeb & Margaret Munzer Loeb Thomas E. Dyja & Suzanne Gluck Miyoung Li Marieluise Hessel Artzt & Ed Artzt Fabian Marcaccio & Galia Solomonoff Hughlyn Fierce Japser Lin HSBC Jenna L. Mazeau Jeanne D. Fisher Munira Lokhandwala The Board of Trustees and Director of The Studio Johnson & Johnson Crystal McCrary Anthony Kristen K. Fisher Ian MacCallum The Museum's Membership Program has played an Museum in Harlem extend deep gratitude to the Nancy L. Lane Douglas E. McIntosh John Gilstrap Larry Mantello important role in the institution's growth for forty LEF Foundation Ginger McKnight-Chavers and Bernice L. Giscombe Daisy W. Martin donors who supported the Museum from July 1, 2008, Cheryline Lewis Kevin G. Chavers Gabrielle Glore Gerald McCarthy years. Thank you to all the following who helped to May 31, 2009. Loida Nicolas Lewis Jennifer McSweeney & Peter Reuss Cristina Grajales Erich Meyerhoff maintain our ambitious schedule of exhibitions and Donald & Catie Marron Richard & Ronay Menschel Bethann Hardison Linda Miller Yolanda & Meredith Marshall Merrill Lynch & Co. Carla Harris & Victor Franklin Angeline Monroe-Mayo public programs during the 2008–09 season. Merv Matheson Metropolitan Museum of Art Virgil Hatcher Cathleen S. Morawetz $500,000 & above The Niki and Joe Gregory Charitable Henry W. McGee Laura Michalchyshyn Janet Hill Talbert Mr. and Mrs. Joel Motley Corporate Valerie Cooper Joseph J. Johnson The New York City Department of Foundation The Moody's Foundation Milton and Sally Avery Arts Foundation Judith Rothschild Foundation Eunice H. Murphy Membership Garfield Clunie Elizabeth S. Kujawski Cultural Affairs Pepsi Cola North America Ruthard C. Murphy II Dr. Kenneth Montague Lucy J. Lang Nancy B. Negley Supporter Charles Davis Melva Bucksbaum & Upper Manhattan Empowerment Zone Pfizer Holly L. Phillips, MD & Jose L. Tavarez Maryanne Mott Sherry & Joel Mallin The New York Times Company Goldman Sachs & Co. Michael Dunham Raymond Learsy Development Corporation Pierre and Tana Matisse Foundation James Shipp Martha Newton Alane McNulty Foundation Matching Gifts Program Pfizer, Inc. Allison Ecung Adam & Diane L. Max George Wein Marilyn & Jim Simons Olnick Organization, Inc. Gregory R. Miller Peninsula Foundation Charles F. Etuk Cynthia S. May $100,000 to $499,999 The Winston Foundation Melissa & Robert Soros Thomas Overton Bridget Moore & Edward DeLuca Olivia E. Perkins Associate Courtney Finch Taylor Dr. Kenneth Montague Assemblyman Keith L.T. Wright, Verizon Foundation Ellen & Jerome L. Stern Jane Penn Alicia Hall Moran Fannie Porter American Express Latressa Fulton Brian Phillips 70th A.D. Michael W. Stout Lisa & Richard Perry Edris E. Nicholls Ernesta G. Procope Company Nicole Gibbons Barbara Schiffrin Carnegie Corporation of New York $10,000 to $24,999 The Bay and Paul Foundations Holly Peterson Eliot Nolen Kendall Reid Consolidated Edison Shani Gonzales Omar Wasow Gwendolyn Knight Lawrence Andy Warhol Foundation for the Arts The Keith Haring Foundation Carl H. Pforzheimer Patricia Pickens Virginia Robinson Company of New Djena N. Graves Carrie M. Weems & New York State Council on the Arts Gayle Perkins Atkins & Charles Atkins Jide Zeitlin Kim Powell Marquita J. Pool-Eckert & Knut Eckert Andrea Rosen York Anitra Haithcock Jeffrey Hoone Target Corporation Barker Welfare Foundation The R & B Feder Charitable Foundation Tracy Reese Sylvia Schreibman Moody's Carl Hixson The Wachovia Foundation Douglas Baxter/PaceWildenstein $1,000 to $4,999 for the Beaux Arts Shaun C. Regen Joyce P. Schwartz UBS Al-lyce E. James Associate Speaker Christine Quinn and Roland W. Betts Anonymous Katie Rashid Antonio & Erica Reid Vernon Sears Amy Keith Cynthia D. Adams the New York City Council Patrick A. Bradford Debra Tanner Abell Janelle Reiring Cynthia Rowley Dr. William Seraile, PhD Special Membership Habiba Koroma Barbara E. Anderson Council Member Inez E. Dickens, Peggy C. Cafritz David Addams Doreen Remen Jean Shafiroff Elza R. Sharpe Studio Society Ahovi G. Kponou Alvin H. Brown 9th C.D. Margaret A. Cargill Foundation Peg Alston & Willis Burton David Rockefeller Jane Sutherland Kenneth Sills Gregory & Ria Davis Gina Love Heather R. Byer Carver Federal Savings Bank Ann & Steven Ames The Rockefeller Foundation Vanessa Webster Patterson Sims Halley K. Harrisburg & Carolyn Maitland Idit Caperton $50,000 to $99,999 Christie's John Arnhold Jeanne Greenberg Rohatyn & Constance White Sippio Small Michael Rosenfeld Sheila McDaniel Constance Caplan Bloomberg The College of New Rochelle Nicole Avant Nicolas Rohatyn John T. Williams Mr. & Mrs. Howard Socol Henry W. McGee Douglas E. McIntosh Raphael Castoriano Kathryn C. and Kenneth Chenault/ Con-Edison James G. Basker Al Roker & Deborah Roberts Joanne M. Stern David Teiger Cerisa Mitchell Glenn Davis American Express The Cowles Charitable Trust Carmine D. Boccuzzi Mera Rubell up to $499 Lowery Stokes Sims Jennifer Prince Kevin M. Davis Anne & Joel Ehrenkranz The David Rockefeller Fund Jean M. Bollinger Lisa Schiff Cynthia D. Adams Sheila Talton Director's Circle Medina Senghore Karole Dill Barkley Mitzi & Warren Eisenberg Peggy Cooper Davis & Gordon J. Davis/ J. Max Bond Jack Shainman Khandi Alexander Wilbert Tatum Dr. Michelle Carlson Lacary Sharpe Elaine G. Drummond The Horace W. Goldsmith Foundation Dewey & LeBoeuf Joseph & Michéle Lallemand Brazil Harvey S. Shipley Miller Answorth Allen Beverly Taylor Pierre and Tana Matisse Judith W. Smith Jack Fogle Institute of Museum and Library Christian Haye/The Project Deborah & Willard Brittain Charles A. Shorter Ann B. Armistead Mr. & Mrs. Larry D. Thompson Foundation Traceye Smith Kathleen Francis Services Susan Fales-Hill & Aaron Hill Robin C. Brooks Marsha E. Simms Anna R. Austin Jacqueline Tuggle Barbara & Stephen J. Clara R. Stanton Dr. & Mrs. Harold P. Carol Sutton Lewis & William M. Lewis Jr. Frankfurt Kurnit Klein & Selz Pamela G. Carlton Starry Night Fund Grace H. Ayanru Gloria L. Vanterpool Sweeny Jim Taylor Freeman Susan & Donald Newhouse Greenberg Traurig/Ernest Greer Pippa Cohen Suzanne Slesin & Michael Steinberg Christopher Bertholf David Walters John H. Watson Eleanor Friedman Dr. Amelia Ogunlesi & Adebayo Agnes Gund & Daniel Shapiro Donald Coleman Kevin & Bonita Stewart Denise V. Burrell-Stinson Ernestine Washington Curator's Circle Ayesha Williams Ira Goldberg Ogunlesi halley k. harrisburg & Michael Rosenfeld Kevann M. Cooke Charles D. Storer Jr. & June Kelly Anne B. Cammack Leroy Washington Jacqueline Hayot Jason Wood Marc Gross Ann Tenenbaum & Thomas H. Lee Joyce & Ira Haup, II Paula Cooper Jim Taylor Ellen P. Cason Yelberton Watkins Sanjeanetta Harris Time Warner, Inc. HBO/Henry McGee Peggy Cooper Cafritz The Bartech Group, Inc. Darlene Chan John H. Watson CF Couple General Membership Ego L. Hayes The Joyce Alexander Wein Artist Prize Jerome Foundation Mr. & Mrs. Donald Cornwell The Heyday Foundation Phyllis Cherebin Martha & Marvin Weinar Hope & Mogolodi Bond Benefactor Lois Henderson Kevin Johnson & Karen Jenkins- Mary Sharp Cronson The Robert Mapplethorpe Evelyn Clarke Margaret N. Weitzmann Nicolas & Mia Enell Douglas Baxter Peggy Jacobs $25,000 to $49,999 Johnson/Jenkins Johnson Gallery Dawn L. Davis & Mac LaFollette Foundation, Inc. Stacey Cofield L.H. Whitehead Louis Gagliano & Stefan Jean & J. Max Bond Barbara Jakobson Anonymous George & Gail Knox Elizabeth De Cuevas Arts Intern at Studio in a School Nedra J. Cook Sara R. Wigutow Handl Peggy C. Cafritz John F. James Debra L. 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Yvonne Davis In Kind Donations Hall-Moran Peter Norton & Gwen Bridget Moore & Reginald E. Davis Renate, Hans & Maria Hofmann Trust Arthur Dudley Ancy Verdier, DMD Susan C. Dessel Campari Demetrius Washington Adams Norton Edward DeLuca The Estée Lauder Companies, Inc. May and Samuel Rudin Family Muna El Fituri Darren Walker David & Thelma Driskell Dafina Harlem Stephen Sherrill Alvin Patrick Kathy & Richard S. Fuld Jr. Foundation, Inc. Rita & Waldo Falkener Roslyn Watson Georgia E. Ellis Starr African Rum CF Individual Deirdre Stanley Cassandra Richmond Goldman, Sachs & Co. The Scherman Foundation Sima Familant Veronica Webb Cheryl Finley Faderera Adesina Gordon Veneklasen Mel Schaffer Dr. Lisa Grain & David J. Grain James H. Simmons III/Apollo Real Estate Sara Fitzmaurice Edward Wilkerson Barbara Flemmings The Studio Museum in Harlem makes Jane Aiello Gunner Winston Brent Sikkema Susan & John Hess Advisors Bettye Fletcher Christopher Williams & Charlotte F. Ford every effort to ensure the accuracy of Beverly J. Anderson Virginia J. Simmons JPMorgan Chase Foundation Charles E. Simpson Yvonne Force Villareal Janice Savin-Williams Angelique Francis its lists of supporters. If your name is not Jemina R. Bernard Donor Ronald L. Stewart Macy's and Bloomingdale's David Teiger Dr. & Mrs. Harold P. Freeman Dawanna Williams Gerald Galison listed as you prefer or if you believe that Natasha Boysaw Ellen Brathwaite Virginea Stuart Raymond J. McGuire Michel Trese/L'ORÉAL USA Anthony K. & Gwendolyn Seana Linnehan Wood Lois Garland-Patterson your name has been omitted, please let Elizabeth Brown Gladys Brown Jeanette Sarkisian MetLife Foundation The New York Times Company Frempong-Boadu GlaxoSmithKline us know by contacting the Development Juanita Brown Laura Donnelley Wagner Nimoy Foundation Foundation LaRue R. Gibson Jr. Sunny & Brad Goldberg Office at 212.864.4500 x221 or Valerie S. Brown Susan & Arthur Fleischer Jr. Gwen Webb Rodney M. 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Marshall Harlem makes every Alvia Golden Stephanie Odegard Henry E. Bessire Susan Ralston Olive Clark Michelle L. Huff Renwick Paige Lesley Webster Miriam Berkley Helen Marshall effort to ensure the Dr. Leonard T. Goslee Judy Page Edward Blake Farrell B. Redwine Sherman Clarke Andrew Huggett Helen Papoulias Margaret N. Weitzmann Raeann Bessellieu Laine Massey accuracy of its lists of Margaret Gottwald Tatiana Pages Pamela Brodie Patterson Sims Ernest Clayton Stephanie Hunt Monica Parham Marc Weuker Yaelle Biro Carmen Matthew members. If your name Jo-Ann Graham Dollene N. Palmer Charlotte Brown Carra Sleight Nancy Clipper Claudia J. Hurst Shannel Parker Bradley White Cynthia Blanchard Shirley McCain is not listed as you Alexander Gray Jonathan Parker JK Brown Edward Slomin Patricia G. Coates Latoya Jackson Victoria Parker Audrey E. Williams Elizabeth T. Bolden Elspeth Meyer prefer or if you believe Constance & Alan E. Elizabeth Patton Nick S. Charles Eileen E. Smith-Grant Sadie Codling Moriba Jackson Patricia M. Pates Diane Williams Marion Bondurant Erich Meyerhoff your name has been Green Nancy D. Portnoy Cynthia Clark Ellen Sragow Neill Coleman Marsha Jean-Charles Charlene Patrick Sheila R. Williams Sylvia S. Borget Constance Mitchell omitted, please let us Rita Green Retha Powers Judith Corrente Wolfgang E. Saxon Janet Collins Gabriella Jeffords Patricia H. Peju Griffin LeeAnn Wilson Doretha H. Bowry Marjee Mobley know by contacting the Jeff L. Greenup Martin Puryear Charlotte H. Crawford Joyce P. Schwartz Karyn D. Collins Bert Jeffrey Cassandra Pelas Samuel Wilson Kathy Bradfield Barbara Morgan Development Office at Sharon Griffith Jerome M. Pustilnik Wendy Cromwell Norma Shaw-Hogan Sheryl Colyer Anastasia Johnson Addie H. Penny Thomas H. Wirth Lavonnie Brinkley Nancy B. Mostow 212.864.4500 x244 or Vernon W. Griffith Anne Radcliffe Therese Cruse Robert Stein Nedra J. Cook DeVon Johnson Olivia E. Perkins Homer J. Wright Esther M. Broner Thomas R. Murray membership@studio Keanya Gubitose Trevor Rainford Kevin Curry Geoffrey Stern Glen Da Costa Suzanne Johnson Genevieve Phelps Dolores L. Brookes Michael Myers museum.org. Charles Guice Isabella D. Rayburn Harriette Cole Claire & Sentell Taylor Felecia Davis Charla Jones Muriel Pivalo Burtt Brown Jeanne Nedd Mary Gurney Helen Redmond Alvaro A. Dalton Tyrus R. Townsend Bunny Dell Patricia Jones Gregory Jane Ratcliffe Darwin F. Brown Robert Oba Cullins 73 Studio Store Hours Wednesday–Friday, 12–6 pm Saturday, 10–6 pm Sunday, 12–6 pm The Museum Store is closed on Monday, Tuesday StoreMuseum and major holidays.

Special Edition Holiday Card

James Vanderzee 01/ Black is Beautiful Christmas Morning Baby Onesie Collection of The Studio By The Studio Museum Museum in Harlem in Harlem Gift of the Sandor Family Item# 3482 Collection, Chicago Price: $22.00 Courtesy Donna Mus- Member: $18.70 senden Vanderzee Box Set: 10 cards 02/ Invisible Oldmaid, (same)/ 11 Envelopes Gofish, Crazy8’s Item # 3145 Price By Kikkerland $18.00 Members $15.30 Item# 5068 Price $7.50 Member $6.37

More-in-store Coloring Book 01 02 New! T-shirts Galore! Fact: You can never have enough T-Shirts. And this season the Museum Store brings you more!

03/ Come Look with 04/ The Adventures Me: Discovering of Cow Whether you wear one that’s whimsically embroidered African American Art By Cow

© Elaine Pedlar May Created exclusively for for Children Item# 1192 The Studio Museum in Harlem or one that broadcasts something inspiring or rebel- By James Haywood Price $12.95 Rolling Jr. Member $11.01 38 / coloring page 55 Studio / Spring 2009 lious, T-shirts are a way to let others know who, what Item# 4057 and where you are. This season the Museum Store Price $15.95 Member $13.55 features the flavorful t-shirt designs of Maroon Rebel, Wheat Bread, Buttafly Unlimited, By Hand Clothing 03 04 and Dahlia Soliel. Everyone has a favorite T-shirt—find

William Mwazi Captain America–Barack Obama (The Future of Leadership) 2009 Created exclusively for © 2005 Javaka Steptoe The Studio Museum in Harlem I am powerful created exclusively for yourself a NEW one at the Museum Store. The Studio Museum in Harlem

05/ Critter Collection We turned to our original coloring page illustrator, Chris By Kikkerland Item# 1246 Myers, to create some new works, which also are featured Price: $16.00 Member: $13.60 in this issue (and a special one exclusively in the book).

06/ Sparklz: Wind-up Myers designed our first coloring page, which appeared in Gear Box the 2005 debut issue of Studio. With more than fourteen By Kikkerland Item# 1244 reproductions, the Coloring Book will provide hours of fun Price $12.00 Member $10.20 and creativity for everyone—young artists and their families

05 can even design their own masterpieces on the blank back pages.

06 Development News Join us online! Yes! I want to be a member of The Membership Department is deli∂hted to let The Studio Museum in Harlem. Member’s Spotlight you know that The Studio Museum in Harlem’s website now includes the ability to join the Muse- um or renew your membership with a credit card One year renewal ∂ift online. Usin∂ your American Express, MasterCard or Visa, you can now safely and quickly join and be entitled to a host of membership benefits—in- name of membership holder When did you first visit The Studio Museum in Harlem? cludin∂ free admission, Museum store discounts I first visited last summer. name of additional member (family/partner level members and above) and more—while lendin∂ critical support to the Why did you decide to become a Student member of the Museum, and what does it Museum and its pro∂rams. Visit our membership address mean for you to be a member? pa∂e at www.studiomuseum.or∂/membership

I became a member because I am a lifelong lover of art and the Studio Museum makes and see just how easy it is. city STATE ZIP amazing art accessible for many who would not normally see it. What is your favorite thing about the Museum? Consider The Studio Museum in work phone home phone My favorite thing is seeing art by artists who look and grew up like me. As a writer and artist, Harlem for your business’ or email address it renews my faith that I will one day be among them, influencing later artists as they have or∂anization’s next event! influenced me. Please do not make my name, address and other information Are there any experiences or exhibitions that you particularly enjoyed at the Museum? Hostin∂ your event at the Studio Museum will al- available to third-party providers. low your ∂uests to: When I visited the Museum last summer, I was entranced by the large paintings done by a • Experience the Museum’s excitin∂ exhibitions young artist, Kehinde Wiley. His paintings lined the walls of the central gallery area, and the Name • Mix and min∂le in the Museum’s ∂lass-enclosed General Membership Groups Derrick Alan Everett colors and images of his life filled the rooms. If this experience wasn't enough, after leaving Atrium Level Benefactor $1,000 Family/Partner $75 Student the building I was engaged by a group of young tap dancers performing for a growing audi- • Enjoy personalized pro∂rammin∂ in the Mu- Donor $500 Individual $50 Location ence. They were playful and inviting, encouraging newcomers to learn a few basic steps seum’s new Theater Associate $250 Student $20 Los Angeles • Take in Harlem under the stars in the Courtyard Supporter $100 Senior $20 Occupation and allowing experienced tappers to join them on stage. I stayed until the last dancer was Law Student, Northwestern University literally tapped out. Truly, the Studio Museum fosters an environment for the sharing of art, • If you arran∂e to have the Museum Store open, School of Law your ∂uests will also be able to find the ri∂ht Contemporary Friends both inside and outside its gallery walls. Thank you! Member Since Couple $300 Individual $200 2008 ∂ift for any occasion.

Payment Method The Museum is not available for weddin∂s, wed- din∂ receptions, private/political social events or I have enclosed my check fundraisers. Nonprofit or∂anizations receive a (make check payable to The Studio Museum in Harlem) Please bill my: special rate. American Express MasterCard Visa

For more information, please call 212.864.4500 x247. Member name of cardholder Shopping Volunteer at the Studio Museum! address If you are interested in volunteerin∂, join us for city STATE ZIP Days an open house on the followin∂ dates and times. Perspective volunteers should brin∂ a completed work phone HOME phone This season, members will enjoy the following discount application and expect a brief interview. We look forward to meetin∂ you! card number EXP. date shopping days. Be sure to look out for extended hours and • May 21, 2009, 3-6pm, Lower Level si∂nature additional promotions throughout the year. Education Space • July 16, 2009, 3-6pm, Lower Level Join online at On the following days July 15–29 *In celebration of the holidays, on Please contact the Education Space studiomuseum.or∂/membership these days members will also enjoy in 2009, members August 12–16 free gift wrapping for purchase over Museum Store at For more information and to RSVP please will receive 20 percent September 4–6 $25 and free shipping for purchases 212.864.4500 x237 Thank you for your support and welcome to The Studio over $250. contact us at [email protected]∂ or Museum in Harlem! The Studio Museum in Harlem offers the best off all merchandise. November 27–29* for the most up-to-date 212.864.4500 x258. way to explore black culture and the latest trends in contemporary art! December 4* information. December 11* December 18–24* Group Benefactor $1,000 Visitor Museum Hours ($900 tax-deductible) Wednesday–Friday, 12–6 pm All precedin∂ benefits, plus: Saturday, 10 am–6 pm Membership • Visit and/or tour of a private Information collection Sunday, 12–6 pm This fall, The Studio Museum in Har- • Invitation to a special ∂allery tour with Address Target Free Sundays! lem is addin∂ a variety of benefits a Museum curator at each level of membership. See 144 W. 125th St. The Museum is closed on Monday, • Additional complimentary Studio Tuesday and major holidays. what’s in store for you as well as the New York, NY 10027 Museum exhibition catalo∂ue other ∂roups—an up∂rade is just a (between Malcolm X and • Free admission for two ∂uests when phone call away! For more informa- Store Hours accompanied by a Studio Museum Adam C. Powell Jr. tion, call 212.864.4500 x221. member boulevards) Wednesday- Friday, 12—6 pm Saturday, 10—6 pm Individual $50 Student / Senior $20 (Fully tax-deductible) General Info Sunday, 12—6 pm (fully tax-deductible) • Free admission to the Studio Museum The Museum Store is closed on Monday, All the benefits of the Individual phone: 212.864.4500 for one Tuesday and major holidays membership (must present student fax: 212.864.4800 • Personalized membership card or senior ID [62 years or older] for • One-year subscription to Studio Admission eli∂ibility) Media Contact ma∂azine Su∂∂ested donation: • Invitations to exhibition openin∂ 212.864.4500 x213 $7 (adults), $3 (seniors and receptions Special [email protected]∂ • Invitations and email reminders students). Free for members for upcomin∂ events at the Studio Membership Public Pro∂rams Info and children (12 and under). Museum 212.864.4500 x264 • 15 percent discount on all Museum Groups studiomuseum.or∂ Store purchases Membership Info • 20 percent discount on exhibition Contemporary Friends 212.864.4500 x221 catalo∂ues published by the Studio Contemporary Friends is a dynamic Museum leadership ∂roup of youn∂ profes- • Invitations to member’s shoppin∂ sionals committed to supportin∂ days at the Museum Store throu∂hout the Studio Museum and interested Directions the year, with additional discount in ∂reater access to the world of offers contemporary art. Subway: • Free admission or discount tickets A C B D to all Studio Museum education and Individual $200 public pro∂rams ($175 tax-deductible) 2 3 4 5 6 • Special Studio Museum member’s discount at select Harlem businesses Couple/Partner $300 to 125th Street • Annual reco∂nition in Studio ($250 tax-deductible) Bus: ma∂azine (for two people livin∂ at the same address) M-2, M-7, M-10, M-60, M-100, M-102 or BX-15. Family/Partner $75 All Individual membership benefits, Parkin∂ is available at the Municipal Gara∂e at 126th Street (Fully tax-deductible) plus: between Malcolm X and Adam C. Powell Jr. boulevards. All the precedin∂ benefits, plus: • Invitations and VIP passes to a variety of • Free admission to the Studio Museum events throu∂hout the year, includin∂ for two adults at the same address private previews, ∂uided ∂allery tours 126 ST and children under ei∂hteen years (both on- and off-site), studio visits, of a∂e seminars and networkin∂ events A B 2 4 • Personalized membership cards C D 3 125 ST for two Gift Membership 5 If you enjoy bein∂ a member at The 6 Supporter $100 Studio Museum in Harlem or are simply ($85 tax-deductible) lookin∂ for that special ∂ift for a friend All the precedin∂ benefits, plus: or loved one, ∂ive the ∂ift of member- • Member privile∂es of the North ship and share all the Museum has to American Reciprocal Museum offer. A Studio Museum membership St Nicholas Ave Pro∂ram, allowin∂ free or member’s makes a unique and rewardin∂ ∂ift admission and discounts at hundreds that can be enjoyed throu∂hout the of museums year—perfect for birthdays, milestone Convent Ave Frederick Dou∂lass Blvd Adam Clayton Powell Jr. Blvd Malcolm X Blvd 5 Ave Madison Ave Park Ave • Free admission for one ∂uest when celebrations or any other occasion. Lexin∂ton Ave accompanied by a Studio Museum member Member Shopping Days On the following days in 2009, Associate $250 members will receive 20 percent off Corrections all merchandise. On page 14 of the Spring 2009 issue of Studio, the correct title of Guillermo E. ($225 tax-deductible) Brown’s StudioSound project should be crack unicorns. In the same issue, on page All precedin∂ benefits, plus: 21, the correct caption for image 04 is: "Nina Chanel Abney / Class of 2007 / 2007 July 15–29, August 12–16, September • One complimentary Studio Museum / Courtesy Rubell Family Collection, Miami." And the photo credit for many of the 4–6 , November 27–29*, December 4*, images that appear on pages 32–38 in The Permanent Collection feature should be exhibition catalo∂ue December 11*, December 18–24* credited to Marc Bernier. We apologize to all the artists for these errors.

Donor $500 *In celebration of the holidays, on these Studio is published three times a year by The Studio Museum in Harlem, ($450 tax-deductible) days members will also enjoy free gift 144 W. 125th St., New York, NY 10027. Copyri∂ht © 2009 Studio Ma∂azine. All material is compiled from sources believed to be reliable, but All precedin∂ benefits, plus: wrapping for purchase over $25 and published without responsibility for errors or omissions. Studio assumes • Invitations to behind-the-scenes free shipping for purchases over $250. no responsibility for unsolicited manuscripts or photo∂raphs. All ri∂hts, tours and talks with art connoisseurs includin∂ translation into other lan∂ua∂es, are reserved by the publisher. and curators Please contact the Museum Store at Nothin∂ in this publication may be reproduced without the permission • Four complimentary ∂uest passes 212.864.4500 x237 for the most of the publisher. for friends and family up-to-date information. James VanDerZee / Barefoot Prophet / 1929 / Courtesy Donna Mussenden Fall 2009–10Studio/ • Winter

The Studio Museum in Harlem Ma∂azine/ Fall • Winter 2009–10