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Spelman College Museum of Fine Art Launches 2017 with a Solo Exhibition by Acclaimed Artist Mickalene Thomas
FOR 350 Spelman Lane Box 1526 IMMEDIATE Atlanta, GA 30314 RELEASE museum.spelman.edu The only museum in the nation emphasizing art by women of the African Diaspora MEDIA CONTACTS AUDREY ARTHUR WYATT PHILLIPS 404-270-5892 404-270-5606 [email protected] [email protected] T: @SpelmanMedia T: @SpelmanMuseum FB: facebook.com/spelmanmuseum January 31, 2017 Spelman College Museum of Fine Art Launches 2017 with a Solo Exhibition by Acclaimed Artist Mickalene Thomas Mickalene Thomas: Mentors, Muses, and Celebrities February 9 – May 20, 2017 ATLANTA (January 31, 2017) – Spelman College Museum of Fine Art is proud to present Mickalene Thomas: Mentors, Muses, and Celebrities, an exhibition featuring new work by acclaimed painter, photographer, sculptor, and filmmaker Mickalene Thomas, as a highlight of its 20th anniversary celebration. This solo exhibition, which is organized by the Aspen Art Museum, features photography, mirrored silkscreen portraits, film, video, and site specific installations. Thomas edits together rich portraits of herself and iconic women from all aspects of culture—performers, comedians, dancers, and other entertainers—at play in her life and in her art. Angelitos Negros, 2016 2-Channel HD Video, total running time: 23:09 Courtesy the artist, Lehmann Maupin, New The exhibition encourages viewers to consider deeply, how York and Hong Kong and Artists Rights Society (ARS), New York personal and public figures have reflected, re-imagined, and altered their own self-image to create a larger narrative of what it means to be a woman in today’s society. The exhibition makes its Southeast debut February 9, 2017, and will be on view at the Museum through May 20, 2017. -
Toward a Diasporan Ethics by Ianna Hawkins Owen A
Ordinary Failures: Toward a Diasporan Ethics by Ianna Hawkins Owen A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in African American Studies and the Designated Emphasis in Women, Gender, and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Darieck Scott, Chair Professor Leigh Raiford Professor Juana María Rodríguez Professor Michael Cohen Summer 2016 Abstract Ordinary Failures: Toward a Diasporan Ethics by Ianna Hawkins Owen Doctor of Philosophy in African American Studies and the Designated Emphasis in Women, Gender, and Sexuality University of California, Berkeley Professor Darieck Scott, Chair In Ordinary Failures I develop a new conception of “diaspora” as the ordinary failure of recognitions and solidarities founded on ideological and ancestral ties. Informed by the queer studies turn toward negativity and the relational turn in African diaspora studies, my project examines the interventions of artists and writers of the diaspora who opt to recite intraracial failure (between blacks) in the face of their structurally overdetermined failure as minoritized subjects. I identify in textual and visual objects an engagement with the promise of intimacy attendant to the artist’s lived experience of diaspora and there I aim to expose the limits of diaspora discourse. My explorations of the failures of diaspora are aided by pushing on queer theories of negativity to speak to race. This project departs from traditional approaches to black failure such as the black mainstream’s condemnation or eschewal of black failure in favor of respectability politics and the black left’s redemption of failure through revisionist narratives of resistance. -
Out Side In: in His Arresting Work, Lyle Ashton Harris Looks to the Recent Past for New Ways Forward by Maximilíano Durón POSTED 04/02/19 9:30 AM
Out Side In: In His Arresting Work, Lyle Ashton Harris Looks to the Recent Past for New Ways Forward BY Maximilíano Durón POSTED 04/02/19 9:30 AM Lyle Ashton Harris photographed at his studio in New York City, January 2019. ALEX LOCKETT The video opens in a dimly lit bedroom. A voice offscreen begins to speak. “Sometimes, I feel, I guess, deprived. I don’t know. I guess I do know.” A Roberta Flack song plays softly in the background: “The first time ever I saw your face / I thought the sun rose in your eyes.” A young man with a mop of black hair in a red sweater and khakis—the speaker, presumably—walks onscreen and crawls on the bed. “What should I say?” he asks. Looking into the camera, he speaks again. After a few moments, he thinks better of it and goes to grab a chunky white cordless telephone and his address book. He spends the next hour talking with friends and family. He went dancing for the first time in a few months. He’s still processing his breakup with his boyfriend. He’s in pretty bad debt, but things are looking up: he’s going to be included in an upcoming show at the Whitney Museum. Lyle Ashton Harris made this video in the early 1990s, when he had just returned to Los Angeles after finishing the Whitney Independent Study Program in New York. Then in his 20s, Harris had been making diaristic videos for a few years, and photographing his life as it went along. -
The Racial Bias Built Into Photography - the New York Times
9/3/2019 The Racial Bias Built Into Photography - The New York Times LENS The Racial Bias Built Into Photography Sarah Lewis explores the relationship between racism and the camera. By Sarah Lewis April 25, 2019 This week, Harvard University’s Radcliffe Institute for Advanced Study is hosting Vision & Justice, a two-day conference on the role of the arts in relation to citizenship, race and justice. Organized by Sarah Lewis, a Harvard professor, participants include Ava DuVernay, Henry Louis Gates Jr., Wynton Marsalis and Carrie Mae Weems. Aperture Magazine has issued a free publication this year, titled “Vision & Justice: A Civic Curriculum” and edited by Ms. Lewis, from which we republish her essay on photography and racial bias. — James Estrin Can a photographic lens condition racial behavior? I wondered about this as I was preparing to speak about images and justice on a university campus. “We have a problem. Your jacket is lighter than your face,” the technician said from the back of the one-thousand-person amphitheater- style auditorium. “That’s going to be a problem for lighting.” She was handling the video recording and lighting for the event. It was an odd comment that reverberated through the auditorium, a statement of the obvious that sounded like an accusation of wrongdoing. Another technician standing next to me stopped adjusting my microphone and jolted in place. The phrase hung in the air, and I laughed to resolve the tension in the room then offered back just the facts: “Well, everything is lighter than my face. I’m black.” “Touché,” said the technician organizing the event. -
Carrie Mae Weems
Andrea Kirsh Susan Fisher Sterling CARRIE MAE WEEMS The National Museum of Women in the Arts . Washington, D.C. UWIrv WI"'" Uftlyer.tty I'oCk HU'. s. C. 217' Carrie Mae Weems Issues in Black, White and Calor Andrea Kirsh Though others know her as an artist or a pervasive crisis in left-wing politiCS dur photographer, Carrie Mae Weems ing the la te 1970s describes herself as an "image maker." At CaJArts, Weems photographed The term, with its baggage of popular and African American subjects, and found that commercial connotations, is crucial to neither her professors nor her fellow stu Weems's task. Since 1976, when a friend dents in the photography department gave her a camera, she has generated a offered any real critical response to her sequence of images reflecting her concern work. The professors she remembers as with the world around her-with the being most influential taught literature, nature of "our humanity, our plight as folklore and writing. human beings.'" She has focused on the Weems went to the University of ways in which images shape our percep California, San Diego, for her M.F.A. in tion of color, gender and class. Surveying 1982 at the encouragement of Ulysses the development of her work, we can see Jenkins, a black artist on the faculty. At her exploring the existing genres of pho San Diego she met Fred Lonidier, who rographic imagery. She has looked at their was the first photography professor ro uses in artistic, commercial and popular respond with serious criticism of her contexts, the work of both amateurs and work. -
Download Press Highlights (PDF, 8
AQ&A WITH Carrie Mae WeemsBy Charmaine Picard 66 MODERN PAINTERS JANUARY 2014 BLOUINARTINFO.COM Elegant and graced with a rich, melodic voice, Carrie Mae Weems is an imposing figure on the artistic landscape. Through documentary photographs, conceptual installations, and videos, she is known for raising difficult questions about the American experience. When the MacArthur Foundation awarded her a 2013 “genius” grant, it cited Weems for uniting “critical social insight with enduring aesthetic mastery.” The artist and activist is the subject of a major traveling career retrospective, which was at Stanford University’s Cantor Arts Center in the fall and opens January 24 at its final stop, the Guggenheim Museum in New York. CHARMAINE PICARD: What was it like studying at the Ross at Syracuse University. I haven’t made a billboard for the California Institute of the Arts in the late 1970s? past year, but I will probably make one again now that I have CARRIE MAE WEEMS: They didn’t always know what to do with money from the MacArthur fellowship. I’m starting to partner with this brown woman taking brown photographs. I arrived there other people because they have additional resources that they when I was 27 years old, and I knew that I wanted to research can bring to the table—whether it is camera equipment, recording women photographers; I knew that I wanted to learn who the equipment, or musical knowledge. I think that having other black photographers were; and I knew that I wanted to build my people involved is really important to keep the institute alive and own archive of their work. -
2003 Prr Final
Periodic Review Report To the Middle States Association Commission on Higher Education Presented by The Cooper Union for the Advancement of Science and Art June 1, 2003 George Campbell Jr., Ph.D., President Commission action preceding this report: Reaffirmation of accreditation following the decennial self-study and team visit Date of the evaluation visit: April 19-22, 1998 PREPARATION OF THIS REPORT The past five years have been characterized by intense global turmoil and revolutionary change – technologically, socially, po- litically and economically – creating stimulating opportunities for higher education as well as daunting challenges. Located in Lower Manhattan, little more than a mile from Ground Zero, The Cooper Union has experienced particular stresses in recent years, and the Cooper Union community has welcomed the chance presented by this Periodic Review Report for reflection and introspection. The College is eager to articulate the changes it has made to address the unique issues faced by the institution, to reaffirm its ongoing commitment to academic excellence and to outline plans for a secure financial infrastructure to support that commitment. Planning for the preparation of this Periodic Review Report was coordinated by the Academic Council of the College and the Academic Affairs Committee of the Board, with input from faculty, students, staff and trustees. Early discussions led to a consensus on the approach and work plan for producing the document. A Periodic Review Report Working Group, with representation from all sectors of the community, and an editor were selected. The production process began within each of the aca- demic and administrative departments under the leadership of the Deans and department heads, with input from all constitu- ents. -
Gender Performance in Photography
PHOTOGRAPHY (A CI (A CI GENDER PERFORMANCE IN PHOTOGRAPHY (A a C/VFV4& (A a )^/VM)6e GENDER PERFORMANCE IN PHOTOGRAPHY JENNIFER BLESSING JUDITH HALBERSTAM LYLE ASHTON HARRIS NANCY SPECTOR CAROLE-ANNE TYLER SARAH WILSON GUGGENHEIM MUSEUM Rrose is a Rrose is a Rrose: front cover: Gender Performance in Photography Claude Cahun Organized by Jennifer Blessing Self- Portrait, ca. 1928 Gelatin-silver print, Solomon R. Guggenheim Museum, New York 11 'X. x 9>s inches (30 x 23.8 cm) January 17—April 27, 1997 Musee des Beaux Arts de Nantes This exhibition is supported in part by back cover: the National Endowment tor the Arts Nan Goldin Jimmy Paulettc and Tabboo! in the bathroom, NYC, 1991 €)1997 The Solomon R. Guggenheim Foundation, Cibachrome print, New York. All rights reserved. 30 x 40 inches (76.2 x 101.6 cm) Courtesy of the artist and ISBN 0-8109-6901-7 (hardcover) Matthew Marks Gallery, New York ISBN 0-89207-185-0 (softcover) Guggenheim Museum Publications 1071 Fifth Avenue New York, New York 10128 Hardcover edition distributed by Harry N. Abrams, Inc. 100 Fifth Avenue New York, New York 10011 Designed by Bethany Johns Design, New York Printed in Italy by Sfera Contents JENNIFER BLESSING xyVwMie is a c/\rose is a z/vxose Gender Performance in Photography JENNIFER BLESSING CAROLE-ANNE TYLER 134 id'emt nut files - KyMxUcuo&wuieS SARAH WILSON 156 c/erfoymuiq me c/jodt/ im me J970s NANCY SPECTOR 176 ^ne S$r/ of ~&e#idew Bathrooms, Butches, and the Aesthetics of Female Masculinity JUDITH HALBERSTAM 190 f//a« waclna LYLE ASHTON HARRIS 204 Stfrtists ' iyjtoqra/inies TRACEY BASHKOFF, SUSAN CROSS, VIVIEN GREENE, AND J. -
Lyle Ashton Harris Born in 1953, New York, USA Lives and Works in New York
Lyle Ashton Harris Born in 1953, New York, USA Lives and works in New York Education 1992 Whitney Museum Independent Study Program 1991 National Graduate Photography Seminar, Tisch School of the Arts, New York University 1990 Master of Fine Arts, California Institute of the Arts 1988 Bachelor of Arts (with Honors), Wesleyan University Academic Affiliations Associate Professor, New York University (Joint Appointment), Department of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development & Office of Global Education Programs Core Critic, School of Art (Graduate Program), Yale University: 2008, 2010, 2011Awards Grant Awards & Fellowships The David C. Driskell Prize, 2014 New York University Steinhardt Summer Research Fund: 2008, 2009, 2010, 2011 New York University Steinhardt Professional Development Fund: 2009, 2010 Goddard Award, 2009 American Photography Award, 2009 Society of Publication Designers Merit Award, 2009 Rome Prize Fellowship, 2001 Banff Art Center Residency Fellowship, 1996 Art Matters Grant: 1991, 1993, 1995 Brody Arts Fund Fellowship, 1992 National Endowment for the Arts Regional Fellowship for the Visual Arts, 1991 International Appointments Board of Trustees, The American Academy in Rome: 2014 – present Director, Dei Centre for the Study of Contemporary African Art, Accra, Ghana: 2009 – 2012 Board of Directors, Art in Social Structures (AISS), Accra, Ghana: 2009 – present Juror, Africa Pavilion, 52nd Venice Biennale, Venice, Italy, 2007 Guest Artist, Royal College, Stockholm, Sweden, 1996 Arts Consultant, Banff Centre for the Arts, Alberta, Canada, 1996 Works in Public Collections Duke University, Nasher Museum of Art JPMorgan Chase Art Collection, New York Los Angeles County Museum of Art Miami Art Museum Museo de Arte Contemporáneo de Castilla y León, Spain Museum of Contemporary Art, Los Angeles Museum of Contemporary Art, San Diego Museum of Fine Arts, Boston Museum of Modern Art, New York Princeton University Art Museum The Progressive Corporation The Scottsdale Museum of Contemporary Art The Solomon R. -
![Black Portraiture[S]](https://docslib.b-cdn.net/cover/3715/black-portraiture-s-1033715.webp)
Black Portraiture[S]
Black Portraiture[s]: The Black Body in the West Représentation du corps Noir en occident 17–20 January/Janvier 2013 Paris Black Portraiture[s]: Conference Sponsors The Black Body in the West Partenaires de la conférence Représentation du corps Noir Cornell University, Department of History of Art and Visual Studies en occident Centre d’études africaines Ecole des hautes études en sciences sociales/Institut de recherche pour le Développement Ecole Nationale Supérieure des Beaux Arts Fondation de la Maison des Sciences de l’Homme (FMSH) Ford Foundation and the Institute for International Education Goethe Institut South Africa Harvard University, W. E. B. Du Bois Institute for African and African American Research Institut Français South Africa K’a Yéléma Productions musée du quai Branly New York University, Clive Davis Department of Recorded Music New York University, Department of Photography & Imaging New York University Tisch School of the Arts and Institute of African-American Affairs New York University, Department of Social and Cultural Analysis New York University, Global Research Initiatives, Office of the Provost Harvard University New York University Paris W. E. B. Du Bois Institute for African and African American Research Standard Bank in South Africa L’École des hautes études en sciences Studio Museum in Harlem sociales/Institut de recherche Université Paris Diderot - Paris 7 pour le développement United States Embassy Paris Centre d’études africaines Front cover: The Merchant of Venice, 2010 Musée du quai Branly Kiluanji Kia -
30 Americans West Coast Debut at Tacoma Art Museum: Unforgettable
MEDIA RELEASE August 2, 2016 Media Contact: Julianna Verboort, 253-272-4258 x3011 or [email protected] 30 Americans West Coast debut at Tacoma Art Museum: Unforgettable Tacoma, WA - The critically acclaimed, nationally traveling exhibition 30 Americans makes its West Coast debut at Tacoma Art Museum (TAM) this fall. Featuring 45 works drawn from the Rubell Family Collection in Miami – one of the largest private contemporary art collections in the world – 30 Americans will be on view from September 24, 2016 through January 15, 2017. The exhibition showcases paintings, photographs, installations, and sculptures by prominent African American artists who have emerged since the 1970s as trailblazers in the contemporary art scene. The works explore identity and the African American experience in the United States. The exhibition invites viewers to consider multiple perspectives, and to reflect upon the similarities and differences of their own experiences and identities. “The impact of this inspiring exhibition comes from the powerful works of art produced by major artists who have significantly advanced contemporary art practices in our country for three generations," said TAM's Executive Director Stephanie Stebich. "We've been working for four years to bring this exhibition to our community. The stories these works tell are more relevant than ever as we work toward understanding and social change. Art plays a pivotal role in building empathy and resolving conflict." Stebich added, "TAM is a safe space for difficult conversations through art. We plan to hold open forums and discussions during the run of this exhibition offering ample opportunity for community conversations about the role of art, the history of racism, and the traumatic current events.” The museum’s exhibition planning team issued an open call in March to convene a Community Advisory Committee. -
2012-Press-Highlights.Pdf
D. Dominick Lombardi: Kathryn E. Delmez on Carrie Mae Weems at the Frist 1/4/13 12:13 PM January 4, 2013 Kathryn E. Delmez on Carrie Mae Weems at the Frist Posted: 09/07/2012 7:22 pm I would be hard pressed to think of anyone in the visual arts who has done more to make public the centuries old discrimination of race and gender, the oppressive effects of power, the intricacies of domesticity and our general sense of place as human beings than Carrie Mae Weems. As we are only about one year apart in age, I can remember quite well the level of racial inequality that Ms. Weems was born into. I can also remember very clearly, the buzz created when a non-stereotypical, everyday African American housewife appeared in a laundry soap commercial for the first time. It was a 1970, Wisk detergent television advertisement, and since I lived in a largely white community defined by hardworking blue and white collar husbands paired with stay-at-home, home- maker wives, the vocal backlash that ensued could generally be placed into the category of "what is the world coming to?" When you think about how systemic and ingrained the feelings, subtle or profound, were regarding race, gender and the system of power built upon those prejudices that Ms. Weems addressed all those years ago a very different, very intense level of strength and courage emerges. Yes, it's true that the Civil Rights movement had already begun, and was gaining worldwide recognition and ground every day.