DOCSLIB.ORG

3.B.2.Shavedportions-Chakaiabooker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
3.B.2.Shavedportions-Chakaiabooker A. Campbell Park is a linear urban public park maintained by Campbell Park LLC of the Kirkpatrick Family Fund under an agreement with the City of Oklahoma City through Parks and Recreation. Oklahoma Contemporary is responsible for programming Campbell Art Park, and has previously and successfully mounted four public art installations: Orly Genger: Terra (2014–2016), Tomas Saraceno: Cloud City (fall 2016), Erwin Redl: Whiteout (2018–2019) and Jen Lewin: Aqueous (2020). In summer 2021 we would like to continue our presentation to the Oklahoma City community of public artworks by internationally renowned artists with Chakaia Booker’s Shaved Portions. Attached please find photographs showing the first four installations and proposed location for Shaved Portions. B. Specially commissioned for Campbell Park, Chakaia Booker’s Shaved Portions will introduce a sculptural scale not previously seen in Campbell Art Park. With its soaring heights and gentle undulations, the monumental work of steel and recycled tires will stand sentinel atop Automobile Alley for ten months. Optimizing the key aspects of sculpture, Shaved Portions offers different views from different angles and distances; and an interplay of mass, volume, and negative shapes. The overall silhouette of Booker’s installation will shift according to viewing perspective, including top view from the terrace or higher floors in neighboring buildings. The negative spaces serve as voids that then get filled by the people who walk through the installation. Oklahoma Contemporary is currently developing multiple works of dance and performance to interact with and activate the installation. Modular armatures of stainless steel to be bolted together as the skeletal structure will be wrapped in the rubber tire ‘skin’ that has been a distinct feature of her work. Booker’s body of work remains rooted in the early days of her career, transforming urban detritus into biomorphic sculptures when she began to salvage rubber tires from the streets and discarded materials from construction sites in the early 1990s. Able to coax an intensity of feeling out of abstract shapes, Booker fashions into three- dimensional forms of staggering scale and incredible presence cast-off industrial scraps that would otherwise have languished as insignias of urban blight and measures of wanton waste. Her profile featured in the National Museum of Women in the Arts website notes her career-long practice that “fuse(s) ecological concerns with explorations of racial and economic differences, globalization, and gender by recycling discarded tires into complex assemblages… Booker slices, twists, weaves, and rivets this medium into radically new forms and textures, which easily withstand outdoor environments. For her, the varied tones of the rubber parallels human diversity, while the tire treads suggest images as varied as African scarification and textile designs. The visible wear and tear on the tires evokes the physical marks of human aging.” Chakaia Booker (b. 1953) received a BA in Sociology from Rutgers University and an MFA from the City College of New York. Her public art commissions include the Millennium Park in Chicago; the Garment District Alliance Broadway Plazas in New York; and the National Museum of African American History and Culture in Washington, DC. Her work is in more than 40 public collections and she has exhibited across the US, in Europe, Africa, and Asia. She is the recipient of grants, fellowships, and awards from numerous organizations such as the American Academy of Arts and Letters, John Simon Guggenheim Memorial Foundation, Joan Mitchell Foundation, and Pollock-Krasner Foundation. She lives in New York City and works in New York and Allentown, Pennsylvania. C. + D. Attached please find the engineering drawings. E. The artistic team at Oklahoma Contemporary, with the approval of the Exhibitions Committee and the Campbell Art Park Committee, selected this work as part of the Campbell Art Park programming. The exhibitions team at Oklahoma Contemporary includes: Jeremiah Matthew Davis, Artistic Director, Oklahoma Contemporary Carina Evangelista, Director of Curatorial Affairs, Oklahoma Contemporary Steve Boyd, Exhibitions Manager, Oklahoma Contemporary Pablo Barrera, Associate Curator, Oklahoma Contemporary F. The installation is called Shaved Portions. G. See “B” for Description of Work. Approximate dimensions of the sculpture 28' x 70' x 23', height x length x width. Materials are described in the attached engineering drawings. G. Please see attached for artist bio. H. Please see attached for artist statement. I. Total value: $1,000,000 J. Please see attached for VARA agreement. K. All insurance (liability and damage) will be covered by Oklahoma Contemporary. L. Steve Boyd, Exhibitions Manager, will oversee the maintenance of the work. M. Please see attached for art marker. Chakaia Booker is a New York based International sculptor who has extensive experience in creating work for sculpture parks, as well as, work for recreational parks, gardens, indoor, outdoor, public and private areas in urban and rural settings. Her sculpture encompasses environmental and recycling issues. Architects, engineers, landscape architects, lighting designers, and most important, fabricators, have been a part of a team collaborating in all of the work. Repugnant Rapunzel (Let Down Your Hair) shown in the Jacqueline Kennedy Garden at the White House demonstrates some of the issues involved. Most of the art is expressed in abstract forms. “It’s So Hard To Be Green” created from rubber tires and wood was included in the Whitney Biennial, Whitney Museum of American Art in New York. She has shown in major sculpture parks throughout the country, “A Moment In Time” is included in the Storm King Art Center permanent collection in rural New York and “Deja Vu” is a work shown in downtown Chicago IL. Her work is in the permanent collections of major art museums, for example “Raw Attraction” at the Metropolitan Museum of Art, New York City and in other public and private collections. Statement My work continues to rise from an amalgam of cultural and aesthetic influences and interests. Thinking of meaning and the tire as a conceptual analogy, I think in terms of mobility, texture, movement, softness, power and strength. My intention is to translate simple yet complex materials into imagery that stimulates people to reconsider the expressive nature of art and how broad complex cultural transformations can continue to be expressed through common materials. My desire is to create, through whatever materials I choose in exploring my ever changing voice. Proposed site for Shaved Portions Installation will be on the center section of Campbell Art Park. Previous installations on that site Tomas Saraceno, Cloud City Orly Genger, Terra Erwin Redl, Whiteout Jen Lewin, Aqueous 24” 27” 60” EDUCATIONAL INFORMATION dotted lines represent radius - DETAILS OF ARTWORK bend in sheet metal -ARTIST STATEMENT, ETC 24” 36” A South (side) Elevation A North (side)Elevation 1 2 A East (front) Elevation OK CONTEMPORARY 3 CAMPBELL PARK EDUCATIONAL MARKER Educational marker is formed of one sheet of 3/16” steel, bent with radius bends (4”radius), bolted to existing concrete pad/foundation (provided by others) SPONSOR RECOGNITION GOES HERE Primed and painted with Mathews Paint for maximumdurability/colorfastness Alternate design includes steel square tube posts (capped) referencing the existing marker on OK CONTEMPORARY property. 4 posts on the south (left) side, 6 on the north (right) side Posts, in addition to referencing existing sign design, prevents A West (back) Elevation 4 ‘urban camping’ underneath sign in inclement weather. Also 4 and 6 posts pay homage to Oklahoma’s sequence of state hood (46th state) lettering/artwork to be vinyl lettering, nal text to be determined A South (side) Elevation A South (side) Elevation 2.2 ALTERNATE WITH SIDE POSTS 1.2 ALTERNATE WITH SIDE POSTS 718 WEST SHERIDAN OKLAHOMA CITY OKLAHOMA, 73102 405 290.7676 WWW.OBELISKENGINEERING.COM STAMP: 10/06/20 CA # 3594 - expires 06/30/21 ’ 1 SECTION S1 SCALE: CLIENT: CONTEMPORARY OKLAHOMA PROJECT: OKLAHOMA CITY, OK SMALL AND SHARED REVISIONS: JOB NUMBER: 2658-20 DATE: 10.06.2020 DRAWN BY: APPR BY: JDB LM SHEET TITLE: GENERAL NOTES S1 718 WEST SHERIDAN OKLAHOMA CITY OKLAHOMA, 73102 405 290.7676 WWW.OBELISKENGINEERING.COM STAMP: 10/06/20 CA # 3594 - expires 06/30/21 ’ CLIENT: CONTEMPORARY OKLAHOMA PROJECT: OKLAHOMA CITY, OK SMALL AND SHARED REVISIONS: JOB NUMBER: 2658-20 FOUNDATION PLAN DATE: SCALE: 1/4"=1'-0" 10.06.2020 DRAWN BY: APPR BY: JDB LM SHEET TITLE: S2 Shaved portions Attachment process 05 06 2021 Alston van putten Chakaia booker arta 327 north madison street Allentown p.a. 18102 Overview This is a show of attachment methods used to make and assemble this sculpture. 1 Attachments: 1. 2” x 5/8” ss bolts, nuts and lock washers used to attach the sculpture to the base channels. 2. Pentetrator earth anchors 48” used to secure the (18) c9 x 20 x 80” channels to the compacted ground. Two 2 ½” holes drilled for the anchors to be received. 3. 6” x ½” grade 8 bolts, nuts and washers used to attach member to member there 8 bolts at each attachment point. 2 the 2 ½” x 2 ½” x ¼” 304 stainless steel tubings being attached. 4. #12 hex head stainless self tapping screws used to attach the tires to the stainless steel armature pre drilled and tapped. 5. #8 and #10 stainless steel bugle head screws used to attach tire to tire throughout the sculpture. Specifications Some photos to support the description: will be added 3.
Load more

Recommended publications
  • LOUISE NEVELSON SELECTED GROUP EXHIBITIONS 2018 Epic Abstraction
    LOUISE NEVELSON SELECTED GROUP EXHIBITIONS 2018 Epic Abstraction: Pollock to Herrera, The Met Fifth Avenue, New York, opened December 17, 2018. Eye to I: Self-Portraits from 1900 to Today, National Portrait Gallery, Washington, D.C., November 4, 2018– August 18, 2019. Kindred Spirits: Louise Nevelson & Dorothy Hood, Museum of Fine Arts, Houston, November 3, 2018– February 3, 2019. The Masters: Art Students League Teachers and Their Students, Hirschl & Adler, New York, October 18– December 1, 2018. (Catalogue) Summer Group Show, Pace Gallery, Seoul, June 5–August 11, 2018. LeWitt, Nevelson, Pendleton Part II, Pace Gallery, Geneva, May 16–July 13, 2018. Dark Place of Dreams: Louise Nevelson with Chakaia Booker, Lauren Fensterstock and Kate Gilmore, Museum of Contemporary Art Jacksonville, A Cultural Institute of University of North Florida, April 28– September 2, 2018. (Catalogue) LeWitt, Nevelson, Pendleton, Pace Gallery, Geneva, March 21–May 4, 2018. 2017 Louise Nevelson: Selected Group Exhibitions 2 Function to Freedom: Quilts and Abstract Expressions, Sara Kay Gallery, New York, December 1, 2017– January 13, 2018. Black and White: Louise Nevelson/Pedro Guerrero, Farnsworth Art Museum, Rockland, Maine, October 6, 2017–April 1, 2018. American Sculpture: Sotheby’s Beyond Limits, Chatsworth, Derbyshire, United Kingdom, September 15– November 12, 2017. Vaginal Davis & Louise Nevelson: Chimera, Invisible-Exports, New York, September 8–October 22, 2017. 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Pittsburgh, July 22–December 31, 2017. To Distribute and Multiply: The Feibes & Schmitt Gift, The Hyde Collection, Glens Falls, New York, opens on June 10, 2017. Multiple Impressions, Talley Dunn Gallery, Dallas, June 10–August 5, 2017.
    [Show full text]
  • Plains Art Museum Exhibiting Renowned Artist Chakaia Booker
    Plains704 ArtFirst Museum Avenue NoExhibitingrth Renowned Artist Chakaia Booker PressFargo Release North Dakota For Immediate701.551.6100 Release • plainsa (July 2021)rt.org Fargo, North Dakota – Plains Art Museum, in partnership with EFA Robert Blackburn Printmaking Workshop (RBPMW) in New York City, New York (est. 1948), is honored to present unique prints, large-scale sculpture, and hand-made books by renowned artist Chakaia Booker. Gestural Expanse: Prints, Sculptures and Books by Chakaia Booker is now open through January 22, 2022 in the Museum’s William and Anna Schlossman gallery. Chakaia Booker (b.1954, New Jersey) is an internationally acclaimed, New York-based artist known for her monumental, transpiring, public sculptures that explore recycled, deconstructed and reconstructed form – often utilizing shredded, twisted automobile tires from the streets of Manhattan. Expanding on her work as a sculptor, Booker has worked with the legendary Robert Blackburn Printmaking Workshop since 2009 and with master printer Justin Sanz in creating over 200 unique and multi-dimensional abstract landscapes which are simultaneously rooted in improvisation, aesthetics, and universality. Booker’s explorations are complemented with selected works from RBPMW archive in Gestural Expanse — including impressive works by Robert Blackburn, Renee Cox, Melvin Edwards, Zarina Hashmi, Maren Hassinger, Glendalys Medina, Mildred Thompson, and others – celebrating the culturally diverse collective art studio, and the fostering and encouragement of innovation and collaboration. Chakaia Booker is the recipient of numerous awards, grants, and residencies including the Pollock-Krasner Grant, The Joan Mitchell Foundation Painters and Sculptors Grant, and a Guggenheim Fellowship. Her works have been exhibited throughout the United States, and at the: 2000 Whitney Biennial; Smithsonian American Art Museum in Washington D.C.; Museum of Fine Arts, Boston, Massachusetts; Snite Museum of Art at Notre Dame, South Bend, Indiana; as well as in Europe, Africa, and Asia.
    [Show full text]
  • RACMAC Outreach 06-08 Text.Rtf
    - o~- o-::}-' O~ase punch here for all application copies and support material, or use 3-hole pa~. FY06-1564 SECTION A - ORGANIZATION INFORMATION UMSL-Gallery 210 • UM-St. Louis, 44 East Drive, TCC, One University Blvd. St. Louis, MO 63121 Briefly describe your organization's mission: • Gallery 210's mission is to support the educational mandate of UM-St. Louis, contribute to the cultural climate of campus and neighboring communities and serve the local arts community through the regular presentation of contemporary visual arts. SECTION B - APPLICATION INFORMATION Category: Program Support III - Non-Arts Groups> $5,000 Discipline: Visual Arts Contact Person: Terry Suhre Title: Director Daytime Telephone: 314-516-5952 Email Address: [email protected] Program Budget (automatic summary from Section J BUdgeted Expense: - Budgeted Income: $ 135,408 - 115,408 SECTION C - PROGRAM OVERVIEW 1. One-time Project 2. Program Title: Gallery 210 2006-2007 Exhibition Season 3. In the space below, provide a one-paragraph summary description of your project(s). The Curators of the University of Missouri on behalf of Gallery 210 is requesting $25,000 to support the eight exhibitions of the 2006-2007 Gallery 210 Exhibition Season. Exposure 9 (Juried by Robert Sill, Illinois State Museum), Ken Konchel: Elegant City, Ana Flores: Cuban Journal, Cheryl Yun: Recycling the News, Bill Smith: Beautiful Science, Cynthia Pachikara: Shadow Work, Chakaia Booker: Sculpture, and Portfolio: Work from Students at the Central Visual and Performing Arts High School. The exhibitions will be supported with artist lectures, public receptions and publications. All of , the above programs are free and open to the public.
    [Show full text]
  • Chakaia Booker Future Equity
    CHAKAIA BOOKER FUTURE EQUITY March 27 - May 1, 2021 470 NORTH DOHENY DRIV E, LOS ANGELES, CALIFORNIA 90048 TEL 310 55 0 0050 FA X 310 5 50 0605 WWW .MBART.COM INF [email protected] FOR IMMEDIATE RELEASE CHAKAIA BOOKER FUTURE EQUITY March 27 – May 1, 2021 Opening Reception Saturday, March 27 from 12 to 7 pm M+B is pleased to announce Chakaia Booker: FUTURE EQUITY, the inaugural exhibition at our newest location, M+B Doheny, from March 27 through May 1, 2021. An opening reception will be held on Saturday, March 27 from noon to 7pm. After a four-decade long career, this will be Booker's first solo exhibition in Los Angeles. Throughout her career, Chakaia Booker has made a steadfast commitment to experimentation with everyday found materials, drawing connections on the relationship between humans and the environment. Booker is best known for her complex sculptures made from reclaimed rubber tires. In repurposing industrial materials, Booker fuses ecological and technological concerns with explorations of racial and economic differences. FUTURE EQUITY introduces Booker’s vital visual language and features work in the artist’s signature medium. On view will be a range of Booker’s formats, including pedestal pieces, wall-mounted works and large freestanding sculptures. Chakaia Booker began integrating cast-off materials into large sculptures in the early 1990s as a way to address the environment and issues of class, race and labor in the industrial world. For her, the varied tones of rubber evoke the complexities of black’s human application, while the tire treads suggest images as varied as African scarification and textile designs.
    [Show full text]
  • Unearthing Afrofuturist Materialist Interventions Deanna M
    Lehigh University Lehigh Preserve Theses and Dissertations 2016 Imagineering Black (Im)Possibility: Unearthing Afrofuturist Materialist Interventions DeAnna M. Daniels Lehigh University Follow this and additional works at: http://preserve.lehigh.edu/etd Part of the American Studies Commons Recommended Citation Daniels, DeAnna M., "Imagineering Black (Im)Possibility: Unearthing Afrofuturist Materialist Interventions" (2016). Theses and Dissertations. 2563. http://preserve.lehigh.edu/etd/2563 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. Imagineering Black (Im)Possibility: Unearthing Afrofuturist Materialist Interventions by De’Anna Monique Daniels A Thesis Presented to the Graduate and Research Committee of Lehigh University in Candidacy for the Degree of Master of Arts in American Studies Lehigh University May 5th, 2016 1 © 2016 Copyright De’Anna Monique Daniels ii Thesis is accepted and approved in partial fulfillment of the requirements for the Master of Arts in American Studies. Imagineering Black (Im)Possibility: Unearthing Afrofuturist Materialist Interventions De’Anna Monique Daniels 5/6/2016 Date Approved Dr. Monica Miller Thesis Director Dr. Christopher Driscoll (Name of Co-Director) Dr. John Pettegrew (Name of Department Chair) iii ACKNOWLEDGMENTS I would like to express my sincerest gratitude and appreciation to the community of accountability that formed during my tenure at Lehigh University. I am indebted to your compassionate criticisms, enduring patience, labor, dedication, and willingness to push that allowed this thesis to become a possibility. To my adviser Dr. Monica Miller your care, questioning, push back, useful comments, remarks and engagement through the learning process have been invaluable.
    [Show full text]
  • Download Chakaia Booker CV
    Chakaia Booker [email protected] Born: 1953- Newark, NJ EDUCATION 1976 BA, Sociology, Rutgers University, New Brunswick, New Jersey 1993 MFA, Sculpture and Painting, The City College of New York, New York The artist lives in New York City & works in New York and Allentown, PA. SELECTED AWARDS AND RESIDENCIES 2008 Merit Award in Public Art, Keep Indianapolis Beautiful, Inc., IN 2005 Fellowship for Fine Arts, John Simon Guggenheim Memorial Foundation NY Design Award, Art Commission of the City of New York, New York, New York 2002 Grant, The Pollock-Krasner Foundation, Inc., New York, New York 2001 Arts and Letters Award, American Academy of Arts and Letters, New York, 2000 Grant, Anonymous Was a Woman Award, New York, New York Inclusion in the Whitney Biennial, Whitney Museum of American Art, New York, NY 1999 Award, Johnnie L. Cochran, Jr. Art Fund, New York, New York 1997 Gregory Millard Fellow: Sculpture, New York Foundation for the Arts, NY 1995 The Joan Mitchell Foundation, Painters and Sculptors Grant, New York Artist-in-Residence, The Studio Museum in Harlem, New York, New York 1994 Commission, NASA Art Program, National Museum of Women in the Arts, Washington, DC 1992 Therese Ralston McCabe Connor Award, The City College of New York, New York, New York 1988 Grant, Artists Space, New York, New York SELECTED COMMISSIONS 2016 National Museum of African American History and Culture, Washinton DC Millennium Park, Chicago Il 2015 Renwick Gallery, Washington DC 2013 Weeksville Heritage Center, Brooklyn NY SELECTED COLLECTIONS Birmingham Museum of Art, Birmingham, AL Bronx Museum of Art, Bronx, NY Brooklyn College Library, The City University of New York, Brooklyn, NY Brooklyn Museum, Brooklyn, NY Davis Museum at Wellesley College, Wellesley, MA Donald W.
    [Show full text]
  • The Battle for Queens
    LIFE & CULTURE AUGUST 7, 2009 By KELLY CROW The Battle for Queens Artist Duke Riley plans to stage a Coliseum-style naval war; artists and curators to don gladiator gear During tough economic times, Imperial Rome distracted itself by staging naval battles inside a flooded Coliseum. Artist Duke Riley plans to wage a similar spectacle, only in Queens, N.Y. Next week, city parks engineers are set to fill up a vacant pool on the grounds of the 1964 World’s Fair so Mr. Riley can launch his homemade armada of 30-foot-long Spanish galleons, Egyptian river boats, and Polynesian war canoes. All the vessels were made mainly from recycled materials and invasive reeds yanked from the nearby wetlands. Much of the Thursday battle is still unscripted, but teams of artists and curators in gladiator gear intend to board their vessels and sink their rivals in front of spectators dressed in togas. Mr. Riley, whose tattoo-style drawings are collected by major patrons like Whitney Museum of American Art board member Melva Bucksbaum and the Brooklyn Museum, will be on hand himself and may dole out buckets of fake blood. He says he can’t afford to pay workers, so all the participants on the project are unpaid volunteers. Rebecca Goyette, an educator at the Museum of Modern Art who has been assigned to play Caligula’s wife, says she won’t mind getting splattered: “I want to fight.” The event, titled “Those About To Die Salute You,” is shaping up to be the city’s alternative art party of the summer, a theatrical standout amid a recession that has made it difficult for arts groups to produce public art on a grand scale.
    [Show full text]
  • IMAGINING MONUMENTS for NEWARK Salamishah Tillet and Paul Farber
    FALL 2019 PRESENTED BY NEW ARTS JUSTICE AND MONUMENT LAB MILITARY PARK THE TIME IS NOW: IMAGINING MONUMENTS FOR NEWARK Salamishah Tillet and Paul Farber There is a great peace, after the war great love, after the hatred –Amiri Baraka Located in the heart of Newark’s Military Park, one of the nation’s oldest public spaces, a large bronze sculpture sits elevated on a raised pedestal layered with granite on its outer edges. The sculp- ture, Wars of America, is nearly a century old and included on the National Register of Historic Places. It forges the middle ground of a park that has been and continues to be a throughway, a gathering place, and a space to consider the multiple narratives that comprise Newark of yesteryear and today. Wars of America stands out from most other war monuments in Newark and elsewhere, as it elevates a collective of people rather than a single heroic icon. Conjuring references of American conflicts from the Revolution through the Civil War and World War I, this grouping does not merely lionize the leaders of End Apartheid Now rally, 1986. Photo: Manuel Acevedo battle or abstract them in dignified poses. All forty- two of the human figures are depicted in the midst of struggles, on and off the battlefield, whether leaning toward conquest or reserved in protection or defi- patriotism, gatherings and displacement, and memo- to the South; anti-apartheid activists in the 1980s; ance. In front of the monument, a reflecting pool once ry and historical amnesia. and the city’s annual Afro Beat festival today.
    [Show full text]
  • International Issue
    / Summer 2006 Summer I]ZHijY^dBjhZjb^c=VgaZbBV\Vo^cZ / Summer 2006 >CI:GC6I>DC6A >HHJ: ;gdbi]Z9^gZXidg HB=7dVgYd[ today’s most compelling artists by Kareen Dillon, Sam Durant IgjhiZZh of African descent, we take you and Jayson Keeling and send it Raymond J. McGuire around the world, from Cuba to back from wherever your travels Chairman Trinidad to Dakar to England to may take you. Carol Sutton Lewis Haiti, and of course back uptown Vice-Chair to Harlem! Reginald Van Lee Treasurer I]ZHijY^dBjhZjb^c=VgaZbBV\Vo^cZ / Summer 2006 Gayle Perkins Atkins Kathryn C. Chenault Paula R. Collins Gordon J. Davis Anne B. Ehrenkranz Susan Fales-Hill This moment also marks Dr. Henry Louis Gates Jr. %'$l]Vi¼hjeFj^YEgdFjd$CVY^cZGdW^chdc$7ZndcYH^\]i$=VgaZb several transistions at the Sandra Grymes Studio Museum. Our esteemed Joyce Haupt EdhiXVgYh&'$jeXdb^c\Zm]^W^i^dch6[g^XV8db^Xh$HiVc9dj\aVh Arthur J. Humphrey Jr. I have never been a fan of President and former Director George L. Knox &)$ZahZl]ZgZ@Z]^cYZL^aZn$8]V`V^V7dd`Zg$@Zggn?VbZhBVgh]Vaa organized sports. Not really. Lowery Stokes Sims ends Nancy L. Lane I sometimes watch the U.S. open her tenure and will assume Dr. Michael L. Lomax $7aVX`HinaZCdl$8]g^hDÄa^$9^heViX]/LVh]^c\idc!9#8#'%$8dkZgZY/ or occasionally check in on the Tracy Maitland Olympics, but I have never been Rodney M. Miller ;V]VbjEZXdj''$[ZVijgZ=VkVcV!8jWV'+$[ZVijgZAZha^Z=Zl^ii an NBA playoffs kind of girl. Recent biennials in Havana and Eileen Harris Norton 6ci]dcn?dhZe]('$>che^gZYWn6gi<gZ\<djgYZi()$dkZg]ZVgY(+$Vgi^hi All of that changed last month Dakar were full of discoveries.
    [Show full text]
  • Guide to the Papers of African American Artists and Related
    Guide to the Papers of January 2020 African American Artists and Related Resources 2 What We do Above: Titus Kaphar in his 11th Avenue Studio, New York City, 2008. Photograph by Jerry L. Thompson. Jerry L. Thompson papers. Cover: Chakaia Booker installing Foci (2010) at Storm King Art Center, Mountainville, New York, 2010. Photograph by Jerry L. Thompson. Jerry L. Thompson papers. 3 TABLE OF CONTENTS 05 Our History 06 What We Do 10 A Culture of Access 11 Archives in the World 12 Why the Archives of American Art? 15 Recent Acquisition Highlights 17 Guide to African American Collections 48 Additional Papers of African American Artists 56 Oral History Interviews 60 Related Resources 72 Administration and Staf 4 HISTORY AND ABOUT The Smithsonian’s Archives of American Art enlivens the extraordinary human stories behind the United States’ most signifcant art and artists. It is the world’s preeminent resource dedicated to collecting and preserving the papers and primary records of the visual arts in the United States. Constantly growing in range and depth, and ever increasing in its accessibility, it is a vibrant, unparalleled, and essential resource for the appreciation, enjoyment, and understanding of art in America. 5 Our History In a 1954 letter from then director of the Detroit Institute of Arts Edgar P. Richardson to Lawrence A. Fleischman, Richardson poses a question: “Do you realize what a big thing you have done in starting the Archives [of American Art]? I know you do. But do you? It is enormous in its implications; enormous!” Richardson and Fleischman, a Detroit businessman and an active young collector, had founded the Archives earlier that year.
    [Show full text]
  • CHAKAIA BOOKER Unique Artists Books
    CHAKAIA BOOKER Unique Artists Books EFA Robert Blackburn Printmaking Workshop is pleased to announce NEW Unique Artists Books with Chakaia Booker, in collaboration with Jazmine Catasus and Master Printer, Justin Sanz. Best known for her large sculptural works made from discarded tires which are cut, looped, layered and reassembled, Booker's prints explore similar ideas of recombination and transformation through analogous printmaking processes. The unique book covers are printed from woodblocks on bookcloth; components of lithography, woodcuts and hand-painted ink on Chine Collé papers are carefully assembled and adhered to Hahnemühle paper, then embossed from blocks carved with ready- made bits from an industrial router to create the inside sheets. The accordion fold allows for the sheet to be seen in parts and as whole as they were initially composed. Special thanks to: Printshop Monitors, Slavko Djuric, John Andrews, Paul John; Summer Interns: Finn Lowden, Naira Luke-Aleman, and Rinako Sonobe; and Center for Book Arts. CHAKAIA BOOKER Chakaia Booker received a B.A. in Sociology from Rutgers University (1976) and a MFA from the City College of New York (1993). She was selected for the Whitney Biennial in 2000, awarded the Pollock-Krasner Grant in 2002 and received a Guggenheim Fellowship in 2005. Booker's work has been exhibited widely both nationally and internationally. Select solo exhibitions include: The National Museum of Women in the Arts; Milwaukee Art Museum; The Kemper Museum of Contemporary Art; Queens Museum of Art; Katonah Museum of Art and Storm King Arts Center. She has been included in group exhibitions at the Metropolitan Museum of Art, The Museum of Art and Design, Bronx Museum of the Arts, The Studio Museum in Harlem and the Corcoran Gallery of Art, among others.
    [Show full text]
  • FACT of the MATTER JANUARY 21–MAY 16 2014 Fact of the Matter Socrates Sculpture Park at 1285 Avenue of the Americas Gallery
    FACT OF THE MATTER JANUARY 21–MAY 16 2014 16 21–MAY JANUARY MATTER THE OF FACT fact of the matter Socrates Sculpture Park at 1285 Avenue of the Americas Gallery COVER fact of the matter Socrates Sculpture Park at 1285 Avenue of the Americas Gallery January 21 - May 16 2014 Jarrod Beck, Chakaia Booker, Mark di Suvero, Tony Feher, Hugh Hayden, Jeffry Mitchell, Richard Nonas, Alyson Shotz, Ursula von Rydingsvard. Socrates Publishing 2014 Socrates Sculpture Park P.O. Box 6259, 32-01 Vernon Boulevard Long Island City, NY 11106 USA www.socratessculpturepark.org contents 08 forward 12 introduction 20 Jarrod Beck 24 Chakaia Booker 28 Mark di Suvero 32 Tony Feher 36 Hugh Hayden 40 Jeffry Mitchell 44 Richard Nonas 48 Alyson Shotz 52 Ursula von Rydingsvard 56 at the park & in the studio 68 socrates 70 support & thanks Socrates Sculpture Park is honored to pres- ent Fact of the Matter at 1285 Avenue of the Americas Gallery as our first Manhattan pre- sentation in over two decades. The only other off-site exhibition, Outside In, was presented in 1987, at the organization’s nascency. When we first began conversations about organizing an exhibition for 1285 Ave of the Americas Gallery, we immediately established that this exhibition should reflect the scale and dynamism of the public artwork that Socrates is well known for. Through the expansive gallery area, we wanted to invoke the transparency and openness of the park’s outdoor studio and exhibi- tion programs. With this in mind, we formulated Fact of the Matter, an exhibition that explores the intimate and physical relationship between art- ists and their materials.
    [Show full text]