Senga Nengudi
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Oral History Interview with Senga Nengudi, 2013 July 9-11
Oral history interview with Senga Nengudi, 2013 July 9-11 Funding for this interview was provided by Stoddard-Fleischman Fund for the History of Rocky Mountain Area Artists. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Senga Nengudi on 2013 July 9 and 11. The interview took place in Denver, Colorado, and was conducted by Elissa Auther for the Archives of American Art, Smithsonian Institution. This interview is part of the Stoddard-Fleischman Fund for the History of Rocky Mountain Area Artists Oral History Project. Senga Nengudi and Elissa Auther have reviewed the transcript. The transcript has been heavily edited. Many of their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ELISSA AUTHER: This is Elissa Auther interviewing Senga Nengudi at the University of Colorado, in Colorado Springs, Colorado, on July 9, 2013, for the Archives of American Art, Smithsonian Institution. Senga, when did you know you wanted to become an artist? SENGA NENGUDI: I'm not, to be honest, sure, because I had two things going on: I wanted to dance and I wanted to do art. My earliest remembrance is in elementary school—I don't know if I was in the fourth or fifth grade—but in class, I had done a clay dog. -
Videostudio Playback
VideoStudio Playback Houston Conwill Maren Hassinger Fred Holland Ishmael Houston-Jones Ulysses Jenkins Senga Nengudi Howardena Pindell 10 06 16 Spring 2011 04 –“I am laying on the between the predeter- “No, Like This.” floor. My knees are up. mined codes of language Movements in My left arm is extended and their meaning to the side.” when actually used. Performance, –“Is it open?” By setting live human Video and the –“The palm of my left hand bodies to a technologically is open. Um, it’s not really reproduced voice, Babble Projected Image, open. It’s kind of cupped a addresses the mutable 1980–93 little bit, halfway between boundary between human open and shut.” and machine. While –“Like this?” mechanical manipulation Thomas J. Lax –“No, like this.” is commonly thought to –“Do we have to do this be synthetic and external now?” to original artistic work, –“Like this?” their performance demon- –“Okay.” strates the ways in which –“Okay.” technology determines something thought to This informal, circuitous, be as organic and natural instruction begins a as the human body. vignette in Babble: First Impressions of the White For its conceptual frame- Man (1983), a choreo- work, this exhibition graphic collaboration draws on Babble’s tension between artists Ishmael between spontaneous Houston-Jones and human creativity and Fred Holland. Although technology’s possibilities Houston-Jones is, as he and limitations. Bring- says, laying on the floor ing together work in film with his knees up and and video made primarily his left arm open, his between 1980 and 1986 voice is prerecorded and by seven artists who were removed from his onstage profoundly influenced by body. -
Pacific Standard Time: Art in La
FOR IMMEDIATE RELEASE Press Contacts Ruder Finn Arts & Communications Counselors Rachel Bauch (310) 882-4013 / [email protected] Olivia Wareham (212) 583-2754 / [email protected] PACIFIC STANDARD TIME: ART IN L.A. 1945-1980 BEGINS THE COUNTDOWN TO ITS OCTOBER 2011 OPENING Bank of America Joins as Presenting Sponsor; Community Leaders and Foundations Expand the Ever-Growing Circle of Support New Partnerships, Exhibitions, Outreach Programs and Performance Art and Public Art Festival Are Announced for the Unprecedented Region-Wide Collaboration Los Angeles, CA, November 4, 2010 — Deborah Marrow, Interim President and CEO of the J. Paul Getty Trust, joined today with cultural and civic leaders from throughout Southern California to announce a host of new initiatives, partnerships, exhibitions and programs for the region-wide initiative Pacific Standard Time: Art in L.A. 1945-1980, including presenting sponsorship from Bank of America. The first project of its kind, Pacific Standard Time has now begun the countdown to its October 2011 opening, when more than sixty cultural institutions throughout Southern California will come together to tell the story of the birth of the Los Angeles art scene and how it became a new force in the art world. This collaboration, the largest ever undertaken by cultural institutions in the region, will continue through April 2012. It has been initiated through grants totaling $10 million from the Getty Foundation. ―As we start marking the days toward the opening, the excitement about Pacific Standard Time continues to grow, and so does the project itself,‖ Deborah Marrow stated. ―What began as an effort to document the milestones in this region’s artistic history has expanded until it is now becoming a great creative landmark in itself. -
Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS
We Wanted a Revolution: Black Radical Women, 1965-85 Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS Larry Neal (Born 1937 in Atlanta; died 1981 in Hamilton, New York) “Any Day Now: Black Art and Black Liberation,” Ebony, August 1969 Jet, January 28, 1971 Printed magazines Collection of David Lusenhop During the Civil Rights and Black Power Movements, publications marketed toward black audiences chronicled social, cultural, and political developments, covering issues of particular concern to their readership in depth. The activities and development of the Black Arts Movement can be traced through articles in Ebony, Black World, and Jet, among other publications; in them, artists documented the histories of their collectives and focused on the purposes and significance of art made by and for people of color. WWAR EPHEMERA LABELS 2 EXTENDED LABELS Weusi Group Portrait, early 1970s Photographic print Collection of Ronald Pyatt and Shelley Inniss This portrait of the Weusi collective was taken during the years in which Kay Brown was the sole female member. She is seated on the right in the middle row. WWAR EPHEMERA LABELS 3 EXTENDED LABELS First Group Showing: Works in Black and White, 1963 Printed book Collection of Emma Amos Jeanne Siegel (Born 1929 in United States; died 2013 in New York) “Why Spiral?,” Art News, September 1966 Facsimile of printed magazine Brooklyn Museum Library Spiral’s name, suggested by painter Hale Woodruff, referred to “a particular kind of spiral, the Archimedean one, because, from a starting point, it moves outward embracing all directions yet constantly upward.” Diverse in age, artistic styles, and interests, the artists in the group rarely agreed; they clashed on whether a black artist should be obliged to create political art. -
How the Studio Museum in Harlem Transformed the Art World Forever
How the Studio Museum in Harlem Transformed the Art World Forever ESSAY BY SALAMISHAH TILLET; PHOTOGRAPHS BY JOHN EDMONDS; STYLING BY MIGUEL ENAMORADO Feb 26, 2021 Betye Saar. Faith Ringgold. Mickalene Thomas. Julie Mehretu. Simone Leigh. Jordan Casteel. These are only a few of the Black women artists who have recently exhibited in the nation’s largest museums, like the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim, and the Getty. But long before, it was the Studio Museum in Harlem that had the foresight and intuition to show their work, linking these women both to one another and to generations of Black artists, curators, and critics who have helped reshape American art history over the past 50 years. Located on Harlem’s famed 125th Street, with Adam Clayton Powell Jr. Boulevard on one side and Lenox Avenue on the other, the physical building that houses the Studio Museum has been closed since 2018 due to a $175 million multi-year expansion project. (Part of the collection has been touring nationally in the show “Black Refractions.”) The museum’s new five-story structure, designed by Ghanaian British architect Sir David Adjaye, will more than double its exhibition space. But that space will still represent only a sliver of the Studio Museum’s cultural impact and influence on how Sadie Barnette, Untitled (Flowers), 2017. Collage and aerosol people—as well as elite art paint on paper, 7 × 5 in. The Studio Museum in Harlem. museums—have come to understand and relate to African diasporic art. Since its founding in 1968, the Studio Museum has cultivated some of the most lively debates, thrilling exhibitions, and boldest innovators of Black art that our country has ever seen. -
Senga Nengudi's Art Within and Without Feminism, Postminimalism
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-13-2020 Beyond Movements: Senga Nengudi’s Art Within and Without Feminism, Postminimalism, and the Black Arts Movement Tess Thackara CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/605 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Beyond Movements: Senga Nengudi’s Art Within and Without Feminism, Postminimalism, and the Black Arts Movement by Tess Thackara Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis Sponsor: May 4, 2020 Dr. Howard Singerman _____________ ______________________ Date Signature May 4, 2020 Dr. Lynda Klich _____________ ______________________ Date Signature Table of Contents List of Illustrations……………………………………………………………………………....ii Introduction……………………………………………………………………….......................1 Chapter 1: “Black Fingerprints and the Fragrance of a Woman”: Senga Nengudi and Feminism………………………………………………………………………………………..12 Chapter 2: Toward Her Own Total Theater: Senga Nengudi and Postminimalism…………….31 Chapter 3: Ritual and Transformation: Senga Nengudi and the Black Arts Movement……………………………………………………………………………………….49 Conclusion………………………………………………………………………………………64 Bibliography…………………………………………………………………………………….68 Illustrations……………………………………………………………………………………...72 i List of Illustrations Fig. 1: Senga Nengudi, ACQ series (install view), 2016–7, refrigerator and air conditioner parts, fan, nylon pantyhose, and sand. © Senga Nengudi. Courtesy of the artist, Lévy Gorvy, Thomas Erben Gallery, and Sprüth Magers. Fig. 2: Senga Nengudi, ACQ I, 2016–7, refrigerator and air conditioner parts, fan, nylon pantyhose, and sand. -
AFRICAN AMERICAN AVANT-GARDES, 1965–1990 Modern Art in Los Angeles Conversation January 16, 2008 Factsheet African American Avant-Gardes, 1965–1990
AFRICAN AMERICAN AVANT-GARDES, 1965–1990 Modern Art in Los Angeles Conversation January 16, 2008 Factsheet African American Avant-Gardes, 1965–1990 This conversation reunited four African American artists—Maren Hassinger, Ulysses Jenkins, Barbara McCullough, and Senga Nengudi—who worked together in the 1970s and 1980s in Los Angeles. The artists’ collaborative activities included impromptu performances and participation in organized collectives such as David Hammons’s Studio Z and Ulysses Jenkins’s Othervisions Studio. As part of Contemporary Programs and Research’s ongoing oral history series Modern Art in Los Angeles, the “African American Avant-Gardes, 1965–1990” program sought to revise and augment the historical record by exploring the underexamined contributions made by African American artists to Los Angeles’s vibrant postwar art scene. The discussion centered on the importance of community relationships and collaboration. At a time when the majority culture had little interest in African American artists’ work, the support and validation of other artists of color was crucial, as were the contributions of a select group of critics and exhibition organizers who championed their practices. The role of improvisation and ritual in the work of the artists, the impact of the Watts Rebellion, the importance of the women’s movement, and the expanded collaborative field of audience participation were also central to the discussion. The conversation was moderated by Kellie Jones, associate professor of art history and archaeology at Columbia University, and Dr. Judith Wilson, independent scholar. * To view video documentation of the entire conversation, please contact the Research Library at the Getty Research Institute at (310) 440-7390. -
Felt Forms Kim Gregory
Florida State University Libraries Honors Theses The Division of Undergraduate Studies 2014 Felt Forms Kim Gregory Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE, AND DANCE FELT FORMS By KIM GREGORY A Thesis submitted to the Department of Art In partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: Spring 2014 The members of the Defense Committee approve the thesis of Kim Gregory defended on April 18, 2014. ______________________________ Holly Hannesian Thesis Director ______________________________ Karen Bearor Outside Committee Member ______________________________ Kevin Curry Committee Member ______________________________ Jeff Beekman Committee Member It begins with a cup. The simple cup caresses the users most intimate zone of the body, the lips, sharing a level of intimacy typically reserved for a lover or close family member.1 The early production of Felt Forms reflected on the intimate exchanges one has with a cup. I took an interest in the connection between user and object and the interaction that takes place through the cup’s functionality. I started to investigate the cup’s form and function as it sensually interacts with the architecture of our mouths. The relationship formed between user and object, as well as the utility of the vessel became substantial reference points for this body of work. Through the making of this series, I read about the cultural significance of the vessel at length. Engaging in research of the vessel’s importance across history and throughout cultures encouraged me to reflect on why and how I made my own vessels. -
Oral History Interview with Emma Amos, 2011 November 19-26
Oral history interview with Emma Amos, 2011 November 19-26 Funding for this interview was provided by the Brown Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Emma Amos on 2011 November 19-26. The interview took place in New York, NY at Amos' studio, and was conducted by Patricia Spears Jones for the Archives of American Art, Smithsonian Institution. This interview is part of the Archives of American Art's Oral History Interviews of American Photographers Project. At the time of this interview, Emma Amos was beginning to exhibit signs of age-related memory loss. This interview was reviewed by Natalia de Campos, Amos's Studio Manager. Her corrections and emendations appear below in brackets with initials. Some facts were corrected while others may need to be fact-checked, and we recommend that names be confirmed. Notes marked with an asterisk (*) indicate passages wherein Ms. Amos may have experienced a memory lapse, thus fact checking is recommended. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview PATRICIA SPEARS JONES: Okay. Today is November 19th, and I am Patricia Spears Jones. And I am meeting with the painter and artist Emma Amos in her home at 21 Bond Street in New York City. Good afternoon. EMMA AMOS: Good afternoon. -
Annual Report OCTOBER 1, 2018—SEPTEMBER 30, 2019 Letter from the 2019 Annual Report Archives of American Art 2 Interim Director
Annual Report OCTOBER 1, 2018—SEPTEMBER 30, 2019 Letter from the 2019 Annual Report Archives of American Art 2 Interim Director DEAR FRIENDS, In 1954, at a time when few universities offered of detailed online finding aids for the papers of courses in American art, Edgar P. Richardson Beverly Buchanan, Ruth Jett, and Senga Nengudi. A and Lawrence A. Fleischman envisioned a central new comprehensive guide to the papers of African repository of historical records dedicated to the American artists and related resources will soon be subject that would encourage and support further available online. research. Never could they have imagined that the Two engaging exhibitions in the Lawrence A. Archives of American Art would grow from their initial Fleischman Gallery this year inspired visitors to small collection of microfilmed records in Detroit, the Donald W. Reynolds Center to think differently Michigan, to a full-fledged Smithsonian research about archives. The fiscal year began with center dedicated to collecting, preserving, and Pushing the Envelope: Mail Art from the Archives providing access to primary sources that document of American Art, guest curated by Miriam Kienle, the history of the visual arts in the United States. assistant professor of contemporary art history at Over the years, the Archives has continued to the University of Kentucky, in collaboration with innovate, adopting and even creating best practices her students. Together, professor and students for making our more than 6,100 collections, including examined issues of collaboration, circulation, and 30 million items and nearly 2,500 oral history community within the robust artistic networks of interviews, freely available to the public. -
NATURE's POWER IS UNLEASHED: Maren
Media Contacts: News Travels Fast Jose Lima & Bill Spring [email protected] NATURE’S POWER IS UNLEASHED : BOLD NEW SEASON AT BOCA RATON MUSEUM OF ART Maren Hassinger: Tree of Knowledge Clifford Ross: Waves November 5 through March 1 (Boca Raton, FL) ─ The power of nature is unleashed with two timely, powerful exhibitions at the Boca Raton Museum of Art for the new season. Both of these original shows ─ Maren Hassinger: Tree of Knowledge and Clifford Ross: Waves ─ will kick off the museum’s 70th anniversary season (on view November 5th - March 1st). The museum is presenting both exhibitions together because the two shows sound a clarion call for environmental awareness. These shows also remind viewers that the beauty of nature can still inspire us, despite the oversaturation of society by hand-held devices and screens. The two exhibitions are presented side-by-side in adjoining galleries. The Clifford Ross exhibition features a new approach to his monumental depictions of ocean waves that the artist captures during extreme weather. The result is the most comprehensive survey of his process ever shown in a museum. Ross dramatically presents the monstrous power of the seas in his new exhibition at a crucial moment in time for our planet: the United Nations recently issued a major new report warning that the dangerous effects of climate change on our oceans is much worse than previously thought. The new findings warn about warming oceans and damaged ecosystems. Sea levels are rising faster than previously predicted, glaciers and ice sheets melting more rapidly than expected, shrinking the fisheries that feed millions. -
Gloria Steinem Margaret Sloan Michele Wallace Betye Saar
1. It was nice to be a “Ms.” cover myself once. But a people of color cover once Gloria Steinem or twice a year is not enough. In real life, people of color occur with much American, born 1934 more frequency. I do not feel welcome in the world you are projecting. “The Ticket That Might Have Been . President Chisholm,” Ms., 6a. January 1973 Womanspace, April/May 1973 Printed magazine Facsimile of printed magazine Private collection, Brooklyn Brooklyn Museum Library Collection 2. 6b. Margaret Sloan Betye Saar American, 1947–2004 American, born 1926 “Black Feminism: A New Mandate,” Ms., May 1974 “Black Mirror,” Womanspace, April/May 1973 Printed magazine Facsimile of printed magazine Private collection, Brooklyn Brooklyn Museum Library Collection 3. 7a. Ms., August 1974 Printed magazine Claudia Chapline Private collection, Brooklyn American, born 1930 “Reflections on ‘Black Mirror’,” Womanspace, Summer 1973 4. Facsimile of printed magazine Ms., June 1982 Brooklyn Museum Library Collection Printed magazine Private collection, Brooklyn 7b. Womanspace, Summer 1973 5. Facsimile of printed magazine Michele Wallace Brooklyn Museum Library Collection American, born 1952 In 1973, Womanspace Gallery in Los Angeles presented Black “Black Macho and the Myth of the Superwoman,” Ms., January 1979 Mirror, an exhibition of five black women artists, including Betye Printed magazine Saar and Samella Lewis. Multiple works from Saar’s The Liberation Private collection, Brooklyn of Aunt Jemima series were shown. The exhibition critiqued racist representations of black women and advocated for positive Founded by Gloria Steinem and Letty Cottin Pogrebin as the first representations made by and for women of color.