KEHINDE WILEY Bibliography Selected Publications 2020 Drew
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Jordan Casteel
Jordan Casteel CASEY KAPLAN 121 West 27th Street September 7–October 28 In 2015, while in residence at the Studio Museum in Harlem, Jordan Casteel took to the streets with her camera and iPhone, photographing men she encountered at night. Adopting this process for the exhibition of paintings here, the artist presents herself as a flaneuse, capturing the vibrant life of the neighborhood without categorizing it for easy consumption. In these portraits, men appear alone or in groups of two or three, sitting in subway cars, on stoops, and standing in front of store windows. (Women are absent, save for images on a braiding salon’s awning.) Nonetheless, Casteel’s subjects are perfectly at home in their environments, often bathed in the fluorescence of street lamps, as in Q (all works 2017), where the eponymous subject gazes back, phone in hand, a Coogi-clad Biggie Smalls on his red sweatshirt. Casteel has a knack for detail where it counts: the sharp glint of light hitting the subject’s sunglasses in Zen or the folds of a black puffer jacket and the stripes of a Yankees hat in Subway Hands. In Memorial, a bright spray of funeral flowers on an easel sits over a street-corner trashcan—the pink bows attached to the easel’s legs feel almost animated, celebratory. The artist also possesses a wry humor: The pair of bemused men in MegasStarBrand’s Louie and A-Thug sit on folding chairs next to a sign that reads “Melanin?” Jordan Casteel, Memorial, 2017, oil on canvas, 72 x 56". Casteel’s paintings capture Harlem’s denizens beautifully, a community that has long shaped black American identity despite years of white gentrification. -
Finding Aid to the Historymakers ® Video Oral History with Thelma Golden
Finding Aid to The HistoryMakers ® Video Oral History with Thelma Golden Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Golden, Thelma Title: The HistoryMakers® Video Oral History Interview with Thelma Golden, Dates: August 9, 2016 Bulk Dates: 2016 Physical 13 uncompressed MOV digital video files (6:10:28). Description: Abstract: Museum director and curator Thelma Golden (1965 - ) became the director and chief curator of the Studio Museum in Harlem in 2005, having served as a curator at the Whitney Museum of American Art in the 1990s. Golden was interviewed by The HistoryMakers® on August 9, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_006 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Museum director and curator Thelma Golden was born on September 22, 1965 in Queens, New York. In 1983, she graduated from the New Lincoln School, where she trained as a curatorial apprentice at the Metropolitan Museum of Art in her senior year. In 1987, she earned her B.A. degree in art history and African American studies from Smith College. Golden worked first as a curatorial intern at the Studio Museum in Harlem in 1987, then as a curatorial assistant at the Whitney Museum of American Art in 1988. From 1989 to 1991, she worked as the visual arts director for the Jamaica Arts Center in Queens, New York, where she curated eight shows. Golden was then appointed branch director of the Whitney Museum of American Art’s Philip Morris branch in 1991 and curator of the Whitney Museum of American Art in 1996. -
AWOL ERIZKU New Flower | Images of the Reclining Venus
PRESS CONTACT: Maureen Sullivan Red Art Projects, 917.846.4477 [email protected] AWOL ERIZKU New Flower | Images of the Reclining Venus Exhibition Dates: September 17 – December 12, 2015 Opening Reception: Thursday, September 17, 6-8PM NEW YORK, NY – The FLAG Art Foundation presents Awol Erizku: New Flower | Images of the Reclining Venus from September 17 – December 12, 2015, on FLAG’s 10th floor gallery. The exhibition marks the first presentation of the artist’s series of photographs taken in Ethiopia’s capital city of Addis Ababa in 2013. This compelling body of portraiture challenges the mythologized art historical role of the Venus and the odalisque1 in Western painting, setting these tropes against the reality of one of the largest concentrations of sex workers in Africa2. A ‘Conceptual Mixtape’ by Erizku, produced in collaboration with Los Angeles-based DJ SOSUPERSAM, will be released alongside New Flower | Images of the Reclining Venus, featuring music, recorded conversations, and spoken word expanding on the ideas of the exhibitions. Awol Erizku has created several bodies of work re-contextualizing iconic art historical images through his cross-disciplinary approach to sculpture, photography, music, video installation, and social media channels, to discuss identity and the politics of representation. Erizku states “Growing up going to the MoMA or the Met, and not seeing enough people of color (in the art or in the museum)…I felt that there was something missing. So when I was ready to make work as art, I wanted to comment and critique the art history, and make art that reflected the environment I grew up around…” The exhibition’s title New Flower is the English translation of Addis Ababa, where Erizku created the series, made possible by the Alice Kimball Fellowship Award from Yale University, where he received his MFA. -
Kori Newkirk 1997-2007 Pdf
............... • • • • • • • > « ••••• • •••• » < ••••• • • a in z E a This publication was prepared on the occasion of the exhibition Kori Newkirk: 1997-2007 The Studio Museum in Harlem, New York Novem ber 14, 2007 - M arch 9, 20 0 8 Kori Newkirk: 1997-2007 was initiated and sponsored by the Fellows of Contemporary Art. This exhibition was also made possible, with major support from Altria Group Inc. and The Horace W, Goldsmith Foundation. ISBN 978-0-911291-33-9 Fellows of Contemporary Art 970 North Broadway, Suite 208 Los Angeles, California 90012 www.focala.org i 2007 Fellows of Contemporary Art, Los Angeles. All rights reserved. This publication was organized at The Studio Museum in Harlem by Ali Evans and Lauren Haynes. Edited by Samir S. Patel Design by de.MO, Millbrook, New York Printing by Cosmos Communications, Inc., New York Cover image : Kori Newkirk. Par, 2 0 0 4 Unless otherwise noted, all images courtesy The Project, New York IE t r a Kori Newkirk • Testing the Wind (detail) • 2004 CATALOGUE CONTEN SPONSOR’S FOREWO KORI NEWKIRK g+A A FAMILY RESEMBLA KORI NEWKIRK:AN IN EXgUISITE, ELEGAN 5 □ CE ACT! 1997-2007 WD ESTRANGED EXHIBITION CHECKLI ARTIST BIOGRAPHY CONTRIBUTORS’ BIO FOCA MEMBERSHIP I FOCA EXHIBITIONS L THE STUDIO MUSEUM THE STUDIO MUSEUM RAPHIES 114 3T11B IT 118 i HARLEM BOARD 124 i HARLEM STAFF 126 Kori Newkirk *Toom ey • 2003 \GE INFORMATION /CREDIT Kori Newkirk • Breaker • 2004 012 SPONSOR’S FOREWORD The Fellows of Contemporary Art (FDCA) take great pleasure in and her committee members, and to FGCA Immediate Past Chair collaborating with The Studio Museum in Harlem to present Rubin Turner. -
Kehinde Wiley's Interventions Into the Construction of Black Masculine Identity
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository The Power of Décor: Kehinde Wiley’s Interventions into the Construction of Black Masculine Identity Shahrazad A. Shareef A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art. Chapel Hill 2010 Approved by: Dr. John Bowles Dr. Dorothy Verkerk Dr. Pika Ghosh © 2010 Shahrazad A. Shareef ALL RIGHTS RESERVED ii ABSTRACT Contemporary artist Kehinde Wiley creates portraits that employ conventional representations of young black males in varying degrees of hip-hop inspired attire placed against intricate, botanical patterns. Criticism of the artist’s work claims that the subjects of his imagery are the old master paintings which often function as the artist’s templates. It also implicitly suggests that Wiley accepts racialized typologies. In my analysis of the artist’s distinct style, I argue that these images confront the construction of black masculinity and its reduction to a limited set of possibilities through its decorative system. I discuss the black male subjects in combination with the decor woven around their bodies. Interpreting botanical ornamentation as a visual analogue to American consumerism, I expand the subject of the paintings to include contemporary culture. These patterns act as social capital and function as an extension of the body. In addition to light, prints recalling an ethnic “other” and hip-hop attire, Wiley’s decorative elements imbue the sitters with power and prestige through their references to history and their transgressions through race, class and gender. -
Art Historian Sarah Lewis on Why Black Artists Have Been ‘Over-Exhibited and Under-Theorized’
(/) People (https://news.artnet.com/art-world/people) Art Historian Sarah Lewis on Why Black Artists Have Been ‘Over-Exhibited and Under-Theorized’ Lewis has literally changed the curriculum via the Vision & Justice Project. Folasade Ologundudu (https://news.artnet.com/about/folasade-ologundudu-1571), February 27, 2021 Sarah Elizabeth Lewis. (Photo by Stu Rosner) This article is part of a series of conversations with scholars engaged with Black art for Black History Month. See also Folasade Ologundudu’s interviews with Richard J. Powell (https://news.artnet.com/art-world/richard-j-powell- interview-1944754), Bridget R. Cooks (https://news.artnet.com/art-world/bridget-cooks-interview-1945749), and Darby English (https://news.artnet.com/art-world/darby-english-1947080). *** One cannot consider the present-day field of African American art history without mention of Sarah Lewis. The associate professor of the History of Art and Architecture and African and African-American studies at Harvard University (https://haa.fas.harvard.edu/people/sarah-lewis) whose groundbreaking Vision & Justice project has become a part of Harvard’s core art history curriculum is a force to be reckoned with. With her widely watched 2017 TEDX Talk (https://www.ted.com/talks/sarah_lewis_how_images_shape_our_understanding_of_justice) on visual imagery as a change agent for narratives of Black life, Lewis argued that the power of photography can affect our perceptions of justice, reshaping our understanding of society. She has served both on Obama’s National Arts Policy Committee and as a curatorial advisor for Brooklyn’s high-profile Barclays Center. In correspondence, Lewis shared the intimate family moments that propelled her into the fields of academia and art, the ways in which Black artists combat injustice through their work, and how the field of study—African American art and art history—has changed over the past two decades. -
School of Art 2013–2014
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2013–2014 School of Art 2013–2014 BULLETIN OF YALE UNIVERSITY Series 109 Number 1 May 10, 2013 BULLETIN OF YALE UNIVERSITY Series 109 Number 1 May 10, 2013 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, or PO Box 208227, New Haven CT 06520-8227 national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and covered veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to the Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 203.432.0849. -
School of Art 2015–2016
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2015–2016 School of Art 2015–2016 BULLETIN OF YALE UNIVERSITY Series 111 Number 1 May 15, 2015 BULLETIN OF YALE UNIVERSITY Series 111 Number 1 May 15, 2015 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849. -
The Studio Museum in Harlem Winter/Spring 2011 Where Black Art
THE S T UDIO MUS UDIO E UM IN HARLE IN UM The Studio Museum in Harlem M W INTER/SP R IN G 2011 G WHERE BLACK ART ART BLACK WHERE THE CONVERSATION ISSUE Featuring Perspectives from: Mark Bradford Stephen Burks 2010-11 Artists in Residence Dr. Lowery Stokes Sims Sharifa Rhodes-Pitts And more! WINTER/SPRING 2011 THE S T UDIO MUS UDIO E UM IN IN UM HARLE The Studio Museum in Harlem M W IN TER/ SP R IN G 2011 G WHERE BLACK ART ART BLACK WHERE THE CONVERSATION ISSUE Featuring Perspectives from: Mark Bradford Stephen Burks 2010-11 Artists in Residence Dr. Lowery Stokes Sims Sharifa Rhodes-Pitts And more! WINTER/SPRING 2011 STUDIO MAGAZINE ON THE COVER Editor-in-chief BOARD OF TRUSTEES This issue of Studio is underwritten, in Elizabeth Gwinn Chairman part, with support from Bloomberg Raymond J. McGuire Creative Director Thelma Golden Vice-Chair The Studio Museum in Harlem is Carol Sutton Lewis supported, in part, with public funds Managing Editor provided by the following government Treasurer agencies and elected representatives: Allison Channing Jones The New York City Department of Rodney M. Miller Cultural Affairs; Assemblyman Keith L. Associate Editor T. Wright, 70th A.D.; New York State Dominic Hackley Secretary Council on the Arts, a state agency; Teri Trotter Institute of Museum and Library Editor-at-Large Services; National Endowment for the Arts; The City of New York; Council Lea K. Green Jacqueline L. Bradley Member Inez E. Dickens, 9th C.D. and Valentino D. Carlotti Speaker Christine Quinn and the New Contributing Editors Kathryn C. -
New Season, New Art: Fall Begins with 45 Notable Exhibitions Featuring Works by Black Artists by VICTORIA L
http://www.culturetype.com/2017/09/30/new-season-new-art-fall-begins-with-45-must-see-exhibitions-featuring-works-by-black-artists/ New Season, New Art: Fall Begins with 45 Notable Exhibitions Featuring Works by Black Artists by VICTORIA L. VALENTINE on Sep 30, 2017 • 10:58 pm THE FALL EXHIBITION SEASON IS UNDERWAY and a wide variety of amazing shows featuring Black artists is on view. This month, exhibitions featuring major figures and emerging talents opened across the United States and at international venues. Kara Walker, Barbara Chase-Riboud, Jordan Casteel, Kahlil Joseph, Chris Ofili, Adrian Piper, and Jeff Sunhouse are presenting works in New York. Exhibitions featuring African American artists David Hartt, Senga Nengudi, and Jennifer Packer, are on view in Chicago. Packer is presenting her first institutional solo show at the Renaissance Society (above). Wangechi Mutu, Trenton Doyle Hancock, and Mickalene Thomas have shows in Texas. Also in September, Frank Bowling and Awol Erizku opened exhibitions in Los Angeles. Finally, after the publication of last year of “Four Generations: The Joyner Giuffrida Collection of Abstract Art,” the exhibition “Solidary & Solitary,” organized to further showcase the collection, opens Sept. 30 at the Ogden Museum of Southern Art in New Orleans. A selection of new exhibitions follows: MARTIN PURYEAR, “Untitled VI, State 1,” 2012 | © Martin Puryear, Courtesy Matthew Marks Gallery via The Print Center Martin Puryear: Prints, 1962-2016 @ Print Center, Philadelphia | Sept. 8-Nov. 15, 2017 It’s been 25 years since Martin Puryear has had an exhibition in Philadelphia. This presentation is dedicated to his prints and features woodcuts and etchings made in the 1960s and since 1999, and is being presented in conjunction with “Big Bling,” Puryear’s largest public art work, which is currently on view on Kelly Drive in Philadelphia. -
Collector's Issue
/ Fall • Winter Winter • Fall 2005–06 The Studio Museum in Harlem Magazine / Fall • Winter 2005–06 COLLECTOR’S ISSUE From the Director SMH Board of Trustees wide variety of media. However, It is with great pride that I also Raymond J. McGuire I do believe that Frequency is a congratulate artist Julie Mehretu Chairman snapshot of the current moment on her being awarded a Carol Sutton Lewis Vice-Chair we live in, and just as Freestyle MacArthur “genius” grant this Reginald Van Lee ushered in a new generation of past September. Julie has a Treasurer artists, I believe we are about to long, rich history with the Studio Gayle Perkins Atkins become acquainted with some Museum as an Artist-in-Resi- Kathryn C. Chenault of the most exciting new voices dence (2000-2001) and as a Paula R. Collins in contemporary art. part of 2001’s Freestyle. I am Gordon J. Davis thrilled that the MacArthur Foun- Anne B. Ehrenkranz dation recognized the talents of Susan Fales-Hill an important artist such as Julie Dr. Henry Louis Gates, Jr. Sandra Grymes Mehretu. Joyce Haupt Arthur J. Humphrey,Jr. George L. Knox When it comes to art, never say Nancy L. Lane never. After the tremendous Dr. Michael L. Lomax success of Freestyle in 2001, I I want to thank all of the support- Tracy Maitland had both privately and publicly ers of the Frequency exhibition Rodney M. Miller acknowledged that there might for their unwavering support and Eileen Harris Norton no longer be a need for me to their considerable generosity: Corine Pettey organize group shows featuring The Andy Warhol Foundation David A. -
The Studio Museum Residency Has Shaped the World's Understanding
The Studio Museum Residency Has Shaped the World’s Understanding of Black Contemporary Art. That’s a Lot of ResponsiBility The influential residency program's latest cohort suggests a shift in focus for the institution. That could have big implications. Melissa Smith, September 3, 2019 Sable Elyse Smith, Allison Janae Hamilton, and Tschabalala Self, the 2018–19 Studio Museum residency cohort. Photo by Madeleine Hunt-Ehrlich, courtesy of MoMA PS1. In 2015, the artist E. Jane began uploading selfies taken by black women to a website under the banner “Alive.” The aim was to show that while Sandra Bland, who had died earlier that year, was no longer living, other black women are. The artist (who uses they/them pronouns) and others posted the images to social media with the hashtag “notyetdead.” A few years later, E. Jane included the “Alive” project in an application for the Studio Museum in Harlem’s artists-in-residence program. The residency is one of the most competitive and closely watched initiatives of its kind in the country, with more than 100 alumni including Kerry James Marshall, Njideka Akunyili Crosby, and Simone Leigh. But it has a reputation for selecting mainly painters, not performance or new- media artists. Still, E was encouraged to apply after visiting alumnus Eric N. Mack during his residency—and they ended up being the first internet artist the program has ever accepted. This year’s cohort—which also includes musician and performance artist Elliot Reed and painter Naudline Pierre—may suggest a shift for a program that has been exceedingly influential as a career-defining platform for generations of black artists.