DOCSLIB.ORG

PDF Released for Review Purposes Only Not for Publication Or Wide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

only purposes distribution reviewwide for or released publication PDF for Not only purposes distribution reviewwide for or released publication PDF for Not AMONG OTHERS Darby English and Charlotte Barat BLACKNESS AT MoMA The Museum of Modern Art, New York CONTENTS BLACKNESS AT MoMA: A LEGACY OF DEFICIT Foreword Glenn D. Lowry onlyCharlotte Barat and Darby English 9 14 → 99 Acknowledgments 11 purposes distribution WHITE reviewwide BY DESIGN for Mabel O. Wilson or 100 → 109 released publication AMONG OTHERS PDF Plates for 111 → 475 Not Contributors 476 Trustees of The Museum of Modern Art 480 Plates Terry Adkins Marcel Broodthaers Melvin Edwards Leslie Hewitt Man Ray John Outterbridge Raymond Saunders James Van Der Zee A Akili Tommasino 112 Christophe Cherix 154 Paulina Pobocha 194 Roxana Marcoci 246 M Quentin Bajac 296 Nomaduma Rosa Masilela 340 Richard J. Powell 394 Kristen Gaylord 438 John Akomfrah Charles Burnett William Eggleston Richard Hunt Robert Mapplethorpe Euzhan Palcy Lasar Segall Melvin Van Peebles Kobena Mercer 114 Dessane Lopez Cassell 156 Matthew Jesse Jackson 196 Samuel R. Delany 248 Tavia Nyong’o 298 P Anne Morra 342 Edith Wolfe 396 Anne Morra 440 Njideka Akunyili Crosby Elizabeth Catlett Minnie Evans Hector Hyppolite Kerry James Marshall Gordon Parks Ousmane Sembène Kara Walker Christian Rattemeyer 116 C Anne Umland 158 Samantha Friedman 198 J. Michael Dash 250 Laura Hoptman 300 Dawoud Bey 344 Samba Gadjigo 398 W Yasmil Raymond 442 Emma Amos Nick Cave Fred Eversley Arthur Jafa Rodney McMillian Benjamin Patterson Richard Serra Jeff Wall Christina Sharpe 118 Margaret Aldredge-Diamond 160 Cara Manes 200 J Claudrena N. Harold 252 Anthony Elms 306 Antonia Pocock 348 Ana Torok 400 Kenneth W. Warren 448 El Anatsui Paul Chan Samuel Fosso Daniel LaRue Johnson Robert H. McNeill Raoul Peck Yinka Shonibare Carrie Mae Weems Sean Anderson 120 Peter Eleey 162 F Phil Taylor 202 Charlotte Barat 254 Deborah Willis 308 Luc Tuymans 352 Elvira Dyangani Ose 402 Lucy Gallun 450 Benny Andrews Barbara Chase-Riboud LaToya Ruby Frazier William H. Johnson Steve McQueen onlyAdam Pendleton Malick Sidibé Charles White Darby English 122 Jocelyn Miller 164 Klaus Biesenbach 204 Leah Dickerman 256 Stuart Comer 310 Adrienne Edwards 354 Susan M. Vogel 404 Esther Adler 454 Malcolm Bailey Ed Clark Lee Friedlander Isaac Julien Julie Mehretu Sondra Perry Gary Simmons Jack Whitten B Richard Meyer 124 Anne Umland 166 Robert Slifkin 206 Kobena Mercer 260 Leah Dickerman 312 Martha Joseph 356 Emily Cushman 406 Yasmil Raymond 456 Alvin Baltrop Ernest Cole Charles Gaines Seydou Keïta Oscar Micheaux Howardena Pindell Xaviera Simmons Bert Williams Douglas Crimp 126 Katerina Stathopoulou 168 Erica Papernik-Shimizu 208 KG Leslie Wilson 262 purposesLisa Collins 314 Jessica Bell Brown 358 Liz Donato 408 Ron Magliozzi 460 Álvaro Barrios Robert Colescott Ellen Gallagher Wifredo Lam Jeanne Moutoussamy-Ashe Horace Pippin Lorna Simpson Spencer Williams Luis Pérez-Oramas 128 Lowery Stokes Sims 170 Carol Armstrong 210 L Karen Grimson 264 Abigail Lapindistribution Dardashti 316 Sasha Nicholas 362 Starr Figura 410 Jacqueline Najuma Stewart 462 Jean-Michel Basquiat Warrington Colescott Sam Gilliam Jacob Lawrence Zanele Muholi Pope.L Ming Smith William T. Williams Hervé Télémaque 130 Mary Weaver Chapin 172 Jessica Bell Brown 216 Jodi Roberts 266 review Leslie Wilson 318 Stuart Comer 364 Darby English 412 Anne Umland 464 Romare Bearden Julie Dash Robert Gober Deana Lawson wideAïda Muluneh Candido Portinari Martine Syms Sue Williamson Jacqueline Francis 132 D Greg Tate 174 Robert Gober 218 Julia Bryan-Wilson 270 for or Carmen Merport Quiñones 320 Niko Vicario 368 Jocelyn Miller 414 Diana Fuss 466 Kevin Beasley Roy DeCarava Felix Gonzalez-Torres Spike Lee Wangechi Mutu Noah Purifoy Henry Taylor Fred Wilson Jenny Schlenzka 136 Fred Moten 176 Julie Ault 222 Sharon Willis 272 Heidi Hirschl Orley 322 Ed Ruscha 370 T Laura Hoptman 416 Kirsi Peltomäki 468 Mary Lee Bendolph Beauford Delaney Philip Guston Helen Levitt Alice Neel Martin Puryear Hervé Télémaque Hale Woodruff Jenni Sorkin 138 Glenn Ligon 178 Ross Posnock 224 Harmony Holiday 274 N Ann Temkin 324 Anne M. Wagner 372 Richard J. Powell 418 Mia Matthias 470 Dawoud Bey Thornton Dial David Hammons releasedNorman Lewis Senga Nengudi Marlon Riggs Alma Thomas Lynette Yiadom-Boakye Kelly Sidley 140 Jenni Sorkin 180 H Thomas J. Lax 226 Andriannapublication Campbell 276 Linda Goode Bryant 326 R Gregg Bordowitz 378 Ann Temkin 420 Y Paulina Pobocha 472 Skunder Boghossian Moustapha Dimé Marvin Harden Samella Lewis Philomé Obin Faith Ringgold Hank Willis Thomas Joseph E. Yoakum Kate Cowcher 142 Martin Puryear 182 Darby EnglishPDF 234 for Bouchra Khalili 280 O Edwidge Danticat 328 Anne Monahan 380 Sarah Hermanson Meister 424 Lynne Cooke 474 Margaret Bourke-White Jim Dine Lyle Ashton Harris Tony Lewis Chris Ofili Cameron Rowland Mickalene Thomas Irena Haiduk 144 Thomas Crow 184 Phillip Brian HarperNot 236 Hanna Girma 282 Ann Temkin 330 Thomas J. Lax 384 Giampaolo Bianconi 426 Frank Bowling Mati Diop David Hartt Glenn Ligon Lorraine O’Grady Betye Saar Bob Thompson Courtney J. Martin 146 Sophie Cavoulacos 186 Oluremi C. Onabanjo 238 Byron Kim 284 Ana Janevski 332 S Abbe Schriber 386 John Corbett 428 Mark Bradford Stan Douglas Maren Hassinger Kalup Linzy Hélio Oiticica Ibrahim El-Salahi Bill Traylor Michelle Kuo 148 Rachel Haidu 188 Paulina Pobocha 240 Amanda Hunt 290 Kaira M. Cabañas 334 Jenny Harris 388 Hillary Reder 432 Peter Bradley Marlene Dumas Palmer Hayden Whitfield Lovell Uche Okeke Chéri Samba Luc Tuymans Cannon Hersey 150 Samantha Friedman 190 Ashley James 242 Jodi Hauptman 292 Ugochukwu-Smooth C. Nzewi 336 Sarah Van Beurden 390 Kerry James Marshall 434 Constantin Brancusi William Edmondson Barkley L. Hendricks Al Loving José Clemente Orozco Jacolby Satterwhite Rubem Valentim Sebastian Zeidler 152 E Darby English 192 Ellen Gallagher 244 Cara Manes 294 Kara Walker 338 Lanka Tattersall 392 V Roberto Conduru 436 The Black Man is the one (or the thing) that one sees when one sees nothing, when one understands nothing, and, above all, when one wishes to understand nothing. —Achille Mbembe, Critique of Black Reason, 2013 BLACKNESS This essay tracks moments in which, over a succession of historical contexts and power relations, The Museum of Modern Art approached or encountered racial blackness. Until very recently, most black artists, their work, and representations of blackness swirling in MoMA’s immediate orbit were neverthe- less blocked from consciousness here. Indeed Achille Mbembe’s paradoxical notion, quoted above, about a cultural process dedicated to maintaining ignorance rather than to reversing it fits MoMA’s his- torical situation vis-à-vis race to a T. We hope to advance the conversation about this known fact by ex- AT MoMA: ploring its full historical scope. If we were simply describing MoMA’s paltry track record in this depart- ment, this would be a much smaller book. No, it’s worse: there are things MoMA has bought or shown in order not to understand them at all. And a nontrivial number of them have blackness in common. It’s not all bad news: since its founding in 1929, MoMA has made a number of innovative contri- butions to the cultural fields that black life transects, and has brought key artists to the audiences they deserve. The assumption is false that thisonly Museum, a frequent target of criticism because of its au- thority and capital, has had no meaningful involvement with black artists, or with issues stemming from racial blackness. It has; in truth, MoMA’s historical relationship with black artists and black audi- ences is an uneven one, alternating between moments of pioneering initiative and episodes of neglect and worse. Equally true: MoMA’s undertakings in these arenas from 1929 until today are marred by the use of supposedly colorblind criteria of “quality” and “importance” in judging art. For black people, women,purposes and other cultural minorities, this has meant much doublespeak and little opportunity. So one of the questions we ask here is, How have MoMA’s criteria functioned to render it open to some and closed to others? Are the stringency of these criteria and the vigilance of their application part of the Charlotte Barat and Darby English distribution reason why, when blackness manifests at MoMA, it does so in brief episodes and clusters? (The multi- reviewracial structure of this book experiments with an alternative model.) wideBy their very nature, art museums are selective, judging some work better than other work for a for variety of reasons. Too, they are necessarily institutional, which lends all their judgments a power of or decree. But at the end of the day, regardless of the power and influence they claim or acquire, art museums are human systems: unstable, grounded in bias, habitual, and difficult to modify. Their views of the terrain they survey are incomplete at best; that is how, late in 2018, more than 75 percent of 10,108 artists represented in the country’s most important museums were white men.1 Even though changing over time, the cultural norms of The Museum of Modern Art, a bulwark of artistic achieve- released ment, have only lately encompassed racial blackness. And this to a minimal degree. publication All museums are emblematic of an urge, ever present in modernity, not merely to classify and order but to homogenize. The goal has been to create entities whose unity mirrors that of cities, states, PDF for ethnicities, sexes, classes, and other putatively bounded human communities. Many museums were created with the aim of making wholes from parts that no unity could otherwise contain. This is a project in which no art museum has or could ever succeed, because art, as nothing else, reveals the variety of Not the conceptions and forms that human expression again and again proves, especially when it is creative.
Recommended publications
  • Grief and Grievance: Art and Mourning in America,” an Intergenerational Exhibition of Works from Thirty-Seven Artists, Conceived by Curator Okwui Enwezor

    Grief and Grievance: Art and Mourning in America,” an Intergenerational Exhibition of Works from Thirty-Seven Artists, Conceived by Curator Okwui Enwezor

    NEW MUSEUM PRESENTS “GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA,” AN INTERGENERATIONAL EXHIBITION OF WORKS FROM THIRTY-SEVEN ARTISTS, CONCEIVED BY CURATOR OKWUI ENWEZOR Exhibition Brings Together Works that Address Black Grief as a National Emergency in the Face of a Politically Orchestrated White Grievance New York, NY...The New Museum is proud to present “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. On view from February 17 to June 6, 2021, “Grief and Grievance” is an intergenerational exhibition bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition further considers the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. Included in “Grief and Grievance” are works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition. The artists on view will include: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark
  • In Conversation with Adam Pendleton: What Is Black Dada?

    In Conversation with Adam Pendleton: What Is Black Dada?

    In conversation with Adam Pendleton: What is Black Dada? Awa Konaté James Baldwin once said, ‘we used to think of history as the realm of the settled as an inalterable past, as a nightmare. That was the legacy bequeathed us by the past century’s catastrophes. But while we can never redeem what has been lost, versions of the past are forever being reconstructed in our fabrication of the present.’1 Although Baldwin enumerated these words in 1972, today’s volatile political moments and relations reminds us that the past is repeatedly embedded, and evermore so, in our present sphere. Baldwin comments on the interrelations between past and present realities as a continuum of cultural and historical notions that constitute the very materiality of our social fabric as ever persistent, suggesting the past is never past but an ongoing rupture in the present. Adam Pendleton is an artist whose unwinnable and complex layered practice is exceptionally occupied with Baldwin’s declarative statement. With a career spanning nearly two decades, Pendleton has situated the intersections of race, belonging, cultural politics and art history as varying constructions that are rearticulated and imposed in the very centre of our ‘Contemporary’ – not merely in order to inquire ‘how’ and ‘what if’ but to push the very logic that constitutes their historical and social functions. My first encounter with Adam Pendleton was his large ‘Black Lives’ banner at the Venice Biennale’s Belgian pavilion in 2015.2 The context was stupendous, the banner’s dominating and large scaled presence appeared to almost ‘devour’ the white cubed pavilion by forcing the centrality of its race relations.
  • Kunstausstellungen in Der Schweiz Als Mittel Der Auswärtigen Kulturpolitik Der Weimarer Republik Und Des "Dritten Reiches" 1919-1939

    Kunstausstellungen in Der Schweiz Als Mittel Der Auswärtigen Kulturpolitik Der Weimarer Republik Und Des "Dritten Reiches" 1919-1939

    Kunstausstellungen in der Schweiz als Mittel der auswärtigen Kulturpolitik der Weimarer Republik und des "Dritten Reiches" 1919-1939 Autor(en): Saehrendt, Christian Objekttyp: Article Zeitschrift: Schweizerische Zeitschrift für Geschichte = Revue suisse d'histoire = Rivista storica svizzera Band (Jahr): 54 (2004) Heft 4 PDF erstellt am: 04.10.2021 Persistenter Link: http://doi.org/10.5169/seals-81379 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Miszellen / Melanges SZG/RSH/RSS 54, 2004, Nr. 4 Kunstausstellungen in der Schweiz als Mittel der auswärtigen Kulturpolitik der Weimarer Republik und des «Dritten Reiches» 1919-1939 Christian Saehrendt Auswärtige Kulturpolitik begleitet die Außenpolitik Deutschlands seit ungefähr 100 Jahren.
  • 70 Documentos Do Acervo

    70 Documentos Do Acervo

    DOBRA DOBRA MUSEU LASAR SEGALL MUSEU LASAR SEGALL Os documentos reunidos em vida por Lasar Segall ( ) formam o Arquivo Lasar Segall, uma importante coleção para pesquisa da história da arte brasileira e europeia. Esse acervo, composto por cerca de . itens, constitui-se, pelo seu ineditismo, natureza e dimensão, em uma das mais importantes fontes para a análise e compreensão da vida e da obra do artista, um dos principais nomes da arte moderna brasileira. _CAPA final_70 documentos_MLS.indd 1 06/02/20 11:05 DOBRA DOBRA _CAPA final_70documentos_MLS.indd 2 DOBRA DOBRA DOBRA DOBRA 06/02/20 11:05 MeMória e História MUSEU LASAR SEGALL 70 DOCUMENTOS DO ACERVO LASAR SEGALL MUSEUM 70 DOCUMENTS FROM THE ARCHIVES _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 1 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 2 06/02/20 11:04 MUSEU LASAR SEGALL 70 DOCUMENTOS DO ACERVO LASAR SEGALL MUSEUM 70 DOCUMENTS FROM THE ARCHIVES _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 3 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 4 06/02/20 11:04 7 ApresentAção Daniel Rincon caiRes 11 MeMóriA e históriA VeRa D’HoRta 31 CurAdoriA e Arquivos de Museus de Arte ana MagalHães 49 divisAs biográficas 63 diásporAs, derivAs, desloCAMentos 79 inquietAções estéticas 99 revolução ModernistA nA AleMAnhA 133 ModernisMos brAsileiros 169 intiMidAde 177 rAízes JudAicas 189 AnotAções téCnicas 197 biblioteCA pArtiCulAr 209 eMpreendiMentos iMobiliários 221 english version 287 Créditos _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 5 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 6 06/02/20 11:04 Apresentação Daniel Rincon caiRes Em 1986 o Arquivo Lasar Segall inaugurava a sua jorna- da.
  • Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y

    Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y

    Speakers Series : Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y. 00:00:20:12 ALISON KARASYK: Hi, everyone. Hi. It is my great pleasure to introduce Rujeko Hockley for the CCS Fall 2017 Speaker Series. Ru joined the Whitney Museum of American Art as assistant curator last March. Prior, she was assistant curator of contemporary art at the Brooklyn Museum, where she curated numerous exhibitions, edited multiple publications, and worked on solo presentations of LaToya Ruby Frazier, Kehinde Wiley, and Tom Sachs, among others. Ru co-curated “Crossing Brooklyn: Art From Bushwick, Bed-Stuy and Beyond,” which opened in October, 2014. Shortly thereafter, she dove into co-organizing the landmark exhibition “We Wanted a Revolution: Black Radical Women, 1965-’85,” currently on view at the California African American Museum, and heading back to the East Coast, luckily for us, in February, to the Albright-Knox Art Gallery in Buffalo, and the ICA Boston after. 00:01:28:01 Ru co-produced two unique publications in conjunction with this exhibition. Prior to the exhibition, she wrote essays within and co-edited We Wanted a Revolution: A Sourcebook, made up of thirty-eight remarkable archival documents by artists, writers, and thinkers, such as bell hooks, the Combahee River Collective, and Linda Goode Bryant. During our office hour earlier, Ru described this publication to me as a way to transport the research materials that inspired the show into the world, instead of treating them as mere footnotes. The book is a powerful reminder of the ongoing curatorial necessity to move beyond the narratives that have already been written into art historical and feminist discourses.
  • Toward a Diasporan Ethics by Ianna Hawkins Owen A

    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.
  • Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18)

    Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18)

    Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18) São Paulo, Museu de Arte Contemporânea, Apr 25–27, 2018 Deadline: Mar 9, 2018 Erika Zerwes In 1937 the German government, led by Adolf Hitler, opened a large exhibition of modern art with about 650 works confiscated from the country's leading public museums entitled Degenerate Art (Entartete Kunst). Marc Chagall, Otto Dix, Max Ernst, George Grosz, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Piet Mondrian and Lasar Segall were among the 112 artists who had works selected for the show. Conceived to be easily assimilated by the general public, the exhibition pre- sented a highly negative and biased interpretation of modern art. The Degenerate Art show had a rather large impact in Brazil. There have been persecutions to modern artists accused of degeneration, as well as expressions of support and commitment in the struggle against totalitarian regimes. An example of this second case was the exhibition Arte condenada pelo III Reich (Art condemned by the Third Reich), held at the Askanasy Gallery (Rio de Janeiro, 1945). The event sought to get support from the local public against Nazi-fascism and to make modern art stand as a synonym of freedom of expression. In the 80th anniversary of the Degenerate Art exhibition, the University of São Paulo’s Museum of Contemporary Art, in partnership with the Lasar Segall Museum, holds the International Seminar “Degenerate Art – 80 Years: Repercussions in Brazil”. The objective is to reflect on the repercus- sions of the exhibition Degenerate Art (Entartete Kunst) in Brazil and on the persecution of mod- ern art in the country in the first half of the 20th century.
  • 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

    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.
  • Introduction

    Introduction

    INTRODUCTION N APRIL 1972 THE GOVERNMENT of Senegal inaugurated an exhibition of art by Pablo Picasso at the Musée Dynamique I near downtown Dakar (figure 1).1 Only sparse visual documen- tation of the exhibition has survived, but the details of the exhibi- tion ended up mattering less than did its catalytic function for reassessing, in Dakar, the direction and scope of art nègre—or “black art.”2 By 1972 “black art,” a category with its own circuitous genealogy dating from the early twentieth century, had come to encompass canonical African sculpture as well as modern painting and sculpture by artists of African descent. The category’s critical reassessment took place mainly through a conference, “Picasso, Art Nègre, et Civilisation de l’Universel” (Picasso, black art, and civilization of the universal), organized in conjunction with the Dakar exhibition and featuring prominent artists and intellectuals from Senegal and France.3 At the conference, African sculpture held a pivotal place in discussions of Picasso’s practice, which, in turn, became a contested terrain where the stakes of African mod- ernism were up for debate. 1 60870txt.indd 1 20-02-13 5:44 AM figure 1 Pablo Picasso, exhibition poster, Musée Dynamique, Dakar, 1972, lithograph, 21 ½ × 30 in. Henri Deschamps Lithographie; printed by Mourlot, Paris. Private collection. Artwork © 2020 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo: Lyan’lex Bernales. 60870txt.indd 2 20-02-13 5:44 AM Given dominant scholarly characterizations of African modernist movements as territorially nationalist, anticolonialist, future-facing, and in many respects opposi- tional toward modernism in the West, it might seem infelicitous to focus on Africans and Europeans contemplating Picasso in postcolonial Dakar.
  • Annual Report 1995

    Annual Report 1995

    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
  • A Finding Aid to the Charles Henry Alston Papers, 1924-1980, in the Archives of American Art

    A Finding Aid to the Charles Henry Alston Papers, 1924-1980, in the Archives of American Art

    A Finding Aid to the Charles Henry Alston Papers, 1924-1980, in the Archives of American Art Jayna M. Hanson Funding for the digitization of this collection was provided by the Terra Foundation for American Art August 2008 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Information, 1924-1977........................................................ 5 Series 2: Correspondence, 1931-1977.................................................................... 6 Series 3: Commission and Teaching Files, 1947-1976...........................................
  • German and Austrian Art of the 1920S and 1930S the Marvin and Janet Fishman Collection

    German and Austrian Art of the 1920S and 1930S the Marvin and Janet Fishman Collection

    German and Austrian Art of the 1920s and 1930s The Marvin and Janet Fishman Collection The concept Neue Sachlichkeit (New Objectivity) was introduced in Germany in the 1920s to account for new developments in art after German and Austrian Impressionism and Expressionism. Gustav Friedrich Hartlaub mounted an exhibition at the Mannheim Museum in 1925 under the title Neue Art of the1920s and1930s Sachlichkeit giving the concept an official introduction into modern art in the Weimar era of Post-World War I Germany. In contrast to impressionist or abstract art, this new art was grounded in tangible reality, often rely- ing on a vocabulary previously established in nineteenth-century realism. The artists Otto Dix, George Grosz, Karl Hubbuch, Felix Nussbaum, and Christian Schad among others–all represented in the Haggerty exhibi- tion–did not flinch from showing the social ills of urban life. They cata- logued vividly war-inflicted disruptions of the social order including pover- Otto Dix (1891-1969), Sonntagsspaziergang (Sunday Outing), 1922 Will Grohmann (1887-1968), Frauen am Potsdamer Platz (Women at Postdamer ty, industrial vice, and seeds of ethnic discrimination. Portraits, bourgeois Oil and tempera on canvas, 29 1/2 x 23 5/8 in. Place), ca.1915, Oil on canvas, 23 1/2 x 19 3/4 in. café society, and prostitutes are also common themes. Neue Sachlichkeit artists lacked utopian ideals of the Expressionists. These artists did not hope to provoke revolutionary reform of social ailments. Rather, their task was to report veristically on the actuality of life including the ugly and the vulgar. Cynicism, irony, and wit judiciously temper their otherwise somber depictions.