Letter From the Director

the historical and contemporary Romare Bearden’s centennial cel- significance of “crossroads” and the ebration, this fall we celebrate value of “collaboration.” Caribbean: the hundredth anniversary of the Crossroads is the culmination of birth of noted photographer, writer almost a decade of research and and filmmaker Gordon Parks with dialogue about a region that is— Gordon Parks: A Harlem Family like Harlem—complex, culturally 1967. This exhibition features Parks’s diverse and full of art and artists. photographs of the Fontanelle family As I write this, the Museum galleries from his iconic Life magazine feature, are abuzz with Harlemites and A Harlem Family, alongside never- visitors from around the world enjoy- before-seen images from the same ing Caribbean: Crossroads, Primary series, providing unique insight Sources: Artists in Residence 2011– into Parks’s creative process. 12 and Illuminations: Expanding And with the help of my camera the Walls 2012, while our staff is phone, I’m taking my own impromptu planning an amazing slate of exhibi- photographs! You can see my snap-

Photo: Timothy Greenfield-Sanders tions and programs for this shots of Harlem life and details of fall and winter. works of art that inspire me on my Today, the Studio Museum is at I’m always being asked when new Instagram feed. Search for a crossroads—literally and figura- the Studio Museum will add a new thelmagolden to check out some tively. We are located on the main chapter to our beloved series of of my latest images and let me know thoroughfare of a neighborhood “F” exhibitions. I am thrilled to what you think! that, for more than a century, has announce that in November 2012 presented opportunities to a diverse we will open Fore. Building on I’ll see you around, and definitely collection of immigrant com- Freestyle (2001), Frequency (2005- uptown! munities, from African Americans 06) and Flow (2008), Fore once arriving in Harlem during the Great again provides an opportunity to Migration to more recent immigrants explore an amazing group of emerg- from across sub-Saharan Africa to ing artists of African descent. Like resident New Yorkers making the its predecessors, Fore is not orga- Thelma Golden exciting move uptown. As Harlem nized by theme. Rather, we invite Director and Chief Curator changes, and its cultural legacy you to create your own connections continues to broaden and deepen, between works on the Museum we’re constantly evaluating how we walls—and beyond! can best serve this neighborhood’s While we are committed to communities. I think that collabora- providing opportunities to emerging tion is essential to this process. artists, another important part of The recent opening of our our mission is to highlight the work collaborative exhibition Caribbean: of artists who helped clear space, Crossroads of the World (organized both imaginatively and institutionally, with our partners, El Museo del for the work being made today. Barrio and the Queens Museum of Following the incredible success Art) has me thinking deeply about of The Bearden Project during Summer/Fall 2012 2 What’s New Recent Acquisition

Malick Sidibé Vues de Dos, 2002 Gift of Martin and Rebecca Eisenberg 11.12.3 Photo: Marc Bernier Museum Features

What’s Up: Exhibition Schedule 05 Harlem Postcards Tenth Anniversary 50 Caribbean: Crossroads of the World 06 Question Bridge: Black Males 58 In the Studio with the 2011–12 08 Towards a Walk in the Sun: A Comic 62 Artists in Residence Adventure by Robert Pruitt Expanding the Walls 2012: 16 In Conversation: Naima J. Keith 66 Hidden Harlem John Outterbridge

Harlem Postcards 18 Nailing Art 68 Gordon Parks: A Harlem Family 1967 22 One Work, Two Ways: Richard 70 Yarde, The Parlor Fore 23 Educating Through Art 74 Xenobia Bailey Brings the Funk 24 to the Studio Museum Store

Overheard @ The Artist’s Voice 25 Quilting Harlem 26 Studio Jr.

Lil’ Studio 77 Beyond Coloring Page by Jack Haynes 78 DIY: Printmaking with Elan Ferguson 80

Elsewhere 28 Book Picks 32 If You Like... 34 Studio Visit: Invisible Borders 38 Friends Studio Visit: Daniel Rios Rodriguez 40 Checking in with Stanley Whitney 43 Spring Luncheon 2012 83 Homage to Elizabeth Catlett 46 Supporters List 87 A Beautiful Thing: Ralph Lemon 48 Members List 91 drawings book Membership Info and Form 93 Visitor Info 96 Summer/Fall 2012 4 Museum Museum 5 What’s Up? Exhibition Schedule Summer/Fall 2012

Check studiomuseum.org for the latest on our exhibitions and programs

June 14–October 21, 2012 Caribbean: Crossroads of the World Primary Sources | Artists in Residence 2011–12: Njideka Akunyili, Meleko Mokgosi, Xaviera Simmons Illuminations: Expanding the Walls 2012

November 8, 2012– March 10, 2013 Fore Gordon Parks: A Harlem Family 1967

Renée Cox Always on View Redcoat, from “Queen Nanny of the Maroons” series, 2004 Harlem Postcards Courtesy the artist Glenn Ligon: Give Us a Poem Adam Pendleton: Collected (Flamingo George)

Anne-Louis Girodet de Roussy-Trioson Jean-Baptiste Belley, c. 1797 The Art Institute of Chicago, Restricted gift of the Joseph and Helen Regenstein Foundation. Image © The Art Institute of Chicago Summer/Fall 2012 6 Caribbean: In Focus: Crossroads Ebony G. of the World Patterson by Naima J. Keith, Assistant Curator

Opposite Working with wide range of techniques and materials, including mixed-media Ebony G. Patterson Untitled, Species I, 2010–11 painting, tapestries, installation and works on paper, Jamaican-born artist Collection David Beitzel, New York Ebony G. Patterson is not afraid to push the envelope. Looking primarily Courtesy the artist to dancehall culture, which surrounds a genre of Jamaican popular music that originated in the late 1960s, and its impact on Jamaica’s working class, Patterson’s artwork is very much an investigation of the ways in which young black men shape their identities within the subculture. In Untitled, Species I (2010–11), Patterson portrays a man in “whiteface,” with pink-glossed lips, glitter and sunglasses. Patterson boldly references skin bleaching (whitening), a trendy and fashionable practice. While Jamaica has a history of skin bleaching that spans several centuries—back to when slaves used lye (sodium hydroxide) to lighten their skin—the present practice has been embraced by many of the dancehall generation, both male and female. A number of dancehall artists, including famed Vybz Kartel, now openly indulge in bleaching as a mark of style and fashion. By investigating shifting and contradictory gender roles, as well as contemporary notions of fashion and beauty, through such practices, including bleaching, eyebrow shaping and flamboyant dressing, Patterson posits the question: How do these young men craft their masculinity? Patterson’s work speaks to an explicit and complicit self-(re)fashioning and self-(re)presentation, in which contemporary notions of beauty and masculinity are challenged within a Jamaican context. Ebony G. Patterson completed her undergraduate work at the Edna Manley College for the Visual and Performing Arts in Kingston, Jamaica, and earned her MFA in 2006 from the Sam Fox College of Design & Visual Arts at Washington University in St. Louis. In 2007, her work was featured in the group exhibition Infinite Island: Contemporary Caribbean Art, curated by Tumelo Mosaka, at the Brooklyn Museum of Art. Since her inclusion in the 2008 exhibition at Monique Melloche Gallery in Chicago, Boys of Summer, her work has been included in exhibitions at Kravets / Wehby and Praxis Gallery in New York; New Art Ways in Hartford, Connecticut; the Santa Monica Art Museum; the French Alliance Foundation in Paris; the National Gallery of Bermuda in Hamilton; Alice Yard in Trinidad; and the National Gallery of Jamaica in Kingston, to name a few. Currently her work is on view at the Kusthal (Kade) Museum in Amsterdam and at the National Gallery of Jamaica in a solo project. Patterson is an assistant professor in the painting department at the University of Kentucky in Lexington.

Caribbean: Crossroads of the World: MetLife Foundation Presenting Sponsor. Leadership support provided by Ford Foundation. Major support provided by The Reed Foundation and Rockefeller Brothers Fund. Caribbean: In Focus: Crossroads Ebony of the World Patterson Summer/Fall 2012 8 In the Studio with the 2011–12 Artists in Residence

As they prepare for their summer Meleko constructs his paintings in exhibition, Primary Sources, 2011–12 a way that exposes the contentious artists in residence Njideka Akunyili, nature of history. Meleko pieces Meleko Mokgosi and Xaviera Sim- together images from multiple mons take a moment to share their sources to create believable and thoughts and observations on their compelling narratives without clear fellow residents’ studio practices. answers. The viewer may specu- late about whether the scenes and Njideka Akunyili people depicted are based on a specific historical event or are purely Meleko Mokgosi uses an economy fictional—even though they look of means to create stark images historically feasible. The constructed nuanced with narratives of history appearance of his work makes us and power dynamics. aware of how history is a somewhat Meleko directs the viewer’s gaze manufactured thing. to the essential content in his work Xaviera Simmons makes work in through deliberate selection and different media—photogr­ aphy, instal- exclusion of visual information. lation and text—that focus on how The conspicuous unmarked areas physical bodies experience culture of clear canvas or blank wall (which before, during or after migration. I find analogous to the white Cau- In two photographic works, casian presence that permeates his Xaviera depicts people in whose works) both encircle and fall away lives migration has played a forma- from the depicted images, thereby tive role. The viewer interprets the thrusting them into sharp focus. In visual information surrounding the these images, the figures point, stare figures to understand the factors that and position their bodies in ways occasioned their migrations as well that direct the viewer’s attention to as the effect of those migrations on the narrative center of each piece. the subjects’ culture. The photo- Meleko gives context to the drama graph Index One, Composition One of his narratives by depicting cultur- (2011), shows a skirt raised to expose ally specific clothing, adornments, a pelvic area covered with a mass furniture, and architecture. He makes of African sculptures, dated photo- nonpictorial marks that evoke motion graphs of black people dressed in and rhythm and make each paint- non-Western and Western clothes, ing seem like a still from a film. By a handwoven textile, seashells, a carefully choosing what to portray, numbers game card and other Meleko creates intriguing moments objects. Thus the subject exposes that make the viewer curious about her body as a metaphorical carrier the history (past and future) of the of a cultural heritage of forced depicted event. migration from Africa to America. In addition to focusing the Xaviera widens her focus from viewer’s gaze on the work’s content, the individual to the masses in Museum 9

Meleko Mokgosi Pax Afrikaner: Good Boy (part 1 of 2), 2011 Courtesy the artist Summer/Fall 2012 10

In the Studio with the 2011–12 Artists in Residence

Superunknown (Alive In The) (2010), such talk always comes with a hint Opposite Xaviera Simmons a grid of low-resolution photographs, of, “I think of myself highly enough, Index One, Composition Two, 2011 each depicting overcrowded vessels and presume to comfortably hold Courtesy the artist in open water. By covering a wall a position of authority that allows with a tight array of forty-two of me to benevolently declare favorable these pictures, Xaviera raises keen judgement.” I would rather earnestly awareness of the overwhelming say that I envy both Njideka and number of people who undertake Xaviera. Why? Because both make (or historically undertook) physically incredibly seductive images through arduous journeys. Like the subject in which we see how the ideas of Index One, Composition One, each texture and coupling anticipate individual on each vessel carries a each other. rich cultural heritage as he or she Njideka’s work deals not only migrates to a new place. with the texture of the heterosexual, bi-racial/bi-cultural couple, but also Meleko Mokgosi with the combination of materials, textiles and regionally specific My first sentence was going to be cultural and identity structures. about respect and admiration for She uses photo transfer, charcoal, my fellow artists in residence, but and acrylic paint to produce an this seemed inappropriate because incredible and antagonistic tactility

Xaviera Simmons Xaviera Simmons Superunknown (Alive In The), 2010 Index One, Composition One, 2011 Courtesy the artist Courtesy the artist Museum 11 AIR TK Summer/Fall 2012 12

In the Studio with the 2011–12 Artists in Residence

Njideka Akunyili Cradle Your Conquest, 2012 Courtesy the artist

that is simultaneously abraded and point that heteronormativity has no slick, and compositions that are outside. Heteronormativity always realistic yet abstract, posed as well already exists as the foundation of as composed. In this piece, Cradle all identification procedures, thus Your Conquest (2012), the poses it has no opposite and there is are carefully crafted to compound absolutely no way to out-perform two into one, i.e., coupling. And it. There is only re-productive this is one of the extraordinary heteronormativity, to repeat literary elements—the fact that two is made critic Gayatri Spivak. In essence, you odd. In making two into one, she cannot bind or unbind yourself. This makes us notice how the number effect is highlighted by the artist’s two reveals the continuous double inscription of herself into the frame. bind in our acts of identification: Such contemporizing is not about It narcissistically reassures “me” portraiture. Rather, it is a tool used to because the “image of the other” again fasten two things at once: syn- reinforces my identity; and at the chronicity (the present-ness of the same time the presence of the other artist and her partner in the frame) cancels out my essence. But one and diachronicity (visible through has to ask whether it is necessary to the interspersed image fragments show this relation via heterosexual of events in photographs that have coupling. Yes, precisely to make the been transferred onto the ground Museum 13

In the Studio with the 2011–12 Artists in Residence

with xylene solvent). By continually fetishes. The word “fetish” is Njideka: My process is a back and insisting on two as one, together inextricably tied to masquerade and forth. I have ideas about lines in my with the alternating range of textures, is related to the Portuguese fetico: early sketches, but these are not set the artist reveals exactly how polar that which is artificial or skillfully in stone and can change as the piece opposites always misfire, as well contrived. All these are a reflection develops. I have general color ideas as the impossibility of unbinding of the Latin root (facticius) and Span- at the beginning, like “this piece will one’s self. ish form (afeite): something contrived be warm with lots of yellows,” but the We get a similar effect from from human labor, or to make up, specifics of the colors get ironed out Xaviera’s Index One, Composition adorn or embellish. More importantly, once the piece is underway. Two (2011), depicting an actor “fetish” stands in for nothing but an who has lifted his/her garment to obscene misunderstanding between Meleko: I try by all means to plan reveal an array of loosely hang- the West and the Rest, thus the word everything. So before I begin ing paraphernalia. The viewer is is based solely on a blind obeisance making images, I start with the confronted with alternating somatic to colonial custom. The emergence title and intertitles. These are and affective effects produced by of the word signals the reaction to very crucial and are the guiding found objects that seem to bear an unexpected and unprecedented conceptual parameters that define a relationship without a relation. encounter between two mutually all projects—the project does not “Relationship” here is code for the incomprehensible entities, the per- exist before I have the title. Next, narrative the actor reveals. Despite ceptual and phenomenological expe- I “storyboard” all the canvases that the presence of a narrative, we are rience of an irreducible difference. need to be made—one or two draw- left to our own devices due to the And this is what is under the skirt. ings per painting in which I figure lack of a recognizable plot. And such out almost everything, including is the effect of the found object: a Xaviera Simmons brush sizes, color schemes, lines, thing that comes already cathected shadows, etc. and has a peculiar use and history My studio sits between those of known only to a select few—the few Njideka Akunyili and Meleko Mokgosi, Xaviera: If you have a dream viewer who had an existential bond with it. powerhouse artists who are always or audience member, who would it Thus the artist employs this strategy hard at work when I enter our studio be? Are you interested in people of catachresis to allow us to recog- space on the third floor of the who are politically engaged or is this nize the constructed-ness of these Museum. Beyond the concepts and not a concern? seemingly arbitrary relationships ideas presented in their final works, between the found objects. Recall I’m really interested in the ingredi- Njideka: My dream viewer is the that the word “texture” has its roots ents used in their studio practices Nigerian writer Chimamanda Ngozi in Latin textura (“weaving”) from the and art-making processes. So I for- Adichie. Her writings resonate with verb texere, i.e. the act or process of mulated a few questions to get me, and even though we work with constructing something from a par- them to open up on how they’ve different forms, I think there’s an ticular vantage point, using specific been working this past year. overlap of ideas. I would really enjoy material that can be woven together. the cross-conversation that would We not only do not know the actual Xaviera: How do color, line and come from such a meeting. use of the objects, but also do not texture form in your process? Are know their supposed meanings. these ideas you sketch out before- Meleko: My ideal viewer would be One thing we know for sure is that hand, or are they things that invested in all the following at the the objects connote something to come as a result of the subject same time: the history of painting, do with curios or, provocatively, or context of the work? the semiotics of visual arts, the Summer/Fall 2012 14

In the studio with the 2011-12 AIRs Museum 15

In the Studio with the 2011–12 Artists in Residence

comprehensive history of southern moment, my process is being fed Africa and Lacanian psychoanalytic by Yinka Shonibare and Édouard theory. Vuillard. I also have to say I’m engaged right now with the writ- Xaviera: We all use found images in ers Chinua Achebe (his book Home our works, and that seems to be a and Exile) and Chimamanda Ngozi recurring theme for each of us. Can Adichie (her writings, short stories you talk a little bit about the process and talks—especially her “Danger of of mining and discernment of image a Single Story” TED talk). There are in your works? other artists, but at the moment I feel I’ve been communing with these writ- Njideka: The images I used are ers enough to merit them images I have taken, images taken a place on the list. at events I’ve attended, images from Nigerian fashion/society magazines, Meleko: Max Beckmann, Ghanaian images taken by friends and rela- painter Mark Anthony and Fela Kuti. tives, and images found on blogs and other sources. With each piece, Xaviera: Has the landscape of I have an overall theme to the imag- Harlem penetrated your work or Meleko Mokgosi es I search for and select. The thread affected your process? Pax Kaffraria: Terra Nullius (detail), 2009–2012 that runs through the images I pick Courtesy the artist Photo: Marc Bernier is “recognition”—I look for images Njideka: Harlem hasn’t seeped that are familiar and depict a place into my work. Opposite Njideka Akunyili I know in a way I know it.Meleko: Witchdoctor Revisited, 2011 My family kindly keeps boxes and Meleko: No. Courtesy the artist boxes of newspapers for me, and I go through these every time I visit Xaviera: We all work primarily in The Artist-in-Residence program is supported by the National Endowment for the Arts; New home, which is about once a year. traditional media (painting, photog- York State Council for the Arts, a state agency; I am also constantly looking for raphy and sculpture). Do you have Milton and Sally Avery Arts Foundation; Jerome Foundation; Robert Lehman Foundation; New York images in magazines and periodi- any current desire or works in mind Community Trust and by endowments established cals. Recurring themes are women’s that will engage other media or new by the Jacob and Gwendolyn Lawrence Trust and Andrea Frank Foundation. dresses, hairstyles and everything media (i.e., digital media, film or per- mundane and middle-class. formance)? Or are you committed to the media in which you are working? Xaviera: I know we all have artists we love to engage with in our works. Njideka: I’ve been thinking of doing Can you tell me three who are cur- something with video and music. rently feeding your process and train Not sure how or when this will hap- of thought? pen, but it’s been swimming around in my head for the past month. Njideka: This is one of those questions with an answer that is Meleko: Just painting and drawing, continually changing. At the period. Summer/Fall 2012 16 Expanding Hidden Harlem the Walls

Edited by Gerald L. Leavell II, Expanding the Walls and Youth Programs Coordinator

Harlem has traditionally been a culturally and aesthetically varied community that consistently invites visitors to experience its mystique. However, visiting its iconic and popular establishments provides but a mere glimpse into what Harlem truly is. The truth found in hidden or overlooked details com- plete the masterpiece of such a historically dynamic canvas. Iliette Lopez Vox Populi, 2012

After discussing Harlem’s unique Mariana Vasconcelos and compelling qualities, the Untitled, 2012 Expanding the Walls 2012 artists were directed to walk around the neighborhood and photograph what they found intriguing and po- tentially overlooked. Here is what they noticed “hid-in Harlem.”

Expanding the Walls is made possible thanks to the New York State Council on the Arts, a state agency; Colgate-Palmolive; Dedalus Foundation, Inc.; The Keith Haring Foundation, Inc.; Joy of Giving Something, Inc.; The David Oscar Chavez Rockefeller Fund and Surdna Foundation. Education Is the Salvation, 2012 Yasmine Braithwaite Size of the Third World, 2012

Khalil Barrow Shatasha Archie Untitled, 2012 Untitled, 2012

Eduardo Santiago Harlem Magic, 2012 Museum 17

Expanding the Walls Hidden Harlem

Andre Ware Nathalie Torres Untitled, 2012 Obscured, 2012 Zeus Eugene Hidden in Harlem, 2012

Breanna Celestin Joan Rodriguez Show Me My Past, 2012 What It’s All About, 2012 Christian Ogando Untitled, 2012

William Lamb Somewhere Only We Know, 2012 Elizabeth Torres Untitled, 2012 Saeed Linton Crash, 2012 Summer/Fall 2012 18 Harlem Spring 2012 Postcards

Jason Nocito Wu Tsang Born 1973, Mineola, NY Born 1982, Worcester, MA Lives and works in New York, NY Lives and works in Los Angeles, CA

Blue Flame, 2012 Paris Has Burned, 2012

Paris Has Burned depicts the archives of Jesse Green, a New York Times journalist. In 1992, Green wrote a con- troversial article about the documentary Paris Is Burning (1991), a portrait of the Harlem ballroom/voguing scene in the mid-1980s. In the foreground is the original iconic image of Angie Xtravganza that was on the cover of the paper’s Style section, and behind it, the copyset article. There are also notes between Green and his editors, arguing over pronoun usage. Then, the Times had only recently allowed the word “gay” to appear in print (as opposed to “homo- sexual”). Here the editors insisted that Angie be referred to as “he” despite her self-identification as a woman.

Paris Is Burning always felt to me like the last thing I’d ever want to appropriate for art—the film itself is so deeply fraught with issues of appropriation and exploitation. But for that reason I ended up taking it on, because I wanted not only to express my anger and critique (of Livingston’s off-screen agenda as a white filmmaker), but to deal with my own discomfort about my agenda, and the problems I was having with trying to represent communities that were not my own. Who is to say who has a right to represent others, and on the basis of what claim, or what levels of “belonging” or authenticity? I discovered these questions spiral out in a most productive way. Museum 19

Harlem Spring 2012 Postcards

Fatimah Tuggar Leilah Weinraub Born 1967, Kaduna, Nigeria Born 1979, Los Angeles Lives and works in Memphis, TN Lives and works in Harlem

Voguish Vista, 2012 Michael Ramos, 2012

In Voguish Vista, reflections create a view of remembered I currently live and work in Harlem, on the west side, near and anticipated moments of global interdependency. 145th and St. Nicholas. I met Michael, 19, at the gym and This montage of American-made clothing in Harlem asked if I could come to his house to take pictures of him. portrays international chain American Apparel, as well He said maybe, dodged me a few times and then finally as West African store Daisy’s Fashion Designs, where agreed. This photo was taken in Michael’s bedroom, which buying clothes, renting clothes and finding haute he shares with his younger brother, Steven. Michael gave couture are all options. me a tour of his family’s apartment, but hadn’t mentioned to his mother that I was coming over. She was shocked, Multiple shots are used to construct meaning between the to say the least, to see me in her kitchen, taking pictures elements, which allows contemplation of cultural products of her son standing on a kitchen chair. and structures as a way to understand how fashion and business influence daily life. We all chatted for a while. His mom and dad are from El Salvador and Michael was born and raised in Harlem The storefront situates the artwork not just in Harlem, and the Bronx. Michael’s mother talked about how Harlem but also in the twenty-two countries where American has changed over the last twenty years—she asked him Apparel exists. The existence of Daisy’s in Harlem, and to look on YouTube to see if he could find videos of how now American Apparel, challenge attachments to static streets used to look. We talked about how Columbia bought ways of looking. Location is conflated and displaced, and a chunk of the west side, and how the neighborhood might reflecting that meaning depends on perspective and angle. someday soon resemble NYU and the Village. The throwback reflection on the glass of Occupy Wall Street questions, decodes and contests our relationship Michael works as a busser at a tapas restaurant in to capital, consumer choice and power. Williamsburg, which is also my old neighborhood. Summer/Fall 2012 20 Harlem Summer 2012 Postcards

Yasmine Braithwaite Zoe Crosher Expanding the Walls participant, born 1996 Born 1975, Santa Rosa, CA Aquinas High School, Bronx, NY Lives and works in Los Angeles, CA

Size of the Third World, 2012 Katy, Kori & Rashid and other backs (Crumpled), for the Studio Museum, 2012 In Size of the Third World, I was drawn to the mix of ancient times and contemporary Harlem. This image For Harlem Postcards, I decided to concentrate on the captures chess pieces I found in Harlem that resemble physicality of the existing postcard archive. Acknowl- ancient Egyptian forms. Something about the hieroglyphics edging the artists who have participated before me, emphasizes the idea of gratitude to me: I like how this I photographed the crumpled up backs of postcards photograph shows that art can come in different shapes to emphasize the ephemeral nature of printed matter. and sizes, and can reference the past, present and future As a Californian, I’ve learned about Harlem primarily all at once. through what I have seen, read and heard, rather than experienced. So I wanted to stay away from a more conventional approach to documenting a place I know only as an imaginary version of itself. Rephotographing the backs of the previous postcards brings physical attention to past efforts to capture a photographic sense of Harlem, and it is these instances I want to bring to the forefront—documents of imaginings of Harlem that have come before me. Museum 21

Harlem Summer 2012 Postcards

Moyra Davey Lauren Halsey Born 1958, Toronto, Canada Born 1987, Los Angeles, CA Lives and works in New York, NY Lives and works in Los Angeles, CA

Critter, 2012 Summa Evreethang, 2012

For twelve years I’ve lived in an apartment overlooking Commodity culture in Harlem is rich with merchants Trinity Cemetery. I watch it change from twig-brown and and artisans selling a vivid assortment of incense, oils, art, snow-dusted in winter, to delicate green in spring, and jewelry, clothing and mix CDs. Some merchants sell “Best finally to a burst of dense emerald puffs of foliage by of” CDs alongside personalized soundtracks that embody summer. When the trees are bare, you can see how the the moods of barbeques, lovemaking and catching the cemetery is laid out in a spiral formation cut into a mound, Holy Ghost. Song lists become recipes to attain the ideal- a little like Bruegel’s The Tower of Babel. By summer, this ized experiences of the titles, for a dollar: “Don’t Say Good- structural view is obliterated by the intense proliferation night,” “The Glory of Black Gospel,” “Turn Off the Lights, of vegetation, and if you walk there on a hot day you might Mix II,” “Let’s Party.” An older man near 125th Street and mistake this tiny patch of land for jungle, so thick is the Frederick Douglass Boulevard tiled his mixes atop a picnic tangle of vines and ivy, so deafening the chants of cicadas table. I bought twenty. He became fixated on all twenty and crows. Trinity, dense with avian life, is also home to as a collective, smiled and promised me a good night. many hawks. John James Audubon, the bird-man, is buried here, as is Ralph Ellison. That day, thinking of Harlem’s rich literary history, I sought out his grave. Summer/Fall 2012 22 Gordon Parks: A Harlem Family 1967

by Lauren Haynes, Assistant Curator

This fall, the Studio Museum will present, Gordon Parks: A Harlem Family 1967, an exhibition of photographs by the iconic artist. In celebration of what would be his hundredth birthday in November, the Gordon Parks Foundation is partnering with various institutions to showcase Parks’s (1912–2006) works. The Studio Museum is thrilled to show photographs from his historic photo essay for Life magazine chronicling poverty in Harlem in the late 1960s, as seen through the lives of the Fontenelle family. The majority of the images, from 1967, were taken while Parks was living with the Fontenelle family for a month to document their lives. In addition to images that were featured in the Life article, the exhibition will include rarely seen images of the family, as well as images taken of the surviving members decades after the article was published. In his memoir from 2005, A Hungry Heart: A Memoir, Parks discusses how he was matched with the Fontenelle family. “Harlem’s antipoverty board presented a formidable list of families that met the needs of my essay. The problem was consent. Most of the families were ashamed of their plight. Of those I interviewed, only one seemed to understand what I was attempting to do, Bessie Fontenelle. She was strong, personable, and caring. What’s more, she understood the importance of exposing the misfortunates of the impoverished. After a talk with her conscience and her husband, she smiled and gave Gordon Parks me the news. “Okay, Mr. Parks, looks like you’re going Fontenelle Children Outside Their Harlem Tenement, 1968 to be a part of our home for a while.” 1 Museum purchase with funds provided by the Acquisition Committee 01.25.1 In addition to his groundbreaking career as a photojournalist for Life, Parks is known for his work Book Pick! as a director, activist, musician, novelist and poet. In 1997, the Corcoran Gallery of Art in Washington, In September 2012, Steidl and The Gordon Parks DC, mounted a retrospective of his work, Half Past Foundation will publish a five-volume set exploring Autumn: The Art of Gordon Parks, which traveled to Parks’s career in unprecedented depth. Co-edited by venues across the country. His work is featured in the Peter W. Kunhardt, Jr. and Paul Roth, Gordon Parks: collection of major museums, including the Studio Collected Works features hundreds of images; contribu- Museum. The exhibition will be accompanied by a tions by Maurice Berger, Bobbi Baker Burrows, Dr. Henry catalogue that will feature essays that reflect on con- Louis Gates, Jr. and Deborah Willis; and more! Learn temporary urban life, discuss the impact of Parks’s more at gordonparksfoundation.org and steidlville.com essay on the field of photojournalism, and reactions and responses to the essay at the time it was written.

1 Gordon Parks, A Hungry Heart: A Memoir (New York: Atria, 2005), 258–9. Gordon Parks: A Harlem Family 1967 is generously supported by The Robert Mapplethorpe Foundation. Museum 23 November 8, 2012– Fore March 10, 2013

Jennifer Packer Like the Artist-in-Residence program, Tobi, 2012 Courtesy the artist the Museum’s signature “F” series of group exhibitions is notable for bringing the work of emerging artists of African descent into critical dialogue

and public acclaim, often for the first Toyin Odutola S.C., 2011 time. Building the incredible legacy of Courtesy the artist Freestyle (2001), Frequency (2005–06) and Flow (2008)—the latest installment, Fore, will be an exciting opportunity to explore a wide range of innovative work from around the country. Visit studiomuseum.org and follow us on social media for a multimedia, behind- the-scenes look at the making of Fore, as well as new insights into the art, artists and continuing impact of Freestyle, Frequency and Flow. Zachary Fabri Red Handed, 2010 Courtesy the artist Summer/Fall 2012 24 Xenobia Bailey Brings the Funk to the Studio Museum Store

by Kyla McMillan, 2011–12 Special Projects Intern

Photos: Kevin Brisco

Xenobia Bailey has a long-standing relationship with most notably the segregated Seattle neighborhood in The Studio Museum in Harlem. The fiber artist was a which she was raised; the black bohemian Brooklyn com- 1998–99 Studio Museum artist in residence when she munity of Fort Greene, where she lived in from the 1970s created a body of work entitled Paradise Under Recon- to the 1990s; and her current home, Harlem. Bailey said struction in the Aesthetic of Funk. In 2011, Bailey par- that the influence of these three communities creates a ticipated in Target Free Sundays, facilitating a recycled “specific Free-style Funky-Fly displayed in the work.” flower–making workshop. This workshop serves as the The display engages three texts: Bold Money: A New inspiration for Bailey’s current engagement with the Way to Play the Open Market by Melvin Peebles, The Museum: a window display for the Museum Store. Green Collar Economy: How One Solution Can Fix Our Bailey is calling her much anticipated display The Two Biggest Problems by Van Jones, and Super Rich: Deep-Green Funky-Fly Re-Construction Experience: A Guide to Having It All by Russell Simmons. Bailey used Living a Dream in a Nightmare… Creation #1: The Inspira- these books to help illustrate ideas while developing the tional Altar of Creativity for 125th St. She used recycled installation. She believes that they provide significant materials to create a work to attract pedestrians and academic guides to the reform of contemporary patrons. According to Bailey, all of the objects are urban development. “functional,” materials recycled from objects discarded When asked what she hoped viewers would take on the streets of New York. The installation will evolve from the installation, Bailey said that she hopes the over the coming year. installation will make viewers consider the underdevel- As all of Bailey’s work, this piece is drawn from her oped, rich creative potential of recycled materials in experiences in many African-American communities, African-American communities. Museum 25 Overheard @ The Artist’s Voice

The Studio Museum’s public programs offer insight into the ideas expressed by the artists presented in our collection, exhibitions and special projects. Through our programs and partnerships, we provide a myriad of exclusive experiences that put our audiences at the center of our work. The Artist’s Voice is a series of discussions with emerging and established artists presented regularly at The Studio Museum in Harlem. This series allows the audience to learn more about artistic practice from the artists themselves. Here’s some of what they said.

If you have a choice between We uncover every stone. That’s our being here or somewhere else, job. That’s our value in society. between being an artist or something For artists, nothing is sacred. Nothing. else, then you shouldn’t be here. Jack Whitten, March 8, 2012 Jennie C. Jones, April 26, 2012 Art is a way of making community. It’s not all art history. I like superhe- Kellie C. Jones, January 26, 2012 roes, especially the ladies. Kira Lynn Harris, March 29, 2012 I was post-black before I became black.

The work talks to me . . . There was this whole business about it tells me what to do next . . . how you shouldn’t put your dirty laun- it tells me what it needs . . . dry out in public. The question it tells me what other works need. I always had was, “Where could we Leonardo Drew, April 12, 2012 air our dirty laundry?” Lorraine O’Grady, May 10, 2012

The Artist’s Voice is made possible thanks to the New York State Council on the Arts, a state agency; the MetLife Foundation; and an endowment established by the Ron Carter Family in memory of Studio Museum in Harlem Trustee, Janet Carter. Summer/Fall 2012 26 Quilting Harlem

by Sophia Bruneau, Communications Assistant

Celebrating community, culture These patches are composed of a and creativity: The hands of the range of materials, including various Community Quilt Project are as wax fabrics, mud cloths, kente cloth, diverse as the swatches of fabric silks, bright cottons and brocade they piece together. fabric. In the detail of the fabric, one 2011 marked the first year of can see overlaid patchwork of the the Community Quilt Project at faces of Billie Holiday and President The Studio Museum in Harlem. Barack Obama. Embroidered silhou- Organized by fiber and quilt artist ettes of unknown figures sprinkle the Ife Felix, one of the founding tapestry, acting out familiar gestures members of the Harlem Girls Quilting of human connection. Circle, the Community Quilt Project Beneath the patchwork and came to life during the Museum’s embroidery lay stories that can’t second annual Kwanzaa celebration, necessarily be seen at first glance. on the sixth day of Kwanzaa—the For instance, one swatch is a Photo: Sophia Bruneau day of creativity or Kuumba—and mother’s remembrance of a loved during the centennial celebration one who committed suicide. Another of prolific African-American artist woman’s swatch represents her Romare Bearden. passion for West African dance and Pulling inspiration from Bearden’s drumming. One boy, too young legacy of creating visually compel- to hold a needle, participated by ling stories through collage, more creating a Bearden-inspired collage than thirty participants channeled in a children’s workshop at the their stories into quilt-making. Each Studio Museum, which Ife Felix participant was asked to donate a then transferred onto fabric. swatch of fabric, and met on three In many ways, the Community consecutive Sundays to work a few Quilt Project is the product of these hours piecing together the quilt. many narratives, given substance As the quilt grew bigger, so did its and life through the quilt. Within composition, a brilliant and vibrant each piece of fabric lies an intimate depiction of memories, dreams, past, story—some of pain, some of joy present and future. and some of reflection. The quilt has more than two hun- Photo: Nia I’man Smith dred individual swatches of fabric Target Free Sundays at the Studio Museum are in a myriad of colors and textures. sponsored by Target. Museum 27 Beyond Summer/Fall 2012 28 Elsewhere Completely Biased, Entirely Opinionated Hot Picks

by Thelma Golden, Director and Chief Curator

Jimmy Robert Vis-à-vis August 25–November 25, 2012 Museum of Contemporary Art Chicago Chicago, Illinois mcachicago.org

Jimmy Robert Vis-à-vis is the first major solo museum exhibition in the United States of work by artist Jimmy Robert, who you’ll remem- ber from 30 Seconds off an Inch (2009–10). For Vis-à-vis, curator (and former Studio Museum staff member) Naomi Beckwith brings together Robert’s work in diverse media, including photography, video, sculptural objects and collaborative performances.

African American Art: Harlem Renaissance, Civil Rights Era, and Beyond

April 27–September 3, 2012 Smithsonian American Art Museum Washington, DC americanart.si.edu

September 28, 2012–January 6, 2013 Muscarelle Museum of Art at The College of William and Mary Williamsburg, Virginia web.wm.edu/muscarelle

African American Art: Harlem Renaissance, Civil Rights Era, and Beyond brings together paintings, sculptures, photographs and prints by forty-three African-American Jimmy Robert Untitled, 2010 luminaries—many with close ties to © Jimmy Robert, the Studio Museum. Drawn entirely Courtesy Galerie Diana Stigter from the Smithsonian’s permanent Museum 29

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

collection, the exhibition features a Loïs Mailou Jones Moon Masque, 1971 hundred works, many on view for Smithsonian American the first time. Art Museum Bequest of the artist

Romare Bearden: Southern Recollections May 23–August 19, 2012 Newark Museum Newark, New Jersey newarkmuseum.org

I’m thrilled that Romare Bearden: Southern Recollections, originally organized by the Mint Museum in Charlotte (the city where Bearden was born), will be coming to the New York area! Like The Bearden Project, Southern Recollections celebrates the centennial of Bearden’s birth. This important exhibition includes approximately eighty works of art and examines how his native South served as a source of inspiration throughout his career. Romare Bearden Terry Adkins Recital Profile/Part I, The Twenties: Mecklenburg County, Sunset Limited, 1978 July 14–December 12, 2012 © Romare Bearden Foundation/ Frances Young Tang Teaching Licensed by VAGA, New York, NY Photo: R. Kasper Museum at Skidmore College Saratoga Springs, New York tang.skidmore.edu

Terry Adkins’s first museum survey follows the career of this important artist, musician and educator, from Terry Adkins shortly after his 1982–83 residency Still, 2000 Hood Museum of Art, Dartmouth at the Studio Museum to the present College, Hanover, New Hampshire day. Adkins combines sculptures made from found materials into installations that incorporate music, video and performance. Terry Adkins Recital is accompanied by Summer/Fall 2012 30

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

a new monograph with essays by Our soon-to-be neighbor, the Studio Museum friends including Museum for African Art, has been Okwui Enwezor, Charles Gaines busy organizing traveling exhibi- and George Lewis. tions during the construction of their brand-new building at One Carrie Mae Weems: Three Decades Museum Mile. When I Last Wrote of Photography and Video to You about Africa brings together September 21, 2012–January 13, 2013 the full range of El Anatsui’s work, Frist Center for the Visual Arts from early works in wood and ceramic to his signature large-scale Carrie Mae Weems Nashville, Tennessee Afro-Chic (video still), 2010 fristcenter.org tapestries made from bottle tops Courtesy of the artist and Jack Shainman Gallery, and other discarded materials. New York Carrie Mae Weems’s first major retro- © Carrie Mae Weems spective is composed of more than African American Art Since 1950: 150 objects, primarily photographs, Perspectives from the but also texts, audio recordings, in- David C. Driskell Center stallation and video. Three Decades September 20–December 14, 2012 provides an opportunity to trace the David C. Driskell Center at the evolution of Weems’s career over University of Maryland the last thirty-plus years, from her College Park, Maryland start as a student of Dawoud Bey’s driskellcenter.umd.edu in a Studio Museum photography class in 1976 to her global acclaim African American Art Since 1950 today. If you can’t make it to Tennes- honors the legacy of landmark 1976 see, don’t worry—the exhibition will exhibition Two Centuries of Black travel to the Portland Museum of Art, American Art: 1750–1950, orga- Cleveland Museum of Art and Gug- nized by David C. Driskell for the genheim Museum in 2013–14. Los Angeles County Museum of Art. El Anatsui Envisioned as the next chapter in the Oasis, 2008 El Anatsui: When I Last Wrote history Driskell was so important in Photo courtesy: Jane Katcher / Peter Harholdt to You about Africa writing, this exhibition showcases a generation of artists who opened up September 9, 2012– the possibilities for African-American December 30, 2012 art, from pursuing pure abstraction Denver Art Museum to imbuing art with political activism. Denver, Colorado denverartmuseum.org

February 2–April 28, 2013 University of Michigan Museum of Art Ann Arbor, Michigan umma.umich.edu Beyond 31

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

Blues for Smoke

October 21, 2012–January 6, 2013 The Geffen Contemporary at the Museum of Contemporary Art, Los Angeles Los Angeles, California moca.org

February 7–May 18, 2013 The Whitney Museum of American Art New York, New York whitney.org

Blues for Smoke is a large-scale thematic exhibition exploring ideas and forms of the blues in con- temporary art. It includes works from the 1950s to the present in a variety of media by approximately fifty artists—among them dozens you’ve seen at the Studio Museum! Organized by Bennett Simpson, with artist Glenn Ligon as a curatorial advisor, the exhibition seeks to iden- tify the blues not simply as a musical category, but also as an aesthetic and discourse informing multiple generations of visual artists.

Don’t Miss! Jack Whitten Black Table Setting (Homage to Duke Ellington), 1974 A hit of the Los Angeles exhibition Collection of the Art Fund, Inc. at the Birmingham Museum of Art initiative Pacific Standard Time, Now Dig This! Art and Black Los Angeles 1960–1980 comes to MoMA PS1 from October 2012 to February 2013.

Visit studiomuseum.org/ studio-blog/elsewhere for more Hot Picks from Thelma. Summer/Fall 2012 32 Book Picks

by Abbe Schriber, Curatorial Assistant

“Read/As many books as you can without reading interfering/With your time for living,” wrote Kenneth Koch in his oft-quoted poem “Some General Instructions.” It is advice that resonates with people who love to read but juggle packed schedules—most of us who work at the Studio Museum are no exception to that. Below are a few suggestions for recent or brand new criti- cal texts and novels well worth the interference with your schedule—books that, in my opinion, will enrich your experience of the artwork we show, and possibly even your “time for living.”

Anne Cheng Teju Cole John P. Bowles Second Skin: Josephine Baker Open City Adrian Piper: Race, Gender, and and the Modern Surface Random House, 2011 Embodiment Oxford University Press, 2011 Duke University Press, 2011. The protagonist of this novel, a Cheng’s second book, Second young Nigerian psychiatry resident, After a decade of research, art his- Skin focuses on the early-twentieth walks the streets of Manhattan, from torical analysis and direct correspon- century performer Josephine Baker. Morningside Heights down, in the dence with artist Adrian Piper, John Through Baker’s critical reception, process contemplating his relation- P. Bowles locates the Conceptual audience and skin/self, Cheng ships, job, environment, and social and feminist roots of Piper’s work. examines and connects Modernist and political surroundings. The rev- He extends the art historical and aesthetics and architecture to elations and ruminations that come theoretical importance of her artistic the fantasies and degradations to light are not stream-of-conscious- practice to reflect a larger societal of otherness. ness, but the very plot and structure and social accountability. of the book itself. Beyond 33

Book Picks

Tina M. Campt Kevin Young Jesmyn Ward Image Matters: Archive, Photography, The Grey Album: On the Blackness Salvage the Bones. and the African Diaspora in Europe of Blackness Bloomsbury USA, 2011 Duke University Press, 2012 Greywolf Press, 2012 Winner of the 2011 National Book This new critical text examines Like the Danger Mouse album from Award for Fiction, Salvage the Bones found and family photographs of which it borrows its name, Young’s introduces us to a fifteen-year-old black diasporic families and com- new book melds and defies genre. narrator named Esch and her broth- munities, particularly in Germany In manifesto-like form, Young muses ers and father in the days leading and Great Britain in the early to and riffs on black cultural references up to Hurricane Katrina. In the mid-twentieth century—and how in art, music, film, literature, language Summer/Fall 2010 edition of Studio, images with such intimate, nostalgic and history to unearth the currency the Museum published an excerpt value can reflect profound national and meaning of blackness in the from Ward’s first book, Where the identification and affect. In spring twenty-first century. Bonus: Artist Line Bleeds. 2011, Campt lectured on early mate- Jennie C. Jones, highlighted in rial from the book as part of OFF/ the spring exhibition Shift: Project | SITE, the Studio Museum’s collabora- Perspectives | Directions, is featured tive project with the Goethe-Institut on the cover. New York. Winter/Spring 2012 34 If you like...

by Jamillah James, Curatorial Fellow

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William H. Johnson Nina Chanel Abney (born 1901, Florence, South Carolina; died 1970) (born 1982, Chicago, Illinois)

Going to Church, c. 1940–1941 Who? What? When?, 2009 Courtesy Smithsonian American Art Museum, Private Collection, New York; Courtesy Krevets Wehby, New York

William H. Johnson’s and Nina Chanel Abney’s paintings share an extreme surface flatness, with saturated colors, cartoon-like figuration and symbol-laden narratives. Johnson’s suite of paintings between 1939 and 1945, such as Going to Church (c. 1940–1941) and Swing Low Sweet Chariot (1939), transfuse religious symbolism with black vernacular themes, drawn from his upbringing in the American South and his experiences as part of the black working class. Abney’s paintings court the space between playfulness and subversion, using humor in ways similar to the work of Kara Walker or Robert Colescott. Abney interchanges the race, gender and anatomies of her subjects, some of whom are pulled from popular culture, such as political figures Al Sharpton and Condoleeza Rice. Figures are rendered simply, lending to the deceptive and disorienting quality of the work, which is often politically or sexually charged. Beyond 35

If you like...

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Frank Bowling Kianja Strobert (born 1936, Esseqibo, Guyana) (born 1980, New York, New York)

Around Midnight Last Night, 1982 Untitled, 2011 Courtesy Spanierman Modern, New York Courtesy Zach Feuer Gallery, New York

Frank Bowling, a former classmate of David Hockney, made his first steps towards abstraction as early as 1964 with Swan, and then committed fully to a nonfigurative practice as of 1968. Modernist critic Clement Greenberg was a strong supporter, as Bowling moved from the flat washes of Color Field to more textural canvases in the late 1970s. Kianja Strobert, shown at the Studio Museum in 30 Seconds Off an Inch (2009–10), picks up where Bowling left off in the 1980s, allowing thick, colorful impasto to bubble up to the surface. Jack Whitten, Helen Frankenthaler, Clyfford Still and Sam Gilliam are connective points between Bowling and Strobert. Winter/SpringSummer/Fall 2012 2012 36

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Noah Purifoy Lorna Williams (born 1917, Snow Hill, Alabama; died 2004, (born 1986, New Orleans, Louisiana) Joshua Tree, California) Trap(ped), 20111 Untitled (Monument), n.d. Courtesy Dodge Gallery, New York. Courtesy the Noah Purifoy Foundation

Southern-born sculptors Noah Purifoy and Lorna Williams give outsider impressions in their sprawling, organic compositions. Purifoy’s Joshua Tree Outdoor Museum, located in the California desert, is a collection of homespun assemblages made from collected industrial items, like scrap metal and discarded tires, and found natural objects. Lorna Williams’ sculpture departs from Purifoy’s rural aesthetic, but with embellishments closely associated with the 1970s Feminist craft movement. Beyond 37

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William Cordova Alex Da Corte (born 1971, Lima, Peru) (born 1981, Camden, New Jersey)

Untitled (geronimo), 2009 Untitled (Buffet), 2012 Courtesy Sikkema Jenkins & Co., New York. Courtesy the artist and Joe Sheftel Gallery, New York

Former Studio Museum artist in residence William Cordova transforms a confounding mix of materials (chocolate, shed feathers, gold chains, LP covers, etc.) to elevate them from their humble origins. Symbolic investment is not a new strategy when it comes to making objects, though Cordova pushes the envelope one step further by adding personal and cultural references—however oblique—to the mix. Likewise, Philadelphia-based Alex Da Corte’s nomadic upbringing (divided between New Jersey and Venezuela) adds an unpredictable range to his choice of materials and approaches. Da Corte’s sculptures are made from, among other things, acrylic nails, dried soda, Swarovski crystals and derelict stuffed animals, recalling the abject Pop sensibilities of Mike Kelley, William Pope.L and Paul McCarthy. Summer/Fall 2012 38 Studio Visit Invisible Borders

by Abbe Schriber, Curatorial Assistant

How does one conduct a studio visit with an artist (or in this case, several artists) whose work is peripatetic, predicated on movement, transience and journey? With the aid of Skype and communal e-mailing, I had the privilege of corresponding with three members of Invisible Borders Trans-African Photography Project: artist and project founder Emeke Okereke; art historian, writer and filmmaker Nana Oforiatta-Ayim; and photographer Jumoke Sanwo. Invisible Borders is a collective of writers and photographers who take the literal and metaphorical notions of “borders” and foreignness as their starting point. Each year,

Jumoke Sanwo the group convenes artists, photog- TM-Durumi, IB 2011, 2011 raphers and writers to travel by car Courtesy the artist across Africa, road trips that inten- tionally crisscross multiple countries and landscapes—from Lagos to Dakar, as the group did in 2010, or Lagos to Addis Ababa in 2011. The trips, described by Okereke as a “residency on the move” for some artists, are documented through photographs of street life, store- fronts, marketplaces, local residents and landscapes. An appointed blog- ger (in 2011 it was Emmanuel Iduma) reflects on the trip in real time, in posts logged on the group’s website. In these transcontinental drives, the collective reveals the multiple narra- tives that concurrently illustrate the complexity of African life, transcend- ing the unseen boundaries that distinguish languages, customs and

Jumoke Sanwo Color Blue-Addis Ethiopia, IB 2011, 2011 Courtesy the artist Beyond 39

Studio Visit Invisible Borders

cultures, and the very real borders traveled came about as a result of comfort zones, testing internal that conjure checkpoints, passports a particular narrative that had been and external boundaries—that take and various forms of transaction. internalised and used as a divisive place. As a living, breathing art form, At the same time, the Invisible mechanism. So in this context, bor- collective action has long provided Borders project interrogates pre- ders for me were manifestations of the basis for both activist and dominant beliefs about Africa and memory, sometimes collective and aesthetic intervention: from Nigeria’s African art, and refutes them with sometimes, amongst each other, recent fuel subsidy protests to the a philosophy of Trans-Africanism, also individual.” However, while dialogues of the New York–based which rejects external, assigned the photographs and ephemera Spiral collective in the 1960s. Invis- definitions and narratives of Africa produced along the way present one ible Borders imbues the legacy of and promotes exchange and fluidity aspect of the group’s art-making, collective action with new meaning. among artists. it is the collective format that Rather than having to define, defend, Through the photographs, each most crucially embodies its artistic militarize or proselytize, this collec- participating artist tells a different practice and purpose. Okereke tive allows room for African artists to story about social realities. In an and Oforiatta-Ayim consider the be and do. In many ways, borders are e-mail, Oforiatta-Ayim writes “. . . road trips performative actions and necessary for this practice of self- the notion of border for me related interventions, and the photographs hood—as Okereke puts it, “our lives to that of storytelling. All the archive and attest to the radical, are made of borders...we must have conflicts along the borders we ephemeral encounters—pushing that friction, to move and exist.”

Jumoke Sanwo Saving for Rainy Day-Ethiopia, IB 2011, 2011 Courtesy the artist Summer/Fall 2012 40 Studio Visit Daniel Rios Rodriguez

by Jamillah James, Curatorial Fellow

Daniel Rios Rodriguez (b. 1978) is a painter based in at White Columns in 2011, and recently participated in Brooklyn who trained at Yale University and the University a three-person show (with Ella Kruglyanskaya and Joshua of Illinois at Chicago. Rodriguez spent much of his child- Abelow) at Chelsea gallerist C. Sean Horton’s Berlin loca- hood living on various military bases in Germany, among tion. I sat down with Rodriguez in his East Williamsburg other places. After a stint in the Air Force, he enrolled at studio on April 8, 2012. We talked about the resurgence a local college in Texas, where his painting career began. of abstraction in Bushwick, taking our families to muse- Twelve years, a wife and two kids later, Rodriguez is mak- ums, and how a studio visit with a certain artist shook ing major moves—he was the subject of a solo exhibition up his game.

Daniel Rios Rodriguez All Right, All Ready, 2012 Courtesy the artist Beyond 41

Studio Visit Daniel Rios Rodriguez

Give us a sense of your background. How did you ferent influences—that was the nature of my upbringing, arrive at painting? and thus the nature of my work. There was a greater I grew up in a military family and the expectation with range of things my parents wanted us to experience, not most kids from this background is that they’ll join the because they shied away from our culture, but because military too, so I enlisted in the Air Force. It’s a long they wanted other influences to be in our lives. So in story, but I got out after a year. Once out, I started at a terms of looking at work about identity, or making work community college, where I enrolled in my first art class about being Latino, it didn’t work with me. and met my wife. After two months we were engaged, and then married and moved to Chicago in February Have you experienced overdetermination of your work 2001. I transferred to University of Illinois at Chicago, by those reading it through the lens of identity? and during my junior year I got into the Yale Norfolk Pro- Yeah, it’s happened to me plenty, just in terms of people gram, a two-month summer residency in Connecticut. coming in and out of the studio, especially in graduate It gave me the time to commit to my painting like I hadn’t school. I’d occasionally get people who immediately before. It had a huge impact on my work! Then I applied brought up Diego Rivera or David Alfaro Siqueiros, but, to grad school and was accepted at Yale, and it goes on then again, why shouldn’t they? It used to annoy me, from there. I had always been interested in art as a kid, but I’ve come to terms with it. They’re just as relevant but didn’t realize until I was in the military that I could as any European painter and who’s to say the reference try to make a living at it. When I graduated from Yale, isn’t attributed to the work and not just my last name? my dad did this really sweet thing, he put my diploma in [laughter] a massive frame with a little door on its back. He put one of my old paintings, from when I was fifteen or sixteen, I had a studio visit with Trenton Doyle Hancock during inside the frame behind the diploma. He used to make my first two months at Yale. We didn’t talk about the drawings for me when I was little, that’s probably work. We talked about music instead, which was cool. where it all started. Part of his lack of interest in my work, I thought, was because I was making work about identity. To me, How much of your work would you say is identity- it kind of made sense. It was a sign that, “you weren’t focused or autobiographical? ever comfortable in doing this, and this is just not for It’s always been autobiographical. As an undergrad I you.” I don’t want it to be perceived as if I’m trying developed a system of symbols that represented me, to escape anything, or that I’m anti-identity, but the my wife and my parents. A lot of my work at the time truth is, I came from a community where I represented was about my parents. I never officially did self-portraits just a sliver of the diversity. or worked with direct representation until I was in grad school. I was trying to figure out what it meant being As your work is so personal, are you concerned that Hispanic and arriving at an Ivy League school and it may be alienating to an audience? making paintings. I never did figure it out! But it didn’t I mean, yeah, unless I was able to invite every viewer really make sense to me. I wasn’t really interested too over to my house for pancakes. Alex Katz makes paint- deeply in talking about issues relating to identity. ings about his wife. Picasso made dozens of paintings There was no way for me to situate those ideas neatly about his kids. I was making my work about my family in an art-making mode. before anyone ever saw it. It’s just what I’m intensely in- terested in. For me, it’s just about painting, that’s what’s Why situate it neatly? relatable: If you like paintings, colors, reading about the Coming from a military family, I grew up in communities history of painting or just looking at something for a little that allowed for some cultural fluidity. Every few years while, then you might be into it. You don’t have to know I moved to a different place, so there were a lot of dif- who it’s about. Summer/Fall 2012 42

Studio Visit Daniel Rios Rodriguez

What happens when a painting is less successful? There’s a freshness or vitality that you want a painting to have, even after it’s dry. Now I try to slow down a little, and actually live with the paintings for a while longer than I used to. I’d say that most of my paintings are established within the first few hours of working on them. After that, it’s seeing if their initial freshness sticks, and trying to keep it as open as possible while I’m closing in on completion. I don’t like the idea of making correc- tions within paintings, because it’s no fun. It’s like grading papers—I can’t think of any teacher who enjoys grading papers. I think my best paintings come from a willingness to [expletive] it all up and say, “Ok, this isn’t working for a whole lot of reasons.” And rather than sacrifice an entire painting to save one part, I just start from scratch.

In conclusion, who are some of your influences? Who are you looking at or thinking about? Daniel Rios Rodriguez in his studio Elizabeth Murray, Carroll Dunham, Philip Guston, James Endor, Matisse, Picasso, Conrad Marca-Relli, Cindy How do you go about starting a painting? Walk us Sherman—I hadn’t fully realized her importance to me through a little bit of your process. until I saw the MoMA retrospective. Kerry James Marshall, My paintings mostly start out monochromatically, ever since I went to Chicago and realized he was teach- and from there it’s about figuring out whether I need ing at University of Illinois at Chicago. The scope of his to do anything else. I’ve been working a lot with yellow work is huge—he just does so many different things, and lately—there’s a painting on my website called All Right, does them so well. That’s what’s been important to me—I All Ready (2012) that’s almost entirely yellow, outside of want to be able to do many things. The comics in The the bits of rain falling down and the T-shirt collage. Some New Yorker inspire me. My friend Ella Kruglyanskaya has work well in just black and white, or yellow, or green. taught me quite a bit about painting with oils. I wasn’t In those paintings, it has more to do with subtractive trained as an oil painter and I think I’m just getting the scratch drawing than painting, and I don’t feel the need hang of it. There are artists that never have moments to add any additional layers or colors. I never want to where they fail in my eyes, and there’s always something get too comfortable working any particular way—I don’t relevant to study. With those artists, there’s always going want to bore myself. If I feel like I have somehow found to be something that I find important or fascinating. Even a rhythm to working, I want to introduce something the worst drawings by Picasso are still pretty good! else to disrupt that rhythm or harmony. Beyond 43 Studio Visit Checking in with Stanley Whitney

by Dominic Hackley, Communications Associate

on, right to the present, such as Alma Thomas and Bob Thompson. For me, great painting is great painting. Subject matter is personal. If I think about Velazquez, I think about how he touched the canvas. With Goya, it really is the drama, color and sensu- ousness of the paint. With Cezanne, one of my first great influences, it’s just the solid structure of the work. The thing about both Goya and Velazquez is that their idea of paint is just so great. It’s so fresh and so loose. But it has great clarity.

DH: You mentioned that you paint on linen canvases that are 96 by 96 inches, 72 by 72 inches, 60 by 60 inches and 12 by 12 inches—all Stanley Whitney in his studio squares. What is the significance Photo: Dominic Hackley of the square structure? Studio managing editor Dominic ing. This year I wanted to do some Hackley sits down with painter prints, so I’m currently working on SW: The square structure is a classi- Stanley Whitney (b. 1946) in his color etchings at Harlan and Weaver cal structure. You see it all through- Cooper Square studio to discuss Printshop here in Manhattan. In the out world history. I used to paint his latest paintings, inspirations past, I also made prints at Bob Black- rectangles, but I think it is tougher and ambitions. burn Studio and some monoprints at to make the square have a good the Vermont Studio Center. So really, rhythm or timing. With the rect- Dominic Hackley: You describe your- my practice includes painting, draw- angle, things expand. It’s more like self as a painter. Were you always a ing and printmaking. They all inform a landscape. But I didn’t really want painter or did you practice other art one another. the landscape. Instead I wanted forms, such as drawing, sculpture something more contained, more or printmaking? Do you still secretly DH: Diego Velazquez, Paul Cezanne solid. So I came to the square. It’s dabble in other media? and Francisco de Goya are great harder to paint, but I think it makes influences for you, though formally the paintings more interesting. Stanley Whitney: I have always been your paintings couldn’t be more a painter. In school, I tried sculpture different from theirs. Can you DH: The rigidity of the square frame and printmaking, but I stuck with discuss this? greatly contrasts with the loose painting and drawing. It was painting grid of colors that you paint. Is that really inspired me, though SW: Velazquez, Cezanne and Goya this deliberate? drawing is a big part of my practice. are big influences, as are many other To have the color in the right space, artists important to my practice. The SW: Yes, that’s deliberate. What you I had to find the space through draw- list is long: Van Gogh, Manet, on and want in art is drama. Any way you Summer/Fall 2012 44

Studio Visit Checking in with Stanley Whitney

can create drama—light/dark, to make it “James Brown at the I must argue that your paintings hard/soft, warm/cool, etc. Apollo.” They won’t think of James do tell a “story”—the story of the pro- Brown as the god Apollo. The titles cess, the story of the paint, the story DH: Though your work is abstract, sometimes tend to be fun and use of the brushstroke. Do you agree? all your paintings have very specific, wordplay. I want the titles get into And this history of the painting’s descriptive titles. What is your the complexity of life. I titled another becoming, is it an important aspect process for titling and what external painting Agean (2009), which is of the finished piece? Something aspects influence this process? technically spelled wrong. I took it that viewers should think about or, from a Guston print. Already people at the very least, appreciate? SW: Yes, my paintings have very have mentioned to me that I mis- descriptive titles. The titles are spelled the word, but if you look it SW: I’m not a storyteller in the literal another way of looking into where up you see that it references Guston sense. I think what you mean by the paintings come from, if you want and how he spelled it. story is really the history of the to do the research. In fact, I just saw painting. Yes, my paintings have a show of painter Philip Guston’s Also, a lot of titles come from books histories. As you say, this is visible letters, and in one of them he writes or music. I read a wide variety of in the many hand-mixed colors and about how he wanted titles that books, from poetry to biography to varied paint densities and weights. would be difficult for art historians history to novels. I spend a great I want that kind of history or process to figure out in the future. Guston part of my day just reading. Music to be clear to the viewer. There are was a teacher of mine and a is another huge influence. I spoke no tricks or techniques hidden in great influence. about it in the Art in America article the work. They are very straightfor- “Muse,” from April 2012. ward, simple but complicated at the For example, I have a painting titled same time. Each painting is a strong James Brown Sacrifice to Apollo DH: You realized that you weren’t a individual. Viewers have the freedom (2008), but I know people will want storyteller at a young age. However, to move and wander through the painting, to have their own thoughts, to take a mental walk through the painting. The idea is sound through color, creating polyrhythm, and confronting something very beauti- ful with a lot of humanity, to see something that you think you know, but then realize you don’t. Some- thing that is very familiar, like color squares, and yet they are not. They are much more.

DH: Can you discuss the “story” of This Side of Blue (2011), recently featured at your gallery’s booth at the Frieze Art Fair New York?

Stanley Whitney’s studio Photo: Dominic Hackley Beyond 45

Studio VisitStudio Visit Checking in with Stanley Whitney

Right: Stanley Whitney This Side of Blue, 2011 Courtesy the artist and Team Gallery, New York

Left: Stanley Whitney James Brown Sacrifice to Apollo, 2008 Courtesy the artist and Team Gallery, New York

SW: Again, there is no literal story see how the work has progressed or galleries, from Gagosian Gallery behind This Side of Blue. It’s about changed. When I think about change down to small galleries in Bushwick. the paint, the handling and mixing in painting, I think about Mondrian. A lot of young artists are very of colors. There is a lot of reference Look at how his paintings developed, interested in painting. As far as to blue, deep blue sea, the Billie how you really see the work change seeing other artists, or work I enjoy, Holiday song “Blue Gardenia,” the step by step, and even how the I go every month to see what is blues in general. Blue has a long drawings influenced the paintings. showing in Chelsea or uptown, history. And the idea of the paintings Where things tend to open more in Brooklyn or on the Lower East is for them to address things that is in the drawings or the prints. Side. I just like to look and see words can’t address. They really look to the future, to what’s going on. possibility for the painting. That is DH: Your paintings have a signature how I use drawings and prints. DH: After being the first recipient of style. Do you ever attempt to digress the Robert De Niro Sr. Prize in 2011 from this style and try something DH: Any comments on the current and having two solo gallery exhibi- new and different? state of contemporary art? Any tions in 2012, what’s next for you? projects that you are looking forward SW: They do have a signature style, to seeing or artists that you particu- SW: I’m currently working on a which I find kind of odd in this day larly enjoy? solo show at Galerie Nordenhake in and age. But because they stay such Berlin, opening winter 2012–13. I’m strong individual works because SW: I think it is a very exciting time also continuing to work on, and of the color, each one stays unique. right now in New York. There is a am very excited about, these color The paintings have changed over lot of really good painting going on, etchings I’m making at Harlan and the years, but very slowly. If you saw figurative and abstract, young and Weaver Printshop, and I hope to do a a painting from 1998 and put it next older painters. We don’t see it in prints and drawings show sometime to one from 2012, you’d definitely museums yet, but we see it in soon. Maybe at the Studio Museum? Summer/Fall 2012 46 Homage to Elizabeth Catlett

by Isolde Brielmaier

Elizabeth Catlett It was a cool, sunny afternoon Mother and Child, 1993 Museum purchase 96.13 in spring 2010 when I first had the privilege of lunch with artist Elizabeth Catlett. The reason for our meeting was to discuss the upcom- ing exhibition of her work that I had been invited to curate at the Bronx Museum of Art. I had presented my initial ideas for the project several months prior, primarily through the museum’s director, Catlett’s sons and her longtime friend, artist Emma Amos. The exhibition was to be oriented around a “conversa- tion” between works by Catlett and those of twenty-one contemporary artists, some of whom knew her work well and others of whom were unfamiliar with her oeuvre. Catlett’s response had been positive. She was intrigued. While I was eager to hear more of her thoughts on her art and process, and on the work of younger artists and the art world in general, I was really looking forward to simply being in her presence. It was, first and foremost, an opportunity to bask in her glow and absorb wisdom about life as it was, is and will be. “Stone is far more forgiving than wood,”1 Catlett said early in our conversation. I looked at her hands, which appeared tired yet determined. “Can you please tell me more?” I asked. She took a sip of water. “With stone, it’s a straight cut, there are no complications. But wood . . . wood comes from nature and nature is beautiful but complicated. So when I decide to create with wood, I am Beyond 47

Homage to Elizabeth Catlett

always presented with knots and to see what ideas and dialogue can Catlett had lived her life and her tough areas that refuse to bend.” and do emerge when your work is art in line with the qualities she had I continued to stare in awe at her presented next to work by younger observed in the wood she sculpted. hands. They were the hands of a artists from around the world, This was something to embrace and woman who had worked hard and particularly those who came of age share, especially when I asked her meticulously, who had overcome in different worlds, and whose pro- one of the most common questions challenges while honing her knowl- cesses may both overlap with and she has heard over the course of her edge and skills and paying close diverge from yours.” She nodded. lifetime: “What advice do you have?” attention to her craft and the world “Yes, who knows what people will Wood, I thought, it’s in the wood— around her. It occurred to me that see or what I will see. It’s uncertain unbending commitment, focus, her words were relevant not only to but interesting,” she said. “And I determination, beauty and grace. her artistic practice, but also to life must speak with these artists. I want itself—a philosophy to live by. to meet them and hear what it is Isolde Brielmaier, Ph.D., is Chief Catlett was ninety-four when I that they are thinking and doing in Curator of the Savannah College of first met her. Over the course of her their work.” She was interested and Art and Design, which includes SCAD prolific career, she created a vast engaged, confirmation for me that Museum of Art and galleries range of dynamic, canonical works the exhibition would yield a fruit- in Savannah, Atlanta, Hong Kong through her skill and vision as a ful dialogue. And it did. Catlett met and Lacoste, France. sculptor and printmaker. She also high school students, museum staff, worked tirelessly as an educator collectors and supporters. And while 1 Quotes from Elizabeth Catlett, personal communication with author, April 25, 2010. and activist. And she was worldly, she did not ultimately meet with the having traveled widely and eventu- artists in Stargazers due to schedul- ally deciding to live and work in ing, she was the inspiration for the Guernavaca, Mexico. She was, as broader conversations generated I saw in person on that chilly April about the interrelationships among afternoon, a talented, trailblazing, multiple generations of artists, shifts multimedia, transnational artist, long in practice and process, addressing before the terms had even emerged challenges (artistic and otherwise) in our popular post-post-modern and how times have changed along lexicon. These qualities inspired me, with artists, artwork and opportuni- as well as the twenty-one contempo- ties. Catlett’s work and life—little rary artists whose work I presented did she know, perhaps—continue alongside hers in what would be her to ignite insightful and necessary last museum exhibition, Stargazers, debate, musings and queries. As I sat which opened early in 2011. She with her and we finished our lunch, I passed away in April 2012, less than began to think back on what she had a year after Stargazers closed. just said about how beautiful wood “The project is less about influ- can be while still “refusing to bend.” ence and more about possibility,” There was great wisdom in this state- I explained to Catlett. “I want people ment and an immediate connection: Summer/Fall 2012 48 A Beautiful Ralph Lemon Thing drawings

Ralph Lemon’s untitled drawing book suit.” Each drawing depicts this headphones)—appear and reap- is a project produced by the artist on figure, and together they depict him pear, suggesting that the drawings’ the occasion of the exhibition 1856 engaged in a sequence of enigmatic themes are coded in the suffocat- Cessna Road. It includes reproduc- actions in storybook format. Many of ing abundance of these objects. tions of the original thirty-two small- the objects and scenarios depicted Likewise, specific situations are scale, pen-on-paper drawings that act as diagrammatic sketches for, depicted—humans and animals co- Lemon transformed into an untitled and records of, Carter’s perfor- habitate, technologies from different video animation, which appeared in mances, exaggerated to fantastical time periods are anachronistically the exhibition. Lemon designed the dimensions. Certain categories of juxtaposed, people are physically drawing book to provide a demo- objects—animals (rabbits, pigs, tethered to their actions, and the cratically available takeaway for the giraffes, hyenas, fish, owls, sheep), voice and its recording devices are exhibition and extend the scope of vehicles (locomotives, airplanes, alternately amplified and muted. the project beyond the gallery space. tractors), signifiers of Southern Despite these charged scenarios and The drawings include a recurring fig- violence (trees, shotguns, rope) their linear arrangement, accumu- ure Lemon has described as “Walter and music paraphernalia (vinyl lated meaning remains intentionally Carter as James Baldwin in a space records, turntables, microphones, oblique and evasive. Features 49 Features Summer/Fall 2012 50 Harlem Postcards Tenth Anniversary by Abbe Schriber, Curatorial Assistant

Fall 2012 will mark the tenth anniversary of one of the in their glimpses into the banal, bizarre and glorious Studio Museum’s signature ongoing projects, Harlem corners of the community, have used the language of Postcards, which invites contemporary artists to photography to challenge the very idea of what a postcard consider Harlem’s past and present as a site for visual might depict: Tony Feher’s snapshot of a lone heart-shaped engagement. Tracing the changing Harlem landscape lollipop, discarded on the sidewalk; the pigeon who nibbles of the last ten years, the postcards provide idiosyncratic at a fried chicken wing in Adia Millett’s photograph; or the visions of a complex, culturally rich community. neon signs, found posters and eclectic decorations in local storefronts, such as those found in postcards by Corey Harlem Postcards was created, in part, as a way for the Studio Arcangel and Christian Marclay. Artists Dominic McGill, Museum to expand on the bountiful photographic history Sowon Kwon and Fatimah Tuggar worked in collage or of Harlem, as vivid and nuanced as the community itself: digital photomontage, reflecting the neighborhood’s layers from the elegant photographs of James VanDerZee and of gentrification and cultural hybridity. Others activated Roy DeCarava, to the representations of Harlem by social the participatory aspect of the project, such as Demetrius realist documentarians and photo-journalists throughout Oliver’s entreaty to view the full moon on the Harlem River, the twentieth century. Many recognize Harlem from its or Zefrey Throwell’s engagement of a local street vendor iconic cultural landmarks—Apollo Theater, Lenox Lounge, to subsidize snacks for Museum visitors in his Free Nuts: Abyssinian Baptist Church—that adorn postcards of the Reinvesting in Harlem. neighborhood sold on the street and in local shops, fueling As functional art objects, available free of charge, Harlem’s mythic legacy. As Harlem Postcards has devel- the postcards invite artistic experimentation with mass- oped, artists of diverse backgrounds and generations have produced imagery and distribution—every season, several celebrated, subverted or altogether eschewed these and thousand postcards are created. Each image adheres to other sites, engaging the community in formal, conceptual, the standard size of 4 x 6 inches, attesting to the postcard’s geographical and architectural terms. orderly repetition and affordable reproducibility, and the For such a site-specific project, exploring Harlem is creativity of the artists who work within these set limits. a requirement, whether artists live five blocks away or Over the last ten years, the Harlem Postcards have repre- are visiting New York temporarily. From Sugar Hill and sented takeaway souvenirs, templates for correspondence, Hamilton Heights to Spanish Harlem and the northern nostalgic remembrances and living testaments to one’s edge of Central Park, the neighborhood inspires a wealth travels—reflecting the storied and celebrated neighbor- of intellectual and sensory stimulation. Most of the artists, hood the Studio Museum calls home. Features 51 2002

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2002 5 Alice Attie 3 Rina Banerjee 7 Pearl C. Hsiung 9 Tiara Hernandez Wake Up Black Man, 2004 The scent that we will breathe Pet Mash, 2008 Intriguingly Impetuous, 2010 in the heavens, 2005 1 Christian Marclay 6 Olav Westphalen 8 Miguel Calderon 10 Monique Schubert Harlem 1999, 2003 Once in the Forest, 2004 4 Jessica Rankin Purple Haze/Purple Rain, Jazz Planet, 2010 7th September, 2006 2008 2 Anissa Mack 7 Slater Bradley 11 Lewis Watts After the Fact (Rachel and Doppelganger in Harlem, 5 Dominic McGill 9 Evi Abeler Harlem Wishing Well, 2002 Renée Collins at RiteAid on 2004 Jesus Saves, 2006 Mega Millions, 2008 12 Kwaku Alston 125th St.), 2002 8 Glenn Ligon 6 Sam Durant 10 Cat Chow Spring Time in Harlem, 2010 3 Kori Newkirk Fifth Avenue, Uptown 144 W. 125th St., Los Angeles, Revolutions Per Minute, Notorious Finnest, 2002 (James Baldwin), 2004 CA, 2006 2008 2011 4 Eduardo Sarabia 9 Adler Guerrier 7 James Casebere 11 Joshua Phillippe Remember This, 2003 A Circuiteer about Harlem Foyer, 2006 hrlm 1, 2008 (postcard), 2003 1 Cheryl Donegan 5 Tony Feher 8 Katy Schimert 12 Larry Mantello Disassociated, 2011 Sweetheart, 2002 10 Kira Lynn Harris North Meadow, Central Welcome To, 2007 Lenox and 125th, 2003 Park Harlem, 2006 2 Genesis Valencia 6 Nikki S. Lee Hands With a Heart, 2011 Sunday Morning, Abyssinian 11 Nicoletta Bumbac 9 Jayson Keeling 2009 Baptist Church, 2003 Harlem Salvation, 2004 Isaiah Sass, The Riverton, 3 Jeanne Moutoussamy-Ashe 138th Street, 2006 Holcombe Rucker 12 Sowon Kwon 1 Nicole Cherubini Playground, 2000 harlem cartoon search, 2004 10 Adam McEwen Terracotta #1, 2009 2003 Untitled, 2005 4 Demetrius Oliver 13 Terence Koh 2 Jeremy Kost Argentum, 2011 my pink ship, harlem, 2004 1 Stephanie Diamond Boulevard of . . . , 2009 5 Tribble & Mancenido Will (I didn’t realize his 2007 3 Arnold J. Kemp I Love You, Harlem, 2011 sister was eating candy, from 2005 (Them) Trees . . . (Them) Inside/Outside High School), 1 Kambui Olujimi Changes, 2009 6 Philip Pisciotta 2003 Going Postal, 2007 What Is Won by “Continuing 1 Lyric R. Cabral 4 Lorna Simpson to Play,” East Harlem, NYC, 2 Dario Robleto Hydration, 2005 2 Brooke Williams Tree, 2009 2006 A Dream Repeats Itself over Hands, 2007 and over again: Stump of the 2 Jean Shin 5 Marley Gonzalez 7 Matthew Day Jackson Tree of Hope, The Morning Found Installation (Colored 3 Danny Simmons Scent of Harlem, 2009 March 19, 2011 at about after Amateur Night at the Belts), 2004 Harlem gots DA Blues, 2007 10:30pm, 2011 Apollo Theater, September 6 Sheree Hovsepian 4, 2003 3 Chato Hill 4 Berni Seale Props, 2009 8 Devin Troy Strother Harlem Week, Father & DSC00123.JPG, 2007 Globetrotting, 2011 3 David Levinthal Son, 2005 7 Zefrey Throwell Tap Dancer, 2003 5 Valeska Soares Free Nuts: Reinvesting in 9 Hank Willis Thomas 4 Robert W. Johnson Calling Card, 2007 Harlem, 2009 Change gonna come, 2010 4 Warren Neidich Dream Rumble, 2005 Scrapple from the Apple, 6 Touhami Ennadre 8 Ray A. Llanos 10 Noel Anderson 2003 5 Adia Millet Lenox Lounge, 2004 Uptown Babylon by Bus, Kabakov Son, 2011 You Used to be My Lover, 2006 5 Ellen Harvey 2005 7 Joao Onofre 11 Mariamma Kambon Painting on a Painting on Untitled (bliss version), 2007 9 Derrick Adams Ebony hands on each ivory 6 Rashid Johnson Joe Louis Boxing Gym (Police key, 2011 Lenox Avenue (framed oil on 8 Cheng-Jui Chiang board on graffiti by unknown the coolest nigga you Athletic League, 119th Street never did see, 2005 Junction, 2007 & Manhattan Avenue), 2009 12 Senetchut Floyd artist), 2003 Faceless, 2011 7 Daniel Joseph Martinez 9 Cory Arcangel 10 Lan Tuazon 6 Ester Partegas Computers, Internet, 2007 Layers, 2003 SOUL, Self-Portrait in Sky Watch, 2008 Harlem, 2004 2012 10 Xavier Cha 11 Accra Shepp 7 Beat Streuli Sense in Front, 2007 09-09-03 on 125th Street, 8 Nadine Robinson On Sugar Hill, 2009 Gold Crush (Barry in West 1 Jason Nocito 2003 11 Jonathan Calm 12 Chitra Ganesh Harlem), 2005 Wagner Runoff #1, 2007 Blue Flame, 2012 8 Howard Goldkrand Yellow girl, 2009 Information Portrait: Vulcan, 9 Do-Ho Suh 12 Zoe Strauss 2 Fatimah Tuggar Graffiti Pioneer and “Aerosol Harlem Sky, 2004 Furniture Store on Voguish Vista, 2012 2010 Kingdom” Legend, Initiator 10 Louis Cameron 125th St, 2007 3 Leilah Weinraub of the Walls of Fame, 106th The Hotel Theresa (after Michael Ramos, 2012 and Park, 2003 James VanDerZee), 2005 1 Hew Locke 2008 Triffids, 2010 4 Wu Tsang 11 Galina Mukomolova Paris Has Burned, 2012 2004 Cyclic Aspirations, 2005 2 Xenobia Bailey 1 Lauren Kelley Home-sweet-Harlem, 2007 5 Moyra Davey 12 Jennie C. Jones Church Picnic, 2008 Critter, 2012 1 Xaviera Simmons One Note, 2005 3 Brendan Fernandes Slamminest. adj (1980s- 2 Marc Handelman 2329 Frederick Douglass 6 Lauren Halsey 1990s) Rakim Rakim Rakim 13 Petra Lindholm Untitled, 2006 Boulevard, 2010 Summa Evreethang, 2012 (Harlem)., 2004 Rare Bird, 2005 3 Felicia Megginson 4 Deana Lawson 7 Zoe Crosher 2 Marepe 14 Michelle Lopez Suspicious Eyes, 2008 Untitled, 2010 Katy, Kori & Rashid and Mango Flower, 2004 Then Girl Ran One Block other backs (crumpled), for to Her Apt. Building, 1590 4 Coco Fusco 5 Petra Richterova the Studio Museum, 2012 3 Nina Katchadourian Madison Avenue, 2005 Hallway of Military Recruit- Dr. George Nelson Preston, Hot Cake (Capri Bakery, 186 ing Station on 125th Street, 2010 8 Yasmine Braithwaite East 116th Street), 2004 2008 Size of the Third World, 2012 2006 6 Yara El-Sherbini 4 William Pope L. 5 Alani Bass Given Directions, 2009 268 West 136th St. My Pride, 2008 Grandmother lived here for 1 Kareem Dillon 7 Sanford Biggers 6 Barkley L. Hendricks 142nd St. Mosaic, 2010 sixty years until the past came Waiting, 2006 Harlem’s High Heel to visit her up through the Heaven/4 pair for $20, 2008 8 Ginger Brooks Takahashi floorboards and linoleum…, 2 Candice Breitz Welcome O Harlem, 2005 She was married to a white 2004 womanGladys Bentley, 1907–1960, 2010 58 Question Bridge: Black Males A Dialogue with the Artists

by Katherine Finerty, 2011 Curatorial Intern

“What is common to all of us, that we can say makes us who we are?”

This is one of the many questions asked in the Question Bridge: Black Males (QB:BM) transmedia art project, exhibited at several venues across the United States, including the Brooklyn Museum. At once simple yet com- plex, fine artist and performer Richard J. Watson’s aforementioned inquiry serves as a profound catalyst. It induces a sincere response from actor and director Delroy Lindo: “The thing that we have in common is that we are male, and we are black.” Resisting the semblance of a monochromatic or monolithic representation of identity, Question Bridge provides a creative platform for a diverse group of black men to ask meaningful questions and receive honest answers in a context that facilitates a critical and genuine dialogue about the black male community. Features 59

Question Bridge: Black Males (stills), 2011. Courtesy the artists and Jack Shainman Gallery, New York

In the spirit of asking significant questions, I reached KF: How is identity explored in QB:BM on both the out to three of the four main collaborators (artists Chris individual and collective levels? Johnson, Hank Willis Thomas, Bayeté Ross Smith and Kamal Sinclair) with my own questions regarding the Bayeté Ross Smith: We simply prompted the men by say- evolving process, multiple platforms and didactic goals ing, “We know there is a question you have always wanted to of this ambitious project. In response, Johnson, Thomas ask another black man whom you feel different from. Look and Smith shared their keen reflections and hopes, creating into the camera, as if you are talking to that man, and ask a new dialogue that resonates with the dynamic format your question.” We then showed the video of those ques- and power of Question Bridge itself. tions to black men, who in turn recorded answers, looking into the camera as if they were talking to the original man. Katherine Finerty: What was the foundation of this What is special about QB:BM is that we captured a moment project, from its conception to current collaboration? in time of black male consciousness, in a very genuine way.

Chris Johnson: Conceptually, Question Bridge is a creative The parameters of being black and male created a scenario process of mediated communication created in 1996 for an in which everyone who was filmed felt like an expert. installation titled Re:Public at the Museum of Photographic This allowed the men to speak insightfully and articulately Arts in San Diego. The Question Bridge: Black Males project because they felt empowered to speak their truth. It also was inspired by the suggestion of Hank Willis Thomas that created a sense of community, which seemed to encourage the original concept might be effectively used to change the men to take this process seriously, to the point where perceptions of black males by allowing them to formulate they felt a sense of obligation to give thoughtful answers. their own questions and answers without any prompting from us of what the relevant divisions might be. CJ: Given the way that the project asked black men to direct their questions within the context of difference, Hank Willis Thomas: By facilitating this “megalogue” their questions and answers also have the effect of declaring between 160 African-American males in twelve cities, the who they are not. Critical areas of opposition and project reveals quite eloquently that there is likely to be vulnerability become very clear to viewers of this project as much diversity of opinions and ways of living inside a and these help to complicate stereotypical notions held group as there is outside. I realized that the Question Bridge by the audience. format could be a very powerful tool for exploring so many of the challenges with contemporary and historical notions HWT: I believe the project reveals that people can identify of representation. themselves as part of a “group” or community, but also see themselves as having agency and as being freethinking Summer/Fall 2012 60

using were too dynamic to only be experienced one way. We knew that the best way to experience the multitude of insightful responses to the questions was to create an experience that simulated stepping into a conversation among a diverse group of black men.

KF: How did the installation of the exhibition contribute to the project’s mission? In what ways did the aesthetic approach, layout and texts resonate with the content?

HWT: We really worked hard with the venues that present- ed the project to make the installations feel immersive and engaging because we know that most people don’t interact

Question Bridge: Black Males (installation view), 2012 with video art for very long. We wanted people to really sit Courtesy the Brooklyn Museum and engage with our project. individuals as well. We want people to walk away from the CJ: One of the primary aesthetic concerns was our project unable to define black males in narrow or specific intention to create effective metaphors for the “Presence terms ever again. of Black Men” within the museum spaces we were provided. This is why the monitors with black male faces KF: Which question or response had the greatest impact and voices are built into large black pillars at about eye on you and why? level. The experience of inclusion within a metaphorical and almost ritualistic “listening space” is also what we CJ: Powerfully moving was the question from a very young intended by the arrangement of the lighting and other man: “I try to live good but I’m surrounded by all bad. I want surrounding elements. to know what it is I can do to live good and be peaceful when I’m surrounded by all evil. How can I do that?” The idea BRS: We also realized after we created the first trailer that that this young and beautiful man felt that his life was part of the power in QB:BM was exposing people to the embedded in a pervasive context of evil was heartbreaking. diversity of black male faces. That led us to place the five It made it all the more important to find meaningful an- screens in an arc, and to choreograph the various faces on swers to his question. the different monitors, as they were speaking and listening. So the installation was necessary to create the feeling of KF: What motivated you to incorporate a variety of being a safe and privileged observer to a conversation one accessible and didactic communication methods (the wouldn’t ordinarily be able to experience. internet, mobile app, curriculum, etc.) to open QB:BM to the greater public? HWT: Launching it in five venues at the same time was also a part of the project. We wanted it to be a national dialogue. CJ: The first factor is that this project represents the first The project is all about collaboration, so it makes sense opportunity American culture has had to hear directly from that it is interinstitutional as well. The iPads installed in black men about the wide range of concerns that operate the galleries allow visitors to participate in the project in their lives. The second factor was our commitment to by recording and uploading their own answers to a few do whatever we could to make this project as impactful questions, so you can actually see what people are saying for the widest possible spectrum of viewers and to those in different spaces. who most need it. Thus, the idea of translating the relevant themes that emerged into a curriculum that could be taught KF: What variety of responses has QB:BM been receiving? to young people made perfect sense when proposed by Kamal Sinclair. Educators have been very eager to CJ: Audiences at all of our installations have expressed have a nonthreatening way to engage issues in QB:BM very moving support for this project. Black men have within their classrooms. said that this is the first time they have seen honest and accurate representations of their voices and views. Black BRS: It is important for art to become a relevant part of women have said that they have always wanted a way to the general public’s daily life. Furthermore, we realized that better understand what goes on within the hearts and the content we were generating and media we were minds of black men. This project fulfills that desire. Features 61

Non-black men have said that QB:BM challenges stereotypes HWT: I think in the twenty-first century, black male of black men they have carried all their lives. identity means something different, particularly because of another term that Thelma popularized, which is “post- HWT: It’s just been amazing to have a project that people black.” It’s really taboo in the art world to make work that actually get on such a human level, whether they’re black, is so explicitly about race and gender when we know that white, Latino, Asian, male, female, American, non-Ameri- they are by and large social fabrications. There is an earnest- can. It is incredible to see that although it’s supposed to ness about this project that is rare and sometimes seen as be about “black males,” it’s really about humanity and what uncool in the fine art world. happens when you’re categorized into groups: how you relate to others that are put into that same group, how to I think we are still in the process of seeing what Question relate to yourself and how to navigate the world. Bridge can do. QB:BM is hopefully going to open in another five to ten institutions simultaneously in late 2013. We KF: The year before Chris’s original Question Bridge, are working on a documentary and opportunities for the Thelma Golden curated the provocative exhibition Black curriculum, and continuing to modify and develop the Male: Representations of Masculinity in Contemporary website and mobile app. After QB:BM here are infinite American Art at the Whitney Museum (1994–95). Responses subjects that Question Bridge can address, and we are ranged from indignant protest to stirring acclaim. How do really looking forward to getting to that place. you believe the critical art world has changed since then?

Question Bridge: Black Males, 2012 Artists’ talk with (L-R) Chris Johnson, Hank Willis Thomas,and Bayete Ross Smith at Brooklyn Museum. Curator Richard J. Watson of the African American Museum in Philadelphia projected in rear Summer/Fall 2012 62

This comic is a collaborative effort between the members of Otabenga Jones and Associates. All text for this work was taken from the song “Towards A Walk In the Sun” as performed by mumblz medina (Kenya F. Evans). His song was inspired by artwork of the same name, created by Jamal D. Cyrus, which was taken from a poem also of the same name by South African poet Keorapets Kgositsile. Listen to Kenya’s song and see Jamal’s work here: http://mumblzmedina.bandcamp.com/track/ towards-a-walk-in-the-sun-2 Features 63 Summer/Fall 2012 64 Features 65 Summer/Fall 2012 66 In Conversation: Naima J. Keith and John Outterbridge Assistant Curator Naima J. Keith sits down with artist John Outterbridge to discuss his most recent installation at the Studio Museum in Harlem, The Rag Factory II, featured in Shift: Projects | Perspectives | Directions. This is an edited and condensed excerpt from the conversation.

Naima J. Keith: Since the 1960s, particular narrative or focus is on the you have remained a seminal figure use of rag stuff. I was fortunate enough in the Los Angeles Assemblage to find a rag factory in downtown Los Movement, creating profoundly Angeles in the art district that was poetic work often from discarded quite large. I got some rags from that materials, including trash, rubber, source, but I always have some rags burlap, nails, broken glass, rusted around. I decided to utilize those rags steel and hair. But you have always in this piece. The cast-off material has referred to yourself as a painter and been around, in use, for most of my sculptor who, for the last several life, you dig? For a long time. It didn’t years, has focused on shaping things just happen overnight and yesterday. out of so many materials. The Rag This is a long journey. Factory II, for example, is made completely of rags. Can you tell me Most of the rags came from Los a bit more about your process? What Angeles area. You didn’t always have spawned the interest in rags at this to pay for those things and I got those point in your career? rags in the fashion district of Los Angeles. Most of those rags and the John Outterbridge: This particular colors say a lot about where they came process and the use of cast-off material from, and about seasons and fashion. Shift: Projects | Perspectives | Directions is part of my life. I’ve always felt that I was very interested in how long we (installation view), 2012. Photo: Adam Reich way about materials at large. And this have depended on fabric as people Features 67

and cultures. The rags vary in color, texture and tone, and NJK: There’s something about it that feels very like reverent, I found a lot of joy in using them. But I am also interested mystic or ritualistic. Can you speak to that at all? in metal. I felt that if I was comfortable with the use of metal, and I always have been, I would also be comfortable JO: I always intend to stay as open as I can. Whatever with the opposite, rags. Something soft and flexible versus others read into that atmosphere is whatever others need. something hard like metal. I might suggest one thing: I think creativity is a process that belongs to humanity. I think all of us are creative, but NJK: How long have you been collecting rags for this piece? we don’t all apply it in the same way. Art has the audacity to be anything that it chooses to be, and if you see ritual JO: For this piece, I got them within the last two years. at the floor end of that piece, if you see an altar, that’s I have always noticed the large trucks and bales of rags valid. My life has been an altar, much of our lives has been that get shipped around the country and the world. And altar-oriented. If you see the floor portion of that work as many of those cast-off rags come back to us from countries ritualistic or almost mystic in formation, texture and tone, like India, China and Mexico, or from certain classes here we find situations like that in the natural environment that in America, too. And so that interests me, the fact that we inhabit. Sometimes we don’t have time to make note of they come back to us not as rags but as fashion again. them. I will always be looking for what is there and what is The recycling of rags. unseen or unnoticed.

NJK: Do you think that there is a difference between the NJK: How has this work affected your practice? types of materials and clothes that you find in Los Angeles, as opposed to other cities? JO: I was painting very early in my life and I had good people around me in my mother and father. People of the JO: That’s a good question. I did a piece out of rags at community always looked at this strange little person Lincoln Center and the materials were collected in New as being somewhat of an artist. They called me that very York. At that time, I had the chore of tying, ripping and early on. I believed those statements, because I was always knotting the material together to get the colors we needed. fumbling with something that many people were not The only thing I can think of is how much like the language interested in. At this stage of my life I don’t move like I used of Los Angeles the New York environment was at that to move, and I don’t think like I used to think. My thoughts time. And is. But you could tell that the seasons are quite are more holistic, and the creative process to me has always different from the colors and materials. It was all heavier. been extremely human. Sometimes we don’t know when That’s not to say that Los Angeles has the same weather we’re human, and sometimes I feel that we’re not human all the time, but it varies a great deal, depending on where yet. But we strive to be. you are. NJK: There is definitely a history of recycling rags within NJK: Speaking of configuration, I would love to hear your certain communities and cultures. I’m interested in how thoughts about scale, especially since this work is much your personal history is reflected in this tradition. larger than how you’ve worked in the past. JO: My father’s backyard was the greatest playground JO: Scale doesn’t mean that much to me. I can do smaller in the world. My parents hung bottles in trees or draped pieces and they’re easier than doing larger pieces like rags on fences. All the kids were there because you could installations. But I’ve always been comfortable with find anything in the world in that backyard. My father, in installations and I’ve done both installations and single particular, was selective in what he saved. He hauled and smaller pieces without considering scale. The last piece moved a great deal, but he also saved a lot of what he came I did just before the work here now and the work at across. So textures, tones, old wood and metal, rusted LA>

by Sophia Bruneau

We don’t often think of our nails ishes, looking for the perfect purple. as canvases for expression, but It was then that we realized that our recently nail art has become the favorite beauty category, nail polish, latest fad, with an abundance of could use some new zeal. Nine months options in color, texture, length and later, we had our first ten shades ready even shape. Ginger Johnson and for preview! Liz Pickett, the founders of Ginger + Liz Colour Collection™, are two SB: How do two young women of of the many innovators in the nail color start their own LLC? Did you industry, and are particularly well encounter challenges because of Ginger + Liz Photo: Jerome Shaw known for their vegan-friendly nail your race and gender? lacquers. Recently I had a chance to chat with Ginger and Liz about their G+L: Our challenges have had more experience in the industry, where to do with ageism and sexism. The nail they draw creative inspiration from industry is dominated by men behind and the historical background of the scenes, the manufacturers in par- nail art and design. ticular. As young women, we have had challenges with getting manufacturers Sophia Bruneau: What made you and suppliers on the same forward- decide to go into the nail industry? thinking page.

Ginger Johnson and Liz Pickett: SB: What is your creative process for We are both admittedly product coming up with nail designs and col- junkies (from skin care to hair care ors? Where do you find inspiration? to fragrance), but our friendship fast became an unbreakable bond when G+L: We are different from other we discovered that we both have an brands because we don’t simply use irreparable addiction to nail lacquer. published trending reports to create In years past, we casually talked about new shades or fashion-inspired nail art launching a product line together, designs. We rely on real-time lifestyle but we wanted it to be a product that trends and behaviors and are heavily would bring a new vibe to the beauty influenced by art, fashion, travel and industry. One day back in January entertainment. Sometimes, we create 2009, we had that “aha!” moment a shade to mirror the color of a stone while digging through a bin of pol- or tropical flowers we see and photo- Features 69

graph during our travels. Nail art is up in India painted their fingertips with Photos: Sophia Bruneau to the individual’s interpretation, so henna, and eventually the practice we just make it our jobs to provide the of nail care traveled to China. The shades our customers need to create Chinese used as nail color a combina- their own artistic magic. We pull inspi- tion of gum arabic, gelatin, beeswax, ration from our real life experiences, vegetable dyes and egg whites, along joys and emotions. with crushed orchids and rose petals. After being left on for hours, this con- SB: As we know, the idea of nail art is coction would achieve a red or pinkish not a new thing, especially in urban hue on the nail bed. In early Egyptian culture, but it is becoming more main- culture, nail polish colors set class dis- stream. Any thoughts on why this is? tinctions. Red nail polish was only to be worn by the high classes, while pale G+L: Modern nail art has been shades were reserved for the lower incredibly popular since the 1980s in classes. People of the Inca civilization urban and Caribbean cultures, and took nail decoration a step further by has recently been embraced by pop painting eagles on their nails. culture because it is both accessible and affordable. It also acts as a luxuri- SB: If you had to justify nail art ous vehicle for personal and cultural being “art,” how would you make expression. It is an affordable luxury that argument? that speaks to all women, regardless of style, size or complexion. It truly G+L: Sophisticated, fashion-conscious transcends race, age and lifestyle. nail art takes skill, creativity and precision, like any other medium. SB: The idea of “painting” one’s It is a wearable medium and form of nails as a form of decoration and expression that can tell a story and accessory is so interesting. I’m sure convey a mood. For many, the nail there is a historical and cultural bed is like an approachable canvas. background to nail art. Could you expand on what you’ve learned? To find out more about Ginger + Liz Colour Collection™, G+L: The practice of painting nails has visit gingerandliz.com been traced to Eastern cultures as far back as 5000 b.c. It is said that women Summer/Fall 2012 70 One Work, Two Ways: Richard Yarde, The Parlor

by Jamillah James, Curatorial Fellow, and Bianca Mońa, School Programs Coordinator

In One Work, Two Ways Curatorial Fellow Jamillah James shares a comprehensive analysis of Richard Yarde’s The Parlor while School Programs Coordinator Bianca Mona´ uses the painting’s formal and thematic characteristics to inform a lesson plan for educators. Features 71

Richard Yarde Jamillah James borhood in Boston. The perspective The Parlor, 1974 is deviated in the background—what Gift of the artist 76.1 Far from the idylls of John Singer Photo: Marc Bernier appears to be wallpaper, a baseboard Sargent and Winslow Homer, Richard and green carpet bend sharply from Yarde’s (1933–2011) watercolors center at an angle, nearly sliding out vibrate with a chromatic intensity of frame. In the foreground, Yarde and textures not expected from the leaves a rather large wedge of negative timeworn, temperamental medium. space, which lends additional tension Using available negative space in the to the image; the red arabesques of the pictorial plane, Yarde loads the surface wallpaper end abruptly at its edge. with layer upon layer of saturated At center is a cluster of seven figures— color, using white space to highlight men in suits, young girls in dresses the intricate pattern work often found that lift colors from the background in his pieces. His interior scenes make and a young boy (presumably Yarde) use of exuberant washes of yellow, red in light blue coveralls. Although slight, and green, in sharp contrast to how the facial details of the figure in the figures are rendered—dark, faceless, foreground are more discernible than ambiguous, save for the occasional those of any other, aside from slivers sartorial flourish. of whiteness suggesting smiles. The Parlor (1974), like many of The combination of irregular Yarde’s domestic scenes, is set in his compositional elements lends impres- childhood home in Roxbury, a neigh- sionistic dreaminess to The Parlor. Summer/Fall 2012 72

Humanities teachers can lead discus- sions on family history and traditions, immigration, oral history and creative writing. A math educator can use the background in The Parlor to introduce concepts such geometric planes and a myriad of shapes. Using this piece, language arts educators can explain informal essay writing and character

Kerry James Marshall development. The Parlor provides Untitled, 2009 rich fodder for all academic levels. Courtesy Jack Shainman Gallery, New York Moreover, arts-integrated curricula not only begin with images as catalysts for discussion but, more importantly, require hands-on exploration for the art materials and art-making process. In this case, Yarde’s painting offers a plethora of art exploration possibili- ties. His masterful use of watercolor produces form, line, depth and per- ception of varying density and sharp- Fatimah Tuggar Henry Taylor Iyali (Family), 1998 I do Pigeon Toe, 2006 ness. Watercolor is a fluid medium, Gift of Jerome and Ellen Stern, New York 07.3.1 Gift of Dana and Stephen Sigoloff 08.25.1 allowing for examination of pigments Courtesy of BintaZarah Studios Photo: Marc Bernier and hues, application techniques and Much like the wild collision of textile The introduction of photography in the capabilities of both drawing patterns in The Living Room (1977), The the nineteenth century made what and painting. Art activities can range Parlor visualizes a memory, however was once a marker of class slightly from simple watercolor washes, in scattered and vague. Colors and tex- more accessible. Further, the pho- which students become familiar with tures stand out, while specific details, tographs of James VanDerZee in the painting techniques, to an investiga- such as faces, recede into the ether. In 1920s complicated expectations of tion of texture, by adding salt to this respect, Yarde’s painting subverts the form by bringing black subjects wet watercolors. the tradition of portraiture by obscur- into view. Demonstrating a mastery The application of watercolor ing and decentering the subject, a over the deceptively casual medium washes over oil pastel drawings also technique used in an earlier work, The of watercolor, The Parlor contempo- produces a mesmerizing demonstra- Wait (1970–71), in which the figure has rizes portrait painting by completely tion of hue and texture. The inter- its back turned to the viewer. This ap- abstracting figurative detail, shifting action between oil and watercolor proach has resonance with a few other the focus to incidentals that invigorate creates an interesting visual balance, works in the Museum’s collection, the field of vision even though the containing both jagged and smooth particularly Fatimah Tuggar’s digital captured moment has passed. textures and vibrant and soothing collage Iyali (Family) (1998), which tones. The oil pastel is used first to cranks up the contrast to create tonal Bianca Mońa establish a foundation for the intense dissonance between the subjects, their lines and tones that will emerge once clothing, the patterns in their home Many educators are charged with the the watercolor wash is applied. The and the curious family portrait in the challenging task of drawing parallels paint creates color fields that are background. The Parlor also lays the between contemporary art and other resisted by the oily pastels, and are groundwork for the family portraits of curricula. They have to look for con- absorbed into the paper. The visual contemporary painter Henry Taylor, nections with various subjects, such result will be striking, intense, bold whose 2007 Studio Museum exhibi- as math, social studies and language. lines and colors surrounded and tion Sis and Bra included a number Fortunately, Richard Yarde’s The Par- modified by gentle washes and trans- of family images in both formal and lor (1974) allows for a vast amount of parent color. In keeping with the informal settings. thematic investigation. The Parlor can same theme as Yarde’s The Parlor, Portraiture is a long-standing easily be incorporated into humani- students can make a family-inspired tradition with a discursive history. ties, science and geometry classes. oil pastel/watercolor-resist painting. Features 73

Lesson Plan Family Oil Pastel/Watercolor-Resist Painting

Lesson Objective Methods (Steps) •• Explore relationship between 1. Tape the full length of all four sides of the paper to a work board or surface. materials and color value This will leave a white border around the watercolor when finished. •• Create watercolor painting 2. Ask students to determine where on the paper they will draw their •• Investigate family relationships family members. This does not have to be in the middle. Encourage unorthodox placement. Vocabulary 3. Using painter’s tape, create a box outlining this space to demark clear •• Resist – Oppose an action or effect background and foreground spaces. •• Foreground – Area nearest to observer, or most prominent object 4. Ask students to look at family photos and identify the shapes that makeup •• Background – Area behind main the people. For example, the head is an oval, or leg is a rectangle. object 5. With a white oil pastel, using shapes only, draw the portrait within the •• Portrait – Artistic representation taped box. of a person or persons, in which 6. Cover the area in which the portrait is drawn with scratch paper and tape, the subject is facing forward and leaving the background exposed. its expression is predominant 7. Take long strips of painter’s tape and tear each in half length-wise. Adhere Preparation the torn strips across the entire background, leaving space between the strips to draw additional shapes. 1. Ask students to bring in a family 8. Use white pastel to draw shapes in the spaces between the tape strips. photo to use on the day of this activity. 9. Select a watercolor. Pour liquid watercolor in a spray bottle. These colors are intense and can be diluted with water to lighten pigments. Watercolor 2. View The Parlor and lead discus- trays can be used instead of liquid watercolor. sion. Guiding questions include: 10. Spray watercolor over the background. For visual diversity, students can ••Who is in the picture? What is use a different color for each section. Let dry. their relationship? 11. Remove scratch paper from family drawing. ••Where are the subjects? How do you know? 12. Dip watercolor brush into spray bottle. Paint over the white pastel family drawing. Explore the vibrancy of paint by applying various saturations ••Describe the shapes, colors of paint. Let dry. and objects in the image. What is their significance? 13. Remove all tape and voilá!

Materials Closure •• Liquid watercolor 1. Have students post and explain their imagery, color choices and (alternative: watercolor tray) shape selection. •• White oil pastels 2. Ask them to explain their experiences with paint and pastels. •• Watercolor paper 18 x 24 inches or larger •• Family photo •• Containers •• Watercolor paint brushes •• Painter’s tape •• Spray bottle Summer/Fall 2012 74 Educating Through Art Kathleena Howie/Lady K-Fever

by Katrina De Wees, Education Assistant Features 75

Artist-educator Kathleena Howie (also known as Lady of being and making art as a performance/visual piece. I K-Fever) joined the Studio Museum’s team of museum am always interested in finding out about people and their educators during our fall/winter 2011–12 season. Many of communities, and public art is a voice of the community. our educators and teaching artists are also professional artists. After working with Lady K-Fever and learning more KD: Can you highlight an experience working with a group about her process as an artist, I was intrigued by the often in the galleries at the Studio Museum? overt educational goals of her art projects. I interviewed her with particular interest in the intersection of her LK: Wow, most of my groups have been amazing. The work as an artist and as an educator. dialogue that happens in the galleries is enriching and exciting. One experience that stands out was working with Katrina De Wees: How do you self-identify your the Neighborhood School from the Lower East Side. We practice in the arts? studied the relationship between Romare Bearden and Faith Ringgold. It was incredible to make art based on their Lady K-Fever: I am always redefining how I see myself as materials and processes as artists. The students went to a practicing artist. I try not to self-identify because some- visit the subway station at Westchester Square to view the times I feel that I can get in the way of my process. I am a stained-glass piece inspired by Bearden, and they looked human being who is creative and expresses energy in ways at The Bearden Project. The level of visual understanding that are defined as art. I consider my life art and strive to that children and youth have and can comprehend while be creative with my actions in my life. looking at and making art is always outstanding.

KD: Do you separate the work you do as an educator from KD: What are you working on now? the work you do as an artist? Are there moments when they are the same? How do they inform one another? LK: Currently I am creating artwork for a group exhibition called Style Wars that will open this summer at the Bronx LK: I do separate when I need to, but I find all of the above Museum of the Arts. Same Difference, an art collective I works together. My creative personal time is informed by cofounded with artist Carmen Hernandez, is getting ready my work as an educator and vice versa. They inform each for summer and fall performances. I am also working on a other based on playing with inspiration from other artists, project, “Free: with words,” with artist Mary Valverde that materials and the way some of my students bring new explores the issues and misconceptions of domestic violence ideas or responses into life. My work is about dialogue as using visuals arts to educate/inform and inspire dialogue. an artist and educator, and that dialogue has many stages and inspirations that form into either personal projects or Kathleena Howie (Lady K-Fever) is a New York–based artist, student-led projects. educator, curator, writer and social activist. Her graffiti, photography and writing have been featured in publications KD: You have extensive experience creating works of public internationally, and in the books Graffiti Woman (2006) and art, often in collaboration with local communities. The Burning New York (2006). She has created exhibitions for the photo alongside this article is a wonderful example—you Bronx Museum and Aurora Gallery. In 2010, she founded the were commissioned by the Bronx Museum to engage the Same Difference artist collective that explores life as art. As an local community on a street directly behind the museum. educator she has received the Bronx Council on the Arts Grant What draws your interest in public art, murals and graffiti? for Arts in Education (2006–09). Currently she works with the Bronx Museum, The Studio Museum in Harlem, El Museo LK: For me, the vernacular of public art, murals and graffiti del Barrio, Art for Change and the Laundromat Project. For is what keeps me interested and inspired. I began paint- more information, please visit Ladykfever.com. ing graffiti as a form of expression when I was a teenager and that passion for making public art keeps me out on the The Museum’s Educator programs are supported by a major grant from streets. My public art is transitioning into the experience Wells Fargo.

Opposite Kathleena Howie Garcia Photo: Katrina De Wees Summer/Fall 2012 76 Studio Jr. Studio Jr. 77 Lil’ Studio

Lil’ Studio is an opportunity for young minds to have a fun, hands-on experience with art and art materials. Through art workshops inspired by the exhibitions on view and works in the permanent collection, Lil’ Studio supports early stages of literacy and strengthens listening, coordination, vocabulary and fine motor skills as children create works of art.

Lil’ Studio is an excellent opportunity for parents, guardians and other loved ones to learn ways to encour- age learning and inspire creativity through art-making and play for children ages 2.5 to 5 years. The pro- gram begins with interactive story time to inspire participants’ imagina- tions. Families then experiment with colors, shapes and textures to create works of art through paint- ing, collage, printmaking, and other enjoyable art-making techniques. Everyone leaves with an activity pack to continue making art at home!

Lil’ Studio is funded thanks to public funds from Council Member Inez E. Dickens, 9th Council District.

This season’s coloring page was created by Jack Haynes, Coloring Page an artist and illustrator based in Chicago, IL. As a freelance designer, he has designed stationery, logos, invitations, books, and other printed matter for several companies. He loves comics and hopes to author and illustrate his own one day. Turn the page to color in Jack Haynes his latest creation. Courtesy the artist Summer/Fall 2012 78 Studio Jr. 79 Summer/Fall 2012 80 DIY Printmaking

by Elan Ferguson, Family Programs Coordinator

Supplies: Cardboard Foam Brayer or brush Paper Printing ink (or acrylic paint) Optional: Glitter, colored paper, glue

Start Here » Step 1 Step 2

First, think of a neat image that you would like to create. After you’ve picked your image, It can be a picture that you drew or an image you saw cut the cardboard into identical somewhere. Just be sure to pick an image with no more rectangles to make stamping plates. than three or four colors. Each color or part of the image gets its own plate. Tip: Printmaking requires a separate stamp for each color, so if your image has a lot of colors or detail you Tip: Keep your stamping plates the will need a lot of stamps or plates to create a print. same size as your paper to make Keep it simple, and use graphic two-color or three- lining up parts of the image easier. color images. Studio Jr. 81

DIY Printmaking

Step 3 Step 4

Separately draw or trace the portion of your image Line up your first stamping plate over your paper, and corresponding to each color on foam and then cut press it down on the paper gently to transfer the paint them out. Stick each piece of foam on a different card- from the foam to the paper. Repeat this step for each of board stamping plate, making sure that they will line your stamping plates. After you have inked and printed up together. There are different kinds of foam. Some each plate, there should be a multicolored print of your have adhesive on the back and can be peeled and stuck image on the paper, ready for enhancement with your to the cardboard; for other kinds of foam, you will need other art supplies. You can repeat this process over and glue. After you have created your stamps for printing, over to make more prints of your image. If you wait line them up in the order in which you will be printing until the paint on the foam dries, you can even change them on the paper. Ink the foam, but not the cardboard the colors in your image. behind it, with the brayer or brush. Tip: Enhancement is optional, so it is fine if you like Tip: It is best to start with your light colors and move the picture just as it is. But if you like, you can add to the darker ones. glitter, cut paper, or more paint to your print and al- low your inner artist to run free. You can always make another print to enhance even more! Friends Friends 83 Spring May 11, 2012 Luncheon 2012

On Friday, May 11, 2012, The Studio the Walls artist Zeus Eugene, who Museum in Harlem held its fifth an- delivered a heartfelt speech on the nual Spring Luncheon at the importance and of the Museum’s Mandarin Oriental New York. youth photography program. This year guests saluted Debra L. The proceeds from the luncheon Lee, Chairman and Chief Executive are a fundamental source of support Officer of BET Networks. Lee is a for the Museum’s outstanding ex- passionate supporter of the arts hibitions and public programs, and and a great champion of black help strengthen the Museum’s arts culture. Under her leadership, BET education programming. The Studio has undergone a successful brand Museum would like to thank the fol- reinvigoration and with a new, lowing businesses and individuals distinctive programming vision. for their generous contributions to Guests were also treated to a the success of the luncheon, where Star Jones, Thelma Golden, Debra L. Lee, Deborah Roberts, Holly Phillips, Mikki Taylor special presentation by Expanding we raised nearly $300,000. Julie SkarrattPhotos:

Opposite Primary Sources (installation view), 2012 Photo: Adam Reich Summer/Fall 2012 84

Spring Luncheon 2012 May 11, 2012

Madeline Murphy Rabb, Judith M. Davenport, b. michael, Alia Jones Dr. Amelia Ogunlesi, Mariam Annous Pamela J. Joyner Tai Beauchamp, Dawanna Williams, Tonya R. Miller, Jeanne Greenberg Rohatyn, Lisa Perry, Thelma Golden, Rebecca Eisenberg, Thelma Golden, Agnes Gund Courtney Sloane, Lola Ogunnaike Ann Tenenbaum

Njideka Akunyili, Jason Scott Musson Nicole Ari Parker, Debra L. Lee Marcus Samuelsson, Thelma Golden, Mario Rinaldi

Tables: Lisa Dennison Peg Alston Benefactor Muna El Fituri Peggy Bader Blackstone Charitable Foundation Dr. Henry Louis Gates, Jr. Jennifer Baltimore Bloomberg Andrea Glimcher Aliyyah Baylor/Make My Cake Jacqueline L. Bradley/Teri Trotter Christina Lewis Halpern Nadja Bellan-White Valentino D. Carlotti halley k harrisburg Joeonna Bellorado-Samuels/ Kathryn C. Chenault/Carol Sutton Lewis Rosemarie Ingleton, M.D. Jack Shainman Gallery Corporate Counsel Women of Color Pamela J. Joyner Sherri Blount Credit Suisse Courtney Lee-Mitchell Linda Blumberg Marie-Josée Kravis Crystal McCrary Gwendolyn Frempong Boadu Debra L. Lee/BET Networks Raymond J. McGuire Jenna Bond Dr. Amelia Ogunlesi Laura Michalchyshyn Melva Bucksbaum & Raymond Learsy Jeanne Greenberg Rohatyn Rhonda Mims Toni Cook Bush Marva Smalls/MTV Networks Bridget Moore Peggy Byrd Ann Tenenbaum & Thomas H. Lee Daniel M. Neidich & Amy Cappellazzo Brooke Garber Foundation Lydia Carlston Patron Amber Patton Veronica Chambers Jacqueline Avant Holly Phillips, M.D. Andrew Chapman Nicole Bernard Deborah Roberts Anne Cohen Judia Black Tamara Harris Robinson Pippa Cohen Marilyn F. Booker Jocelyn Cooley Berdie Brady Donor Antoinette Cooper Michèle Lallemand Brazil 303 Gallery Wendy Cromwell Tia Breakley Shelley Fox Aarons Joan S. Davidson Mara Brock & Salim Akil Pamela Y. Abner Dawn L. Davis Joanne Cassullo Shaun Biggers-Alleyne, M.D. Lisa E. Davis, Esq. Malaak Compton-Rock Karen M. Alston Nina del Rio Friends 85

Spring Luncheon 2012 May 11, 2012

Kathryn Chenault, Audrey Meyer Jonelle Procope, Alicia Bythewood Kim Powell, Carol Sutton Lewis

Cicely Tyson, Marva Smalls, Debra L. Lee Judia Black, Deborah Roberts, Susan Fales-Hill, Andrea Glimcher, Debra L. Lee, Adam Pendleton Crystal McCrary Stephen Hill and Marvet Britto Felicia Crabtree, William Armstrong, Sophia Bruneau Elinor Tatum, Elizabeth Gwinn

Suzanne Donaldson Ann Walker Marchant Courtney Sloane Rebecca Eisenberg Peggy Mazard Kimberly A. Snead Louise Eliasof Ginger McKnight-Chavers Ellen Stern Mia Enell Julie Mehretu & Jessica Rankin Michael Ward Stout Patricia Favreau Tonya R. Miller Mona Sutphen Derek Fleming Annette Mitchell-Scott Mr. & Mrs. Larry D. Thompson Eboni S. Gates Catherine E. Moore South African Tourism Gabrielle Glore Alexandra T. Morris Paula Tuffin Keli Goff Edris Nicholls Wendy M. Washington Jean Claude Gruffat Saundra Parks Vanessa Webster Tiffany M. Hall Vanessa Y. Perez, PH.D. Nina Mitchell Wells Sarah Hardin-White Amy Phelan Lola C. West Carla A. Harris Pamela A. Pickens Alicin Williamson Kim Hastreiter Marquita Pool-Eckert Deborah C. Wright Joan Hornig Kim Powell Alicia Young Joyce K. Haupt Karen Proctor Vicki Zubovic Rosalind L. Hudnell Madeline Murphy Rabb Audrey M. Irmas Suzanne Randolph Contributors Virginia Johnson Tracy Reese Amsale Aberra Amy Elisa Keith Carelene Robinson Ashley M. Alston Dawn Kelly Andrea Rosen Emma Amos Erika Munro Kennerly, Esq. Daryl Roth Susan K. Anderson Christine Y. Kim Jean Shafiroff Donna Anderson Lorrie King Jack Shainman Lori Hall Armstrong Evelyn Day Lasry Bershan Shaw Susan Austin Nyssa Fajardo Lee Chrissie Shearman Sharon Bowen Ellen Levine Dr. V. Joy Simmons Joyce Brayboy Summer/Fall 2012 86

Spring Luncheon 2012 May 11, 2012

Thelma Golden, Lulu Grier-Kim, Christine Y. Kim Teri Trotter, Judith Byrd Thelma Golden, Muna El Fituri, Lorna Simpson, Bethann Hardison, Rosemarie Y. Ingleton, M.D. Mikki Taylor, Joyce K. Haupt Lea K. Green, Tiffany Hall Anna Deavere Smith, Zeus Eugene, Lorna Simpson Bevy Smith, Aaliyyah Baylor Darren Walker, Carol Sutton Lewis, Erana Stennett Carrie Mae Weems, Xaviera Simmons, Dr. V. Joy Sim- mons, Naima Keith, Nancy Lane, Erin Gilbert Julie SkarrattPhotos:

Yolanda F. Brown Tracey Kemble Catherine Shimony Cybelle Brown Kiss the Sky Productions Xaviera Simmons Erika Brown Jayme Koszyn Bevy Smith Connie Butler Melissa Kramer Kimberly Snead Susan Cernek Miyoung Lee Erana Stenett Andrew Chapman Sonya D. Lockett Kathleen Tait Alexis B. Clark Glenn D. Lowry Lisa M. Tanzi Michelle Coffey Mary Makary Elinor Ruth Tatum Harriette A. Cole Terri Mazur Christine Taylor Carol Cunningham Marcella McCall Ann Temkin Judith M. Davenport Depelsha McGruder Paula Tuffin Leah A. Dickerman Cassandra Metz Anne Unland Catherine Dunn Aundrey Meyer Angela Vallot Rosalind Walrath Edelman Pamela Newkirk Darren Walker Mai Kim Flournoy Latondra Newton Petra Walton Elisabeth Gelobler Beatriz Pallares Monique Ware Tamsen Greene Amber Patton Carrie Weems Agnes Gund Vanessa Y. Perez Emil Wilbekin Diedra Harris-Kelley Patricia Hayling Price Saundra Williams-Cornwell Vanessa Henry Peter Reed Jennifer Wright Brooke Holiday Lisa Respole Yadey Yawand-Wossen Laura Hoptman Wendy Reynoso Joan Hornig Arva R. Rice Virginia Johnson Pamela Sanders Tiffany Jones Marianna de Senna Schaffer Star Jones Jean Shafiroff Friends 87 Supporters Summer/Fall 2012

The Board of Trustees and Director Rockefeller Brothers Fund Gavin Brown’s Enterprise of The Studio Museum in Harlem The David Rockefeller Fund Melva Bucksbaum & Raymond Learsy Katherine & Stephen Sherrill Kathryn C. & Kenneth Chenault / extend deep gratitude to the donors Marva Smalls / Viacom American Express who supported the Museum from Wells Fargo Colgate Palmolive Lisa Davis, Esq. / Franfurt Kurnit Klein & Selz July 1, 2011 to May 1, 2012. $10,000 to $24,999 Peggy Cooper Davis & Gordon J. Davis / Dewey & LeBoeuf Anonymous Rebecca & Martin Eisenberg Bank of America $100,000 to $499,999 Nyssa & Chris Lee Douglass Baxter The Andrew W. Mellon Foundation Cher Lewis The Blackstone Charitable Foundation Assemblyman Keith L.T Wright, 70th A.D. Loida Nicolas Lewis Anita Blanchard and Marty Nesbitt / Bloomberg Philanthropies Dr. and Mrs. Michael L. Lomax The Parking Spot Bernard Lumpkin and Carmine D. Boccuzzi Margaret A. Cargill Foundation Patricia Blanchet / Bradley Family Foundation Celia & Henry W. McGee III The City of New York The Boeing Company Raymond J. McGuire Council Member Inez E. Dickens, 9th C.D Pippa Cohen Robert A. Mills Foundation Ford Foundation Joan S. Davidson & Neil S. Barsky Lisa & Richard Perry Goldman, Sachs & Co. / Valentino D. Carlotti Dedalus Foundation, Inc. Don & Gail Rice The Horace W. Goldsmith Foundation Lise & Michael Evans Tamara Harris Robinson The New York City Department of GE Asset Management Jeanne Greenberg Rohatyn Cultural Affairs Gladstone Gallery & Nicolas S. Rohatyn The New York State Council on the Arts halley k. harrisburg & Michael Rosenfeld Daryl & Steven Roth Speaker Christine Quinn and the Joyce & Ira Haupt, II The Richard Salomon Family New York City Council Foundation, Inc. HBO / Henry McGee Target Melissa & Robert Soros T. Warren Jackson, DirecTV / José Tavarez & Holly Phillips, M.D. Charles E. Simpson, Windels Marx Lane $50,000 to $99,999 Thomas J. Tisch & Alice Montag Tisch & Mittendorf, LLP The Andy Warhol Foundation Dawanna Williams Jerome Foundation for the Visual Arts Joseph and Joan Cullman Foundation Jacqueline Bradley & Clarence Otis, for the Arts Jr. / Darden Restaurants, Inc. $1,000 to $4,999 Pamela J. Joyner Mitzi & Warren Eisenberg Anonymous JPMorgan Chase Bank Debra Tanner Abell, M.D. and Megan Abell Carol Sutton Lewis & William M. Lewis, Jr. The Keith Haring Foundation Amsale Aberra National Endowment for the Arts George & Gail Knox Mara Brock Akil Samuel I. Newhouse Foundation Inc. Marie-Josée & Henry Kravis Answorth A. Allen, M.D. and Morgan Stanley Luhring Augustine Gallery Rae Wright-Allen, M.D. Surdna Foundation The Robert Mapplethorpe Foundation Ann & Steven Ames Ann Tenenbaum & Thomas H. Lee Cheryl & Phillip Milstein Dr. Janna Andrews Winston Foundation Marcus Mitchell & Courtney Lee-Mitchell Art Production Fund Joyce and George Wein Foundation New York Community Trust Anna R. Austin The Pace Gallery Clarence & Jackie Avant $25,000 to $49,999 Naomi Baigell and Nina Del Rio / Sotheby’s Amy and Joe Perella Charitable Fund Con Edison James G. Basker & Angela Vallot Pfizer, Inc. Edith Cooper Raquel Chevremont Baylor & Corey M. Baylor Pillsbury Winthrop Shaw Pittman LLP Frank & Nina Cooper / Jemina R. Bernard Robert Lehman Foundation Pepsi-Cola Beverages North Americas Judia & Daniel Black Laurie Robinson / Corporate Counsel Credit Suisse BMO Capital Markets Women of Color The Estée Lauder Companies, Inc. Marilyn Booker May and Samuel Rudin Family Foundation Berdie & Mairtin Brady GenNx360 Capital Partners Samsung Hope For Children Michèle & Joseph Brazil Agnes Gund Sikkema Jenkins & Co. Tia Breakley Mr. & Mrs. John B. Hess Marilyn & Jim Simons Thomas Brown Lambent Foundation Fund of Tides Foundation Time Warner, Inc. Valerie S. Brown in honor of Debra L. Lee / BET Networks Teri & Lloyd Trotter / GE Foundation Reginald Van Lee & Corey McCathern Reginald Van Lee Verizon Foundation Reginald Browne & Dr. Aliya Browne MacAndrews and Forbes Xerox Foundation Toni Cook Bush Macy’s and Bloomingdale’s Lisa & Dick Cashin Tracy Maitland / Advent Capital Management $5,000 to $9,999 Joanne L. Cassullo MetLife Foundation Anonymous Nicole Bernard Chaffin Rodney M. Miller The Atlantic Philanthropies Inc. The City University of New York Amelia & Adebayo Ogunlesi Frank A. Bennack, Jr. Anne Cohen Corine V. Pettey Shaun D. Biggers, M.D. & Columbia University Malaak Compton-Rock Pierre and Tana Matisse Foundation Kenneth Alleyne, M.D. Summer/Fall 2012 88

Antoinette Cooper / Marsha E. Simms Vanessa Y. Perez, Ph.D. TD Bank Wealth Management Manhattan Borough President Amy Phelan Paula Cooper Gallery Scott M. Stringer Patricia & William Pickens Dawn L. Davis & Mac LaFollette Renée H. Sutton Karen M. Proctor Elizabeth Davis & Luis Penalver Kathleen M. Tait Suzanne Randolph Elizabeth De Cuevas David Teiger Beverly and Raymond Ransom, M.D. Anne Delaney & Steve Stuso Norma & John T. Thompson Donville Reid Lisa Dennison Thursday Evening Club Janelle Reiring John E. Ellis, M.D. Paula Tuffin Caralene Robinson Muna El Fituri Union Pacific Fund for Effective Government Andrea Rosen Gallery David Flemister / EmblemHealth Gordon VeneKlasen Cheryl Russell Eboni S. Gates / TD Bank Nancy and Milton Washington in Jean Shafiroff Darrell S. Gay / Arent Fox LLP honor of Teri and Lloyd Trotter Jack Shainman Godfrey R. Gill Wendy Washington Chrissie Shearman / James Cohan Gallery Eugene Giscombe George Wein Virginia Joy Simmons, M.D. Andrea Glimcher Nina Mitchell Wells Courtney Sloane & Cheryl R. Riley Robert Gober & Donald Moffet Kimberly Snead William & Diana Gray $500 to $999 Lisa Spellman Anthony A. and Anne Cochran Grey Dr. Shelley Fox Aarons Ellen Stern and Orna Stern Efraim Grinberg and Ellen Schoninger/ Pamela Abner The Studio in a School Association Movado Group, Inc. in honor of Kathryn Gwen Adolph Mona Sutphen and Kenneth Chenault Peg Alston Rosalind Walrath Edelman Jean-Claude Gruffat Ariel Investments, LLC Vanessa Webster Samuel L. Guillory Susan Austin Lola C. West Bryant Gumbel & Hilary Quinlan Peggy Bader Francis H. Williams Carla Harris & Victor Franklin Aliyyah Baylor / Make My Cake Alicin R. Williamson Carla Hendra / OgilvyRED Nadja Bellan-White Mark Willis Steven Henry and Philip Schneidman Joeonna Bellorado-Samuels / Deborah C. Wright Leslie Hewitt Jack Shainman Gallery Vicki Zubovic Joan & George Hornig Sherri Blount Gray Rosalind Hudnell Linda Blumberg $499 and below Arthur J. Humphrey, Jr. Jenna Bond-Louden Jacqueline Adams in honor Rosemarie Y. Ingleton, M.D. Joyce Brayboy of Reginald Van Lee and Kevin D. Johnson & Karen Jenkins-Johnson Yolanda C. Brown Corey McCathern Johnson & Johnson Melva Bucksbaum & Raymond Learsy Virginia C. Adimora Julia Johnson Alan R. Butler, M.D. & Cassandra A. Butler Khandi Alexander Juanita V. Jordan Amy Cappellazzo & Joanne Rosen Juanita Alleyne Joy of Giving Something, Inc. Lydia & Mats G. Carlston Ashley Alston June Kelly & Charles Storer Veronica Chambers Emma Amos Hope Knight & Steven Umlauf Jocelyn Cooley Claudia Anderson Kenneth J. Knuckles Wendy Cromwell Donna M. Anderson Jill & Peter Kraus Judith & Ronald Davenport, Sr. Susan K. Anderson Nancy L. Lane Glenn Davis Ann B. Armistead Evelyn Lasry Suzanne T. Donaldson Lori Hall Armstrong Toby D. Lewis Philanthropic Fund Thomas E. Dyja & Suzanne Gluck Lee Autry Loida Nicolas Lewis Marquita & Knut Eckert Joyce & Earl J. Benjamin Dorothy Lichtenstein Louise Eliasof Christopher Bertholf Ann Walker Marchant Patricia S. Favreau Sharon Y. Bowen Marian Goodman Gallery Muna El Fituri Ellen Brathwaite Peggy Mazard / TV One Mia Enell & Nicolas Fries Vivian Bromley Constance Collins Margulies & Gwendolyn Frempong-Boadu Cybelle A. Brown Martin Margulies Steven Ganeless in honor of Pippa Cohen Erika Irish Brown Yolanda & Meredith Marshall Gabrielle Glore E. Maudette Brownlee, Ph.D. Julie Mehretu & Jessica Rankin Charlynn & Warren Goins Connie Butler Richard & Ronay Menschel Kathy Halbreich Maryanne Byington Cassandra Williams Metz Tiffany M. Hall Randolph C. Cain Laura Michalchyshyn Sarah Hardin-White Flossie Canada Gregory R. Miller & Michael Wiener Kim Hastreiter Pieranna Cavalchini Milton and Sally Avery Arts Foundation The Audrey And Sydney Susan Cernek Bridget Moore/DC Moore Gallery Irmas Charitable Foundation Darlene Chan & Ellen Shimomura Alexandra T. Morris Jennifer Baltimore-Johnson in honor of George Wein Isolde McNicholl Motley & Joel W. Motley Virginia Johnson / Dance Theater of Harlem Andrew Chapman Maryanne Mott Star Jones Alexis B. Clark Ruthard C. Murphy II Eungie Joo Evelyn Clarke Angela Mwanza Mariana & George Kaufman Sadie & Roberto Codling Amber & Charles Patton Dawn Kelly Michelle Coffey Ellen Phelan & Joel Shapiro Erika M. Kennerly Susanna Coffey Kim Powell Christine Y. Kim Michael and Eileen Cohen Madeline Murphy Rabb Lorrie King Peter J. Cohen Tracy Reese Miyoung Lee & Neil Simpkins Harriette Cole / Harriette Cole Media Erica and Antonio Reid Lehmann Maupin Gallery Theresa & Martin Cole Wendy Reynoso Sonya D. Lockett Nedra Janice Cook Deborah Roberts & Al Roker Robert L. Marcus Saundra W. Cornwell David Rockefeller Ginger McKnight-Chavers Eldzier Cortor Pamela & Arthur Sanders Anthony Meier Susan C. Courtemanche Annette Mitchell Scott & Wendell A. Scott Catherine Moore Charlotte H. Crawford Priya Scroggins / Beloved Star LLC Edris E. Nicholls Carol Cunningham John Silberman Earl Patton in honor of Dr. Daisy Selby Thelma and David C. Driskell Friends 89

Meredith Fife Day Pamela Newkirk Joseph Wilkins Roberta Dean Anne Newman and Joe M. Bacal Bobbie Willis Charles Dearing Latondra K. Newton Barbara M. Wilson Lisa Dennison Omega Chapter Thomas H. Wirth Susan Dessel Alpha Kappa Alpha Sorority Doris D. Wooten Gwen Dixon Beatriz Pallares Jennifer Wright Catherine Dunn Victoria Parker Yadey Yawand-Wossen Eddie Edwards The Honorable Basil Paterson Antoinette Young Jacqueline & Garraud Etienne and Mrs. Portia Paterson George D. Everette Jane Penn Theodore C. Fair Olivia E. & Paul Bruce Perkins In Kind Mai Kim Flournoy Rochelle Perlman 2x4, Inc. Marilyn R. Francis Pfizer Foundation Matching Pillsbury Winthrop Shaw Pittman LLP James E. Frazier Gifts Program Harlem Flo floral atelier Mary Ida Gardner Christola Phoenix

Ellen Rose Gasnick CCH Pounder-Koné The Studio Museum in Harlem makes every Sunny & Brad Goldberg Fannie Porter effort to ensure the accuracy of its lists of Alvia Golden Patricia Hayling Price supporters. If your name is not listed as you Constance E. Golding and Deborah Prince C. Ellen Golding Nan Puryear in honor of prefer or if you believe that your name has been Wendy Goodman Reginald Van Lee and omitted, please let us know by contacting the Richard A. Granady Corey McCathern Development Office at 212.864.4500x221 or In Memory of Janet David Ann Ranniar [email protected]. Tamsen Greene Jane Ratcliffe Doris Greer Peter S. Reed Veronica M. Gregg Valerie A. Rhodes Constance Grey Arva Rice William A. Harper Kenneth W. Richardson Olga Hayott Jacqueline A. Roberts Vanessa Henry Joyce Roberts Judith Hertz Margaret A. Robbins Gladstone E. Hinds Jean A. Rock Sharon Hines Jeanette & Granville P. Rogers Hallie S. Hobson Vibert Ross Brooke K. Holiday Victoria Sanders Laura Hoptman Ann & Mel Schaffer Claudia J. Hurst Marianna Schaffer Nicole Ifill William Seraile, Ph.D. Fred T. Jackson and Madyé Seymour Tyrus R. Townsend Lacary Sharpe Marsha Y. Jackson Norma Shaw-Hogan Tracey Jackson Kenneth Sills Faith R. Jacobs Beverly Smith Patricia and Freddie James Judith W. Smith Leisa Jamison Keisha Smith Dr. Christopher A. Johnson Melanie Smith Robert M. Jordan Edward L. Snyder Susan C. Josephs Barney Softness Amy Elisa Keith Alexandra Soreff Wayne H. Kelton in honor of Steven Jones Michelle Kennedy Susan M. Sosnick Klaus Kertess Erana Stennett Jayme Koszyn Ardelia & Ronald L. Stewart Melissa Kramer Ernest L. Swiggett Beth M. Lawrence Carl R. Sword Peter D. Lax Lisa M. Tanzi Aliya Leekong Charles Tarver, Sr. / Blark Art Jeffrey A. Leib Michael Tate Sharese H. Lesley Elinor Tatum Margaret & Tilden J. Lemelle Christine Taylor James N. Lewis Ann Temkin Delores E. Mack Cleophus Thomas, Jr. Andrea Mahon The Foundation, To-Life, Inc. Carolyn Maitland Albertha S. Toppins Thelma London Malle Jacqueline Tuggle Sheila Marmon Anne Umland Daisy W. Martin Josef Vascovitz Carmen & Herbert B. Matthew Keisha Vaughn Gregory & Lorraine Matthews Petra Walton Davella & Abraham May Charles and Cheryl Ward Joseph McAdams & Mary Gorman Monique Ware Marcella McCall Yelberton Watkins Depelsha McGruder Eugene H. Webb Erich Meyerhoff Margaret N. Weitzmann Pandora Moody Diane & Craig Welburn Catherine Moore L. H. Whitehead LouAnn Moore Emil K. Wilbekin Cathleen S. Morawetz Lyn & E. Thomas Williams Summer/Fall 2012 90 Members

The Museum’s Membership Latressa Fulton Charles Davis Carlton Davis John Gilstrap Sally Dill Ellyn & Saul Dennison Program has played an Lea K. Green, Esq. Thelma & David C. Driskell Georgia E. Ellis important role in the Tanisha Jackson Elaine G. Drummond Gloria A. Ellis institution’s growth for Carl E. Johnson Marquita & Knut Eckert Toni G. Fay Karen M. Proctor Arti & Harold Freeman Regina Felton, Esq. over forty years. Thank you Ann Samuels Ira Goldberg Katherine Finerty to all the following who Jamila Justine Willis Marc I. Gross & Susan Ochshorn Susan & Arthur Fleischer, Jr. helped maintain our ambi- Sanjeanetta Harris Jack A. Fogle GENERAL MEMBERSHIP Thomas A. Harris Jacqueline Fowler tious schedule of exhibi- Benefactor Steven Henry and Anthony Foy & Monique Scott tions and public programs Anonymous Philip Schneidman Vilma E. France Douglas Baxter & Brian Hastings Phyllis L. Kossoff Marilyn R. Francis during the 2011–12 season. Spencer Brownstone Peter D. Lax Carol E. Frazier Melva Bucksbaum & Joyce Lowinson, M.D. James E. Frazier Raymond Learsy Karen B. McNair Patricia Freeman CORPORATE MEMBERS Elizabeth & Scott Corwin Ernest Mensah Gerald Galison 2x4, Inc. Anne Delaney & Steve Stuso Marcus Mitchell & Richard Gerrig American Express Agnes Gund Courtney Lee-Mitchell Christopher Girard Con Edison Sondra A. Hodges Bridget Moore / Jeanine T. Givens JPMorgan Chase Bank Tina & Lawrence Jones DC Moore Gallery Charlynn & Warren Goins Pfizer, Inc. Gwen & Peter Norton Lawrence D. Moreland Carol & Arthur Goldberg Pillsbury Winthrop Shaw Edward Nahem Alvia Golden Pittman LLP Amy and Joe Perella Arthur I. Golden Donor Ron Person Constance & Alan E. Green Dawoud Bey & Candida Alvarez SPECIAL MEMBERSHIPS Jeanette Sarkisian Wagner Rita Green Hope & Mogolodi Bond Studio Society & Paul A. Wagner Denise L. Greene Ellen Brathwaite Gwendolyn Adolph Gwen & Arnold Webb Joan Greenfield Constance Caplan Darwin F. Brown Geraldine Gregg Dana Cranmer Jonathan Caplan & Angus Cook Anthony A. and Anne Elizabeth De Cuevas Supporter Alessandra Carnielli / Pierre and Cochran Grey Gabrielle & Keith Downing Anonymous Tana Matisse Foundation Leon L. Haley Nadja Fidelia Malaika Adero halley k. harrisburg and Eric Hanks Marla Guess Sonja & Ashok Ahuja Michael Rosenfeld William A. Harper Marieluise Hessel Answorth A. Allen, M.D. and Sarah J. and Derek Irby Reginald D. Harris Barbara Jakobson Rae Wright-Allen, M.D. Noel Kirnon & Michael Paley Susan A. Harris William Bowen King III Peg Alston & Willis Burton Celia & Henry W. McGee III Diedra Harris-Kelley Elizabeth Szancer Kujawski Dr. Janna Andrews Elizabeth D. Simmons Judith & Martin Hertz Daniel S. Loeb & Margaret Richard Armstrong Francis H. Williams Gladstone E. Hinds Munzer Loeb Novisi Atadika Gunner & Alyson Winston Dorothy D. Holloway Diane & Adam Max Joe M. Bacal & Sabrina Holmes Anthony Meier Anne Newman Deborah Irmas National Dr. Kenneth Montague Yona Backer Marsha Y. Jackson Deirdre McBreen Vanessa Y. Perez, Ph.D. Kim Baskerville Sandra Jackson-Dumont Lacary Sharpe Jo-Anne L. Bates Al-lyce Eloise James CF Couple Virginia Joy Simmons, M.D. Linda K. Beauvil Debra A. James Kathleen Adams Carrie Mae Weems & Wayne Benjamin Barry Jamison Michèle & Joseph Brazil Jeffrey Hoone L. Ann & Jonathan Binstock Barbara Johnson Mia Enell & Nicolas Fries Lyn & E. Thomas Williams Hannah & Sherry Bronfman Albert Jones Louis Gagliano & Stefan Handl William R. Brown Kellie Jones & Guthrie Ramsey Edward Blake Byrne Associate Robert M. Jordan Anne B. Cammack CF Individual Cynthia D. Adams Wayne H. Kelton Will & Charon Campbell Jemina R. Bernard Daryl & Rodney Alexander Maryellen Kohlman Elaine Carter Farrah Brown Barbara E. Anderson James D. Lax, M.D. Deborah Cates Courtney Browne Jennifer Arceneaux Jeffrey A. Leib Rodney Clayton Saleda S. Bryant, Esq. Peggy & John Bader Margaret & Tilden J. Lemelle Nancy L. Clipper Kristin Burks Reginald Browne & Pierre Levai Patricia G. Coates Valerie Cooper Dr. Aliya Browne Dawn Lille Mr. and Mrs. Peter J. Cohen Shannon Danzy Heather Rae Byer Andrea Mahon Lynda & Raymond Curtis Kathleen A. Dill Randolph C. Cain Frank C. Mahon Ronald and Linda Daitz Thomas E. Dyja & Raphael Castoriano Robert L. Marcus Tyrone M. Davenport Suzanne Gluck Catherine M. Charles Kerry James Marshall & Andrew P. Davis Cheryl L. Bruce Friends 91

Daisy W. Martin Tigist Selam Deborah W. Allen Janice Guy Sheila Ann Mason-Gonzalez Aeon L. Cummings Juanita Alleyne Mable Haddock Max McCauslin Kevin R. Curry & Abdou Seye Emma Amos Susie W. Hampton Vanessa & James McKnight Alvaro A. Dalton Keith D. Amparado Gregory D. Harnon Carlie Meer Kay Deaux & Sam Glucksberg Frank Anderson Clemens Heiderhoff Cerisa Mitchell Deirdre Donohue Charles A. Archer, Esq. / Veronica Hemmingway Isolde McNicholl Motley & Ruth Eisenberg & EDCSPIN, Inc. Herbert Henry Joel W. Motley Greg Hendren Mary Ellen Arrington Donaldson Hill Jill Nelson Michael Elsasser & George Arterberry Camara Holloway Novella Nelson Doug Robinson Dr. Kenneth Ashley Sharon M. Howard Robert Newman Darrell Fields & Lee Autry Lakeshia Hudson Felix Okolo Helen Forbes Fields Janeen Azare Sandra Hunt-Smith Monica Parham Henry D. Gainer Jacqueline A. Bailey Cora Jackson Jonathan W. Parker Lolita & Thomas Garvin, Jr. Gawanya Baity Erica M. James Nancy Delman Portnoy Arleen Geller Kimberly Ball Olubukola A. Jejeloye Martin Puryear & Eleanor & Lyle Gittens Hilary M. Ballon DéVon Johnson Jeanne Gordon Kristen B. Glen Gloria Batiste-Roberts Patricia Jones Gregory Madeline Murphy Rabb Constance E. Golding & Thelma V. Beale Dorothy Elizabeth Kennedy Sylvester Reese C. Ellen Golding Carolyn Bell Michelle Kennedy Mary E. Riley Deborah Pilgrim Graham & John Belle Klaus Kertess Harriet J. Roaman Kenneth R. Graham Brenda Bello Jane Kirkland Vivian D. Robinson Eileen E. Smith Grant & Regina Black-Middleton Eugene H. Knox Roxane S. Rosario & Robert Grant Rosemary Blake Mary M. Kresky Michael O. Young Geoffrey Hendricks & Sur Rodney Julia Boland Bleetstein Antoinette Lamb Carol & Aaron B. Russell Minnie & Brent Henry Nneka Bradford Lara Lauchheimer Tina Shafer Sharon & John Hoffman Michelle Branch Lee Lawrence John Silberman Frances and Jeffrey Horne Leslie F. Brown Marie LeDoux Kenneth Sills Andrew Hume & Carrie Walker Matthew Buckingham Mary Ann Lee Patterson Sims and Mari Iki & Martin Maguss Cathleen Campbell Gregory Lenhardt Katy Homans Al-lyce Eloise James Milton G. Campbell Jackson Lenochan Laura Skoler Denise Jones & Dennis Jordan Nia Chambers Jerome M. Lewine Howard J. Smith Mitchell Karp & Jonathan Bregman Gulzar R. Charania Sherwood Lewis Judith W. Smith Amy B. Kuhn & Stuart L. Rosow Edythe C. Cherry Lynn & Benjamin Lieberman Seton Smith Kimberly P. & Roderick E. Lane Nakia Clements Whitney Love Kimberly Snead Laiton Langley Scott Clugstone Carrie Lowery Clara R. Stanton Rosalyn Lee & Beverly Tillery Norman Cole Rhiannon MacFadyen Jean E. Steele Davella & Abraham May Anne Collins-Smith Darryl J. Mack Robert E. Steele, M.D. Robin J. Miller Nedra Janice Cook Maureen Mahon Lani Stewart Russell John L. Moore Erica Corbin Carolyn Maitland Ernest L. Swiggett Dena Muller & Lisa Corrin Judith Maloney Salim I. Talib Constantin Muamba Kimberly Cowart Tulis McCall Gay Terry Renwick Paige Khania Curtis Tamara McCaw Beatrice Thomas Bettye & Ronald Payne Emilie de Brigard Roslyn McClendon Joseph Thompson Robert E. Penn Sylvia de Cuevas Sheila McDaniel Margaret Porter Troupe Gloria C. Phares & Dennis Decker Autumn D. McDonald Edith Van Slyck & Richard Dannay Sasha Dees Julie McGee James R. Hammond Valerie Pinckney-Williams Bunny Dell Christine McKay Clara C. Villarosa Farrell B. Redwine & Edward Dew George McKinley Martin Margo & Anthony Viscusi Conway A. Downing III Mary Deupree Mary B. McRae Karen E. Wagner & David Caplan Donville Reid Joan Deroko Sonia Mendez Jackson Edward Walrond Guy Roberts James M. Dickens Jeanne-Marie A. Miller Merrin L. White Richard Rogers Louise S. Dockery Marilyn Mock Olivia S. & Carey A. White Hyacinth Ross Danielle Dowrich Eunice H. Murphy Deborah Willis David Saphra Robert Durst Mildred R. Murphy Jeanne Willis Anna & Wolfgang E. G. Saxon Allison Ecung Denise M. Murrell Betty Wilson Elza Rohan Sharpe Darnell Edwards Jeanine Myers Hugh A. Wilson Evie E. Shockley Sandra M. Epps June C. Nelson Norma Shaw-Hogan Peter Erickson Eileen Newman Carla & Edward Slomin Gertrude F. Erwin Derek G. Nichols Family/Partner Ira Statfeld Ruth Fine Jide Ojo Vernona Adams James & Natalie Sullivan Alex Friedman Tatiana Pages Tarrie Alexis & Julius Butler Lloyd Adam Tucker Linda Galietti Nell Painter Beverly J. Anderson Carolyn & Ed Wagner Ryann Galloway Karyn & Mark Pappas Kim Baker Celia & Landon H. Wickham Ervin J. Garrison Sandra M. Payne Dylan and Dean Baquet Diane Wilson Christa Giesecke Patricia H. Peju Griffin Karole & Eric Barkley Tshombe Walker Michael C. Gillespie Olivia Perkins Jasmine Bellamy Harriet M. & Charles Weiss Alexandra Giniger Andrea Pippins Carol Belle-Thomas & Vicki Zubovic & Major Jackson Marilyn T. Glater Sascha Puryear Victoria Redus Lucy Godwin Chante Ramsey Louise & Henry Bessire Caren Golden Jane Ratcliffe Jeffrey D. Bornheimer & Individual Jo-Ann Graham Valerie A. Rhodes Franc Perry Anonymous Herman Gray Kenneth W. Richardson Edith Boyd Jeanette Adams Cheryll Y. Greene Floree Roberson Paule Bros Virginia C. Adimora Constance Grey Cerene H. Roberts Nekisa Cooper and Adwoa Adusei Augusta Grubb Caralene Robinson Summer/Fall 2012 92

Corane Robinson Marion Bondurant Helen Marshall Malcolm Ebanks Jean A. Rock Bertha Brandon Dynna Martin La Tonya Green Verraine Rock Barbara A. Braxton Laine Massey Uraline S. Hager Richard Rodriguez Lavonnie Brinkley Carmen Matthew Jeffreen Hayes Nada Rowand Burtt Brown Shirley McCain Uchenna Itam Mildred B. Roxborough Juanita Brown Eugene McCray Suzanne Johnson Martine Sam Laura D. Brown-Sands Dianne H. McDonald Josie Lenwell Bobby Savinis Beverly Bryer Elspeth Meyer Nomaduma Masilela Margaret Scott Jean Bunce Erich Meyerhoff Bridgitte Montgomery Julia Sergeon Vinie Burrows Bessie Q. Miles Alexis Neider Vanessa Sergeon Maryanne Byington Charlette Mimiasie Joey Ugochukwu Ofili Farah Severin Janice L. Bynum Constance Mitchell Alfie Ravenell Regina Shanklin Diana Cagle Michael Myers, M.D. Ayinde Ricco Stefanie Siegel Flossie Canada Isabel H. Neal Desiree Rucker Adelaide E. Simms Crystal Clemons Jeanne Nedd Jill N. Smith Marsha E. Simms Sadie Codling Robert Oba Cullins Langdon Soares Andrea C. Skinner Milton Collins Mary Alice O’Connor Kathleen C. Tolar Sippio Small Joyce Conoly-Simmons Arlene Offord Delores V. Smalls Charlotte H. Crawford Theodore V. O’Kelly Paul W. Smith Brent Crayton Dr. Ademola Olugebefola The Studio Museum in Harlem Toni E. Smith Ruth Curtis Robert G. O’Meally makes every effort to ensure the Ellen Sragow Carl F. Davis Oluyemi Omowale accuracy of its lists of members. Connie Stewart Marzella Dawkins Benjamin W. O’Nealos If your name is not listed as you Nicole Talleur Diane D. Dean James T. Parker prefer or if you believe your name Julian Taub Veronica DeLuze Stephen Pearlman has been omitted, please let us know Ethel Terrell D. DePrator Sara Penn by contacting the Development Cleophus Thomas, Jr. Susan C. Dessel Giselle King Porter Office at 212.864.4500 x244 or Susann Thomas Guy L. deVeaux Hortense L. Powell [email protected]. Nathaniel Thompkins Evelyn Dill Sheila W. Quarterman Lloyd E. Thompson Dorothy H. Divins Andrea Ramsey Deborah Thornhill Gwen Dixon Rita I. Reid Anthony Todman Betty Donerson Margaret A. Robbins Jacqueline Tuggle George D. Everette Virginia Robinson Rick Ulysse Theodore C. Fair Fran Rothstein Susanna G. Vapnek Barbara Flemmings Dr. Jacqueline Ann Sawyer Josef Vascovitz Ellen Rose Gasnick Joyce Pomeroy Schwartz Karen E. Venzen / KevKreations Frank Gimpaya Gloria J. Scott Sametta Vick Bernice Giscombe Dr. William Seraile, Ph.D. Carolyn Wade Margot Gordon Wendy Simmons Brannen Steven Walters Elaine L. Greene Gwendolyn A. Simmons Ernestine Washington Susan Harrigan Sareba G. Smith Shannon Washington Sheila Harris Edward L. Snyder Doris D. White Olivia C. Hector Thomas Southern L. H. Whitehead Vivian D. Hewitt Barry Stanley Diane Williams Bonnie Hornstein Paulette V. Starling, Ph.D. Dyana Williams James Herbert Howell Margaret E. Stokes Gilbert S. Williams, Jr. Joan Huggins-Banbury Edward Esty Stowell, Jr. Valerie Pinckney-Williams Jon Hutton Tamara D. Tabb Howard M. Wilson Joanne Isaac Charles Tarver, Sr. / Blark Art Mabel O. Wilson Esther Jackson Beverly Taylor Samuel Wilson, Jr. Faith R. Jacobs Muriel F. Thomas Thomas H. Wirth Olga C. Jenkins Gloria B. Thompson Hilda L. Wradge Elizabeth Johnson Inez B. Vanable Deborah Yates Pat J. Johnson Pieter Vanhove Antoinette Young Hettie Jones David Walters James M. Jones Winona Watson Natalie B. Jones Eva Welch Senior Susan C. Joseph Judith Whitehead Beverly C. Abisogun Lois M. Kahan Bobbie Willis Kojo Ade Ernece B. Kelly Barbara M. Wilson Ann B. Armistead Julia Keydel Doris M. Wilson Jimmy Arnold Patricia King Dolores Winfrey Jean Arrington Regina M. King Aaron Woods III Anna R. Austin Sue Kreitzman Doris D. Wooten Grace H. Ayanru, M.D. Beth M. Lawrence Ruth C. Wright Frederic H. Bacon Susan Lawrence Kay F. Badalamenti Sandra Lee Wanda Baker-Smith Student Cecile Lemley Joseph Barker Hawa Allan James N. Lewis Nubia Beazer Angela Bankhead Zack Lewis Dolores H. Bedford Amanda Brooks Janice Livingston Standish Benton Ursula Brown Delores E. Mack Cynthia Blanchard Delia Burnett Susan E. Madigan Betty Blayton-Taylor Berry Coles, Jr. Denise Marcovitch Elizabeth T. Bolden Francisco Donoso Frank B. Marshall III Friends 93 Membership Join today! Info Becoming a member has never been easier.

Photo: Will Ragozzino

Individual $50 ($25 for Student/Senior) Associate $250 (Fully tax-deductible) ($220 tax-deductible) — Free admission to the Studio Museum for one — All the preceding benefits plus: — Personalized membership card — One complimentary Studio Museum — One-year subscription to Studio exhibition catalogue — Invitations to exhibition opening receptions — 20% discount on exhibition catalogues Donor $500 published by the Studio Museum ($450 tax-deductible) — 15% discount on all Museum Store purchases — All the preceding benefits, plus: — 10% discount at the Atrium Café at — Invitations to behind-the-scenes tours and the Studio Museum talks with art connoisseurs and curators — Invitations to member shopping days with — Two complimentary guest passes for additional discount offers throughout the year family and friends — Free admission or discounted tickets to all Studio Museum educational and Benefactor $1,000 public programs ($900 is tax-deductible) — Special discount at select local — All the preceding benefits, plus: Harlem businesses — A visit and/or tour of a private collection — Annual recognition in Studio — An invitation to a special gallery tour with a Museum curator Family/Partner $75 — Free admission for two guests when (Fully tax-deductible) accompanied by a Studio Museum member — All the preceding benefits, plus: — Seasonal listings of relevant exhibitions — Free admission to the Studio Museum for locally and internationally two adults (at the same address) and children under eighteen years of age — Personalized membership cards for two

Supporter $100 (Fully tax-deductible) — All the preceding benefits, plus: — Member privileges of the North American — Reciprocal Museum Program, allowing free or member admission and discounts at hundreds of museums across the United States — Free admission for one guest Summer/Fall 2012 94 Membership Yes! I want to be a member Form of the Studio Museum in Harlem.

1 Year Name of membership holder Renewal Gift

Name of additional member (Family/partner level members and above) Membership Benefactor $1,000 Donor $500 Address Associate $250 Supporter $100 Family/Partner $75 City State Zip Individual $50 Student $25* Senior $25* Work Phone Home Phone Studio Society Studio Society $1500 Studio Society $2500 Email Address

*(Student/Senior Membership will not be Please do not make my name, address and other information processed without a copy of a valid ID) available to third-party providers.

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Card Number Expiration Date The Studio Museum in Harlem 144 West 125th St, New York, NY 10027 Signature Friends Events 95 Uptown Fridays

It’s a party and you are invited! Spend your hot summer nights at the Studio Museum in Harlem during Uptown Fridays. It’s more than a DJ and dancing! It’s an opportunity to connect with artists, curators, collectors and critics at the center of black art and culture. Admission includes a guided gallery tour of one of our current exhibitions, cocktails and dancing in the courtyard. Tickets to Uptown Fridays are $15.00 for Studio Museum members and $20.00 for non-members.

Friday, July 27, 2012 / DJ1NEn2WO

Friday, August 24, 2012 / DJ Reborn

Friday, September 28, 2012 / DJ Max Carnage

Visit studiomuseum.org/event-calendar for up to date information on public programs!

DJ Reborn Photo: Hannah Thomson Summer/Fall 2012 96 Visitor Information

Address General Info Museum Hours 144 W. 125th St. New York, NY 10027 T 212 864 4500 Thursday and Friday, noon–9pm; (between Malcolm X and Adam C. F 212 864 4800 Saturday, 10am–6pm; Powell Jr. Boulevards) Sunday, noon–6pm. Media Contact Admission 212 864 4500 ×213 The museum is closed to the public Suggested donation: $7 (adults), [email protected] on Monday, Tuesday, and Wednesday $3 (seniors and students). but available for school and group Public Programs Info Free for members and children tours by appointment on these days. 212 864 4500 ×264 (12 and under). For more information on scheduling [email protected] a tour visit studiomuseum.org Membership Info 212 864 4500 ×221 [email protected]

W 132th St

By Bus: 125th Cross-town: W 131th St BX15 M60 M100 M101 W 130th St Up/Downtown M3 M10 M2 M7 W 129th St E 129th St M102 M1

Municipal Garage W 128th St E 128th St

W 127th St

5th Ave

Malcolm X Blvd

W 126th St A C 2 3 B D Jr Blvd Powell Clayton Adam 4 5 6 W 125th St

W 124th St

W 123rd St

7th Ave

Lenox Ave Lenox

Lexington Ave Lexington

Park Ave Park

Madison Ave

Frederick Douglass Blvd Frederick W 122nd St

Marcus Garvey Park W 121st St

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