The Magazine Summer/Fall 2014 Studio Magazine Board Of Trustees This issue of Studio is underwritten, Editor-in-Chief Raymond J. McGuire, Chairman in part, with support from Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Rodney M. Miller, Treasurer Creative Director Teri Trotter, Secretary The Studio Museum in Harlem is sup- Thelma Golden ported, in part, with public funds provided Dr. Anita Blanchard Managing Editor by the following government agencies and Jacqueline L. Bradley Jamillah James elected representatives: Valentino D. Carlotti Kathryn C. Chenault Copy Editor The City Department of Cultural Joan S. Davidson Samir Patel Affairs; New York State Council on the Gordon J. Davis, Esq. Arts, a state agency; National Endowment Design Dr. Henry Louis Gates, Jr. for the Arts; the Council; Pentagram Sandra Grymes and the Manhattan Borough President. Arthur J. Humphrey, Jr. Printing George L. Knox Allied Printing Services The Studio Museum in Harlem is deeply Nancy L. Lane grateful to the following institutional do- Original Design Concept Dr. Michael L. Lomax nors for their leadership support: 2X4, Inc. Bernard I. Lumpkin Dr. Amelia Ogunlesi Studio is published two times a year Bloomberg Philanthropies Corine Pettey by The Studio Museum in Harlem, Booth Ferris Foundation Ann G. Tenenbaum 144 W. 125th St., New York, NY 10027. Ed Bradley Family Foundation John T. Thompson The Ralph and Fanny Ellison Reginald Van Lee Copyright ©2014 Studio Magazine. Charitable Trust Ford Foundation All rights, including translation into other Hon. Bill de Blasio, ex-officio The Horace W. Goldsmith Foundation languages, are reserved by the publisher. Hon. Tom Finkelpearl, ex-officio Jerome Foundation Nothing in this publication may be Lambent Foundation reproduced without the permission of the The Andrew W. Mellon Foundation publisher. MetLife Foundation Cover Image: Surdna Foundation Charles Gaines Target Numbers and Trees V, Landscape #6, 1989 The Andy Warhol Foundation for Collection of Marc Selwyn the Visual Arts Courtesy the artist and Susanne Vielmetter Projects Joyce and George Wein Foundation Photo: Robert Wedemeyer Wells Fargo The Winston Foundation Inside Back Cover: Theaster Gates On Black Foundations, 2012 Courtesy White Cube, London and Johnson Publishing Company LLC Photo: Ben Westoby

Page 2: Charles Gaines Numbers and Trees V, Landscape #5, 1989 Collection of Beth Rudin DeWoody Courtesy the artist and Susanne Vielmetter Los Angeles Projects Photo: Robert Wedemeyer Letter from the Director

tribute to Angelou in The New York work by the pioneering conceptu- Times much more eloquently than I alist, along with Material Histories: ever could. She wrote, “with words, Artists in Residence 2013–14, she rendered not only her own life debuting brand-new work made visible but also nothing short of a right here at the Museum by Kevin history of black social movements in Beasley, Bethany Collins and the second half of the 20th century Abigail DeVille; Under Another and the participation of a woman, Name, highlighting the Museum’s and women, who helped make it permanent collection; and happen, against a million odds.”1 Vantage Point: Expanding the Alexander wrote that Angelou’s first Walls 2014, featuring the photo- memoir, I Know Why the Caged Bird graphs of our teenage artists in Sings (1969), found a readership of residence. This fall, we’ll explore millions and helped clear a path for the legacy of two profoundly pow- a boom in black women’s writing. erful African-American publica- But it did even more than that. tions with Speaking of People:

Photo: Timothy Greenfield-Sanders Angelou’s insistent embrace of the Ebony, Jet and Contemporary Art. specificity and universality of black This slate of exhibitions resonates women’s experiences shaped the particularly strongly with the One of the great joys of creating attitudes and values of generations Studio Museum’s goal to cele- Studio magazine is the opportunity of Americans, myself included. brate artistic icons while nurtur- to showcase amazing artists of Just last year, contemplating the ing the next generation of African descent. Each issue is filled progress and trajectory of my life, I creative visionaries. with remarkable achievements of a was drawn back to Angelou’s writing Thank you for joining us in this diverse range of creators, writers about hers. I found a copy of the exciting endeavor. I look forward and thinkers from around the world. Modern Library’s wonderful volume to seeing you around and, most Sometimes, however, our celebra- The Collected Autobiographies of definitely, uptown. tions take the bittersweet form of Maya Angelou (2004), and took them memorials, and as we were prepar- in all at once. I was reminded of how ing this issue we found ourselves profoundly, deeply and powerfully penning more tributes than usual. she lived her life. As an author, poet, In the following pages you’ll find actress, professor, dancer, singer, Thelma Golden homages to visionaries who repre- activist and more, she encountered, Director and Chief Curator sent the incredible range of cultural and touched, a profound number production by and about people of of people. color around the world. We at the In this spirit, I hope the Studio Studio Museum are honored and Museum’s exhibitions and programs proud to have known them. continue to remind visitors from all Then, when the texts were fin- over the world of the incredible ished, the images captioned and the power of art and artists. This summer files turned over to the graphic we are pleased to present the land- designers, I heard the news: Maya mark exhibition Charles Gaines: 1. Elizabeth Alexander, “In a Commanding Literary Voice, Maya Angelou Sang Out to the Angelou had passed away. My dear Gridwork 1974–1989, featuring World,” , May 29, 2014, friend Elizabeth Alexander paid important and illuminating early accessed June 1, 2014, http://nyti.ms/1gCckly.

Museum Features

What’s Up: Exhibition Schedule 5 The Passion of St. Charles 45 Summer/Fall 2014 Studio Visit: Ayanah Moore 49 Harlem Postcards: Spring 2014 6 Artist × Artist: 52 Fall 2014: Speaking of People: 8 Remembering Terry Adkins Ebony, Jet and Contemporary Art Performing Prison: 58 Catching Up with the Artists in 10 The Art of Incarceration

Residence Not When You Want, but Always on 61 Draped Down: 16 Time: In Conversation with Otabenga

Dressed in the Vernacular Jones & Associates

Spring 2014: Glenn Kaino: 19.83 19 Studio Museum Interns: 66 Where Are They Now? Ralph Lemon: Drawings 21

Beyond Studio Jr.

In Memoriam: Stuart Hall, José Esteban 25 Art Work, Two Ways: 69 Muñoz, J.D. 'Okhai Ojeikere Marie "Big Mama" Roseman

Elsewhere 27 The Past. The Present. The Future.: 72 Expanding the Walls 2014 Finding Harlem 34 DIY: Unconventional Puzzle Art 74 Prospect.3 Preview: 36 Interview with Franklin Sirmans Coloring Page 76

Return of the Native 40 10 Years of Collaboration: 78 Children’s Art Hour at Harlem Simone Leigh: Gone South 41 Hospital Center

Friends

Spring Luncheon 2014 80

Member Spotlight: Lara Land 85

Members 86

Supporters 91

Membership Info and Form 94

Visitor Information 96 Summer/Fall 2014 4 Museum Museum 5

What’s Up Exhibition Schedule Summer/Fall 2014

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

July 17–October 29, 2014 Charles Gaines: Gridwork 1974–1989 Material Histories: Artists in Residence 2013–14: Kevin Beasley, Bethany Collins, Abigail DeVille Vantage Point: Expanding the Walls 2014

July 17, 2014–March 8, 2015 Under Another Name

November 13, 2014–March 8, 2015 Speaking of People: Ebony, Jet and Contemporary Art

Always on View Harlem Postcards Glenn Ligon: Give Us a Poem Adam Pendleton: Collected (Flamingo George) Summer/Fall 2014 6

Harlem Spring 2014 Postcards

Ivan Forde Paul Mpagi Sepuya Cauleen Smith Born 1990, Georgetown, Guyana Born 1982, San Bernardino, CA Born 1967, Riverside, CA Lives and works in Harlem, NY Lives and works in , NY Lives and works in Chicago, IL

From/To:, 2011 February 16, reflected sunlight from Did I Say You Could Take My Picture?, A.C. Powell Jr. Building, 2014 2014 Tropical birds, cared for by an older Dominican gentleman, are brought February 2014: I’m looking through Most of the images that I use in my out onto St. Nicholas Boulevard photographs I made during the win- films emerge from a desire to see just off 145th Street in the summer ter of 2011 on the third floor studio something that does not exist. months. They calmly perch on this of 144 West 125th Street. It was The genre of street photography as ledge and down on the sidewalk as about this time of year—January, practiced by venerables such as passersby look and interact with February—in the reflected sunset Helen Levitt and Roy DeCarava has them, while their caretaker answers light cast by the Adam Clayton always been a source of nourish- questions from the curious. The act Powell Jr. building across the street. ment, but I’m too slow! I see some- of display summons interaction During my time there I kept thinking thing and just stand there slack- between cultures and histories about the complicated point where jawed, amazed and grateful. Then it’s within the diaspora. Resembling a black and gay history meet in over. Maybe I look around for some- flag, this image represents arrival Harlem, and the shadows cast by the one else who saw it too. Since my and departure, characteristic of generations of leaders in one strug- camera never left my pocket, a all nationalities represented in our gle that often existed in opposition shared grin, wink or sigh is my only community. The origin of this bird’s to the other. The social and political verification that there was a species—its family, in other words— stances of the Powells, both Senior moment, and that we saw it. But did not begin in Harlem. Yet it exists, and Junior, against the visibility and here I am wandering the streets of thrives and brings vitality here with participation of gay and lesbian peo- Harlem, looking for the ghost of its lush coat. ple in the struggle for racial equality Henry Dumas while dodging the were indicative of their times. I often hungry lenses of tourists who enjoy Laura Linda Miller thought I wanted to stage a photo- indiscriminately taking pictures of Born 1986, , PA graph of a big queer gathering in people as if we are moving targets. Lives and works in Harlem, NY that winter light, but I never got I found myself unable to point my around to it at the time. In a way, camera at anyone who did not will- Kitten Change, 2014 my project from the Studio Museum ingly meet my gaze. And so this little Artist-in-Residence program ended pooch and I found each other. She This is made in Microsoft PowerPoint— up being just that—over the shivered in the groomer’s window, my main art medium. It is a blend extended time frame of the resi- presumably waiting for her human of circumstances from my home dency itself. companion to collect her. I shivered in East Harlem. Meat tent to the left. on the sidewalk, presumably waiting Dark summer bag worms in back. Note: The text overlay in the picture is from for a good photograph to appear in George Chauncey, Gay New York: Gender, Flowered grass as front base. my viewfinder. We looked at each Urban Culture, and the Making of the Gay Male Saving change, pointedly. World, 1980–1940 (New York: Basic Books, 1994). other for quite some time before I Witnessed by innocent kitten. raised my camera and took her picture. The moment the shutter dilated, I regretted it. Museum 7

Ivan Forde Paul Mpagi Sepuya

Laura Linda Miller

Visit studiomuseum.org to send Cauleen Smith any postcard to a friend! Summer/Fall 2014 8

Fall 2014 Speaking of People: Ebony, Jet and Contemporary Art

by Lauren Haynes, Assistant Curator

Speaking of People: Ebony, Jet and Contemporary Art explores contem- porary artists’ relationships to Ebony and Jet magazines. It examines the ways in which artists use archives and found images in their practices through an in-depth look at source material. Though there is no univer- sal black experience and definitely no universal American experience, there are certain cultural signifiers that are familiar to wide cross sec- tions of . Ebony and Jet are two examples. Both mag- azines, published by the Johnson Publishing Company for more than sixty years, are cultural touchstones for African Americans. The maga- zines often represent a commonality for African Americans from diverse and varied backgrounds. This exhibi- tion will look at how artists have used Ebony and Jet as material and inspi- ration in their practices; it will bring together works that pay homage to Jeremy Okai Davis and examine the various aspects of (b. 1979, Charlotte, NC; lives the publications. Speaking of People and works in Portland, OR) will feature a multigenerational Makes the Man, 2011 group of artists working in a range of Courtesy the artist media, including photography, paint- ing, and sound. While the Makes the Man is a reflection on majority of the artists in the exhibi- the black man/woman as we relate to tion are American, the exhibition will our hair and how society views it. include work by several international There is a desire to curate our appear- artists, as well as American artists ances to fit into different social currently living abroad, allowing for structures and that interests me. an exploration of the global reach of the magazines. Here is a preview of the exhibi- tion, with images and thoughts from a few of the artists themselves. Museum 9

Fall 2014 Speaking of People

Martine Syms (b. 1988, Los Angeles, CA; lives and works in Los Angeles, CA) Johnson Publishing Company Building, 1971, 2013 Courtesy the artist

Johnson Publishing Company Ellen Gallagher Building, 1971 is a poster inspired by (b. 1965, Providence, RI; lives and the American Library Association’s works in New York, NY, and READ campaign. The image is an Rotterdam, The Netherlands) altered archival photograph of the Hare, 2013 Johnson Publishing Company head- Courtesy the artist and Hauser & quarters, the first black-owned build- Wirth, New York ing on Michigan Avenue in Chicago. The Johnson Publishing Company created a cosmology of blackness. Purvis Young Their various media properties were (1943–2010; lived and an account of the black universe and worked in Miami, FL) its laws. The building is a physical Horses on Ebony, 1994 realization of literacy. Courtesy the Estate of Purvis Young Summer/Fall 2014 10

Catching Up with the Artists in Residence

Organized by Kimberly Drew, Communications Assistant

The Studio Museum’s 2013–14 artists Kimberly Drew: So, what are you KB: Can I be exempt from the in residence, Kevin Beasley, Bethany reading? question? [Laughter] Collins and Abigail DeVille, took a moment to discuss their residencies Bethany Collins: Zadie Smith and KD: How has the location of the and their relationships to Harlem Chimamanda Ngozi Adichie recently Museum or being a part of the 125th with Communications Assistant had a talk at the Schomburg Center, Street landscape affected your Kimberly Drew. We’re looking for- which was sold out, but I watched it practice or your residency? ward to seeing their work come to online and later read Adichie’s book fruition in their summer 2014 Americanah. It was amazing and I BC: New York is busy. It’s busy as hell. exhibition Material Histories. was sad when it was over. And that took some getting used to. There’s a lot of people. And that Kevin Beasley: I have been reading is stressful for me at most times. John Cage’s Silence for a while. So all of New York is that way. Harlem I read essays or parts and then come does seem a little bit different in that back. I have also been reading some there’s these constant conversations of Hans-Ulrich Obrist’s Interviews. happening around the city, but it’s like From time to time I read a para- here there’s something very familiar. graph, a question and an answer Maybe it’s just from being here every and then I leave it. day that this kind of conversation feels more familiar. Or—I don’t know Abigail DeVille: I have a pile of how to say it—but it’s like this space things that I look through and look reminds me of . . . this feels more at. I rarely read things from cover to like home in a way. cover. I’m reading a Harlem history book by Jonathan Gill. AD: Because Harlem’s got that Southern hospitality. KD: What are you listening to? BC: Maybe. BC: I listen to news more than music. It starts to feel like noise AD: That’s what it is, because no and I can either focus in or filter other neighborhood feels this way to out, so that helps with the work me. I was teaching on 134th Street at that I’m working on. I have a favor- an elementary school when Michael ite song right now. I tend to pick Jackson died. My boss was hollering one song and repeat it until I finish out, “Oh, Michael!” This was the best a body of work. So the song’s place to be when Michael passed. called “Wayward Daughter” by It was three in the afternoon, and I Brown Bird. I don’t like any of their was wandering outside and strang- other music, except that one song. ers walked up to me, like, “You heard So that’s on repeat. about Michael?” Everybody had their radios and were outside in the street Opposite: The Studio Museum in Harlem’s 2013–14 AD: I usually listen to whatever and pumping Michael Jackson in a artists in residence (from left): Abigail Kevin is playing. matter of like fifteen seconds. All of DeVille, Kevin Beasley and Bethany Collins Photo: Paul Mpagi Sepuya a sudden there was nothing but Museum 11 Summer/Fall 2014 12

Catching Up with the Artists in Residence

Bethany Collins Bethany Collins Scary, 1953 (from “Webster’s New Photo: Paul Mpagi Sepuya World Dictionary” series), 2013 Courtesy the artist

Michael Jackson everywhere you every day, all the time. Harlem is the that every single inch is teeming with went. People were really upset. people: They’re here and they’re here so much energy and history. I’m try- to stay and it’s their neighborhood. ing to figure out how to filter that KB: Really sad. And you become familiar with them. into something meaningful. So people aren’t really hiding much. AD: Really sad in that moment, like Everything’s out in the open. KD: Can you give us a brief overview the whole community was grieving of your practice and describe where over the loss of this person you AD: I love it. you are at this stage of your know. But it just feels, I don’t know, residency? like a real small town, a real commu- KB: I love it, too. nity. I’ve been bumping into teachers BC: I think the day-to-day of my I taught with six years ago casually, AD: I’m going to be sad when this is practice is what has shifted dramati- and I say, “Hi, how’re you doing?” over. I like all the noise in the street cally, rather than the themes that You keep it moving. and having the windows open. I love recur throughout my work. My work people following you when you’re is still about race and identity and KB: You think about these familiar trying to go in the Museum. language—hopefully in a kind of a faces, Harlem is really the only place [Laughter] I was on 124th Street last broader context. But day to day, in the city that I feel like I could week making some rubbings. I made before the residency I was teaching revisit time and time again and see some really bad rubbings, right? Like full time, six art appreciation courses all these familiar faces. And that’s it really bad. Anyway, there’s so much each semester, and it was just a lot really—that’s actually not that com- history everywhere, on every single of talking, and then trying to fit my mon. Even in my own neighborhood corner, every single crack, there is practice in those rare moments in Queens, I’m constantly seeing history somewhere. I’m still trying to when I’m driving or when the stu- people that I have never seen before, contend with and riff off of the fact dents are not asking me questions. Museum 13

Catching Up with the Artists in Residence

Kevin Beasley Kevin Beasley ...for this moment, this moment is yours..., 2013 Photo: Paul Mpagi Sepuya Courtesy Casey Kaplan Gallery, New York Photo: Jean Vong

Or in the evening. It was a lot of fit- space to think about what’s neces- function in different spaces. And try- ting it in and learning to be flexible, sary and what’s needed and what’s at ing to get things done, as Kevin men- and I became very adept at that. stake and what’s really urgent in my tioned. In my mind there are things But in the residency, I have had to practice. It could be, I don’t know, that I know that need to happen right restructure how I think about my putting materials together, just stick- now. In this space, in Harlem, in this studio and my practice and being ing them together or collecting context, on this street, in this studio: here. It has been all of my time, all sounds and where they’re coming performance, installation and actual of it is my time, which has been a from. Thinking about place and my objects created from the material of shift. I feel like it shouldn’t have been relationship to them and then how Harlem life in 2014. For me, it’s about so difficult, but it was a restructuring they are experienced through other to get crazy in here. There’s a whirl- how I think about coming to work people. There’s an urgency that I wind of things that need to happen and making work. Now I’m in it and found more recently in my practice right now or I’m gonna bug out. So it feels real good. Halfway through and not just in the studio—also in that’s pretty much what’s going on. it feels very comfortable. I can sense deadlines and sharing work with The hardest thing is energy—the prep that my work is also shifting . . . still other people. When you answer time is over and now let’s get it done. race and identity and language, requests and you think about those but more expansive and more opportunities there’s an accountabil- KD: How much did you guys know simultaneous. ity. That’s another thing that’s kind about Harlem’s history before you of ramped up as of late. started? Was it a point of interest or KB: It’s funny now, thinking about something that comes from being what I was doing before the resi- AD: I think it’s been mostly me think- in this space? dency. I was also working and I think ing about the compression of time, being here in the residency has or the way that it functions in differ- KB: Beyond what I heard about allowed me to have that time and ent layers, and the way our bodies in grade school, I didn’t know. Summer/Fall 2014 14

Catching Up with the Artists in Residence

Abigail DeVille’s studio, April 30, 2014 Abigail DeVille Photo: Matt Grubb Photo: Paul Mpagi Sepuya

There’s the history, but Harlem is nants and residue of how that stuff is funny. My grandmother and great always so present. It’s like when has been transformed and how grandmother came here from that “Harlem Shake” song came out, Harlem’s always trying to reinvent Richmond in 1943. I have a picture right? I loved how people in itself. I’ve seen the way the neighbor- of them on Easter Sunday in front of Harlem were really like . . . hood’s changing—baby stores and the YMCA on 135th Street. My family stuff are popping up around the on my mom’s side came from the AD: That’s not it. projects. I don’t know. That’s another Dominican Republic to Harlem. conversation. My family is straight-up from Harlem. KD: That’s not it. My grandfather has this book that KD: I think there’s an interesting con- I looked at in the Schomburg on AD: And, yeah, like twelve years late. versation around what Harlem is. microfilm, and there’s some Spanish. There’s a tension between what I’m wondering, what am I going to All: Yeah. [Laughter] Harlem is now and what Harlem was. do with this? I have physical ties, So I wondered if you have something but I don’t know, it’s like having a AD: That was, like, early 2000. to add to that. physical response to an actual space Are you serious? What time is it? in your gut, feeling like you have a AD: I geeked out pretty hard on stake in a place. Maybe because KB: It’s funny because I don’t really Harlem Renaissance in about 2007– this place was created by migratory think about the history as much as 08. My dad was born in Harlem people. When you have no place to what’s here, what’s present. I guess Hospital in 1953, and his birth certifi- call home, and there’s maybe an I’m just more interested in the rem- cate says he’s “colored,” which I think eighty-year residue in one location, Museum 15

Catching Up with the Artists in Residence

you can feel pretty good about that BC: I think the first time I heard BC: Ownership over this? No. I feel space. So I’m just like, yeah, this is about the Museum I was an under- affected by this space. I feel like my home. grad at the University of Alabama. I’m in conversation with this space It was around the time of Freestyle in a way. KD: What was your relationship or Frequency, I think. Nobody in my to the Museum prior to beginning program was talking about it. I kind KB: I’ve gotten pretty comfortable in the residency? of picked it up somewhere. I don’t this space, but it’s still temporary, even remember, because I know you know? I feel like when there’s a KB: I didn’t really have a relationship there was no connection to the definite end to it, and there’s only so to the Museum before. I think my Studio Museum at the University of much I can stake out. I think that’s relationship was initially through Fore. Alabama. It became this “epitome” sort of the point. That’s what I like, Prior to that, there wasn’t much. kind of place. But I had not actually at least for this moment, having a I didn’t live in New York. I didn’t go to visited until the residency. transitory experience—entering into the Studio Museum. When I would something and coming out of it. come up here with family, it was chill- AD: Well, being from here, you Especially in this place, where I’ve ing at someone’s house. I wouldn’t don’t do 95 percent of the things had some type of connection, but see anything really. A lot has hap- that are actually here. I’ve never didn’t really understand. pened in such a short period of time, been to the . I had it’s a very dense past. I would say the no relationship to the Museum. The AD: I definitely feel at home. I feel relationship for me has started in the first time I heard about the Museum the most comfortable in this studio last four or five years. was when I was at the Fashion space since graduate school. I feel Institute and someone gave me an like maybe it’s the traffic in the streets, Artist-in-Residence booklet when the noise that comes up, the smells William Cordova was in the program. in the air. It’s like, “What is that?” I thought, “Oh, this is nice.” Sometimes it’s good and sometimes it’s really not. That makes me really KD: Do you now feel a sense of feel comfortable. It feels good. It ownership? feels too good in here, actually. Summer/Fall 2014 16

Spring 2014 Draped Down: Dressed in the Vernacular

by Monique Long, 2013–14 Curatorial Fellow

Draped Down Photo: Adam Reich

The fellowship at the Studio Museum to bear in the form of an exhibition The challenge I faced in develop- provides an aspiring curator with in the galleries. ing my exhibition, Draped Down, was professional experience for a calen- One of the most important things how to talk about fashion and still dar year. From the beginning, I was that I discovered was that curators honor the art I selected without sim- immersed in the day-to-day activities never stop learning what is new with ply using it to support my argument: of the Museum’s Curatorial art and artists. The most successful What makes black fashion black? Department. I have become familiar curatorial projects are those that From the time I learned about the with common practices that helped address a problem or propose a Harlem Renaissance, New York and me mount my own exhibition with question that has not yet been fully particularly Harlem became a point art from the permanent collection. explored, and make new connec- of departure for my research. In the The first half of the program was tions across media—regardless of introduction for Draped Down, I write marked with a series of discoveries: whether the practice is based in con- that the origin of black style is the the challenges and rewards of col- temporary art. Ultimately I decided New Negro and black dress is distin- laborating with artists on new work; to pursue my personal interest in guished by its connection with working with other curators, depart- fashion history using the same para- every related cultural or political ments and institutions; and the pro- digm, and to develop a framework movement thereafter (the civil rights cess and logistics of bringing an idea with which to talk black fashion. movement, black nationalism, hip-

Summer/Fall 2014 18

Spring 2014 Draped Down: Dressed in the Vernacular

hop, etc.). The New Negro was first also happens to be Monique. Warhol, sion. The origin of “tog” is derived defined in the eponymous anthology who often used fame as a theme from “toga.” It is interesting that a first published in 1925. Alain Locke, in his work, once said that drag garment worn by ancient Romans in his manifesto, also titled “The New queens are a living archive of femi- to establish citizenship found its Negro,” states that Harlem is the nine Hollywood glamour. I chose the way into black vernacular, and this birthplace to a kind of black “Zionism,” Polaroids because, although Monique deserves further investigation. The or the ethos of a new identity of is only wearing a plain T-shirt, her works in Draped Down give a visual American blacks. Further, Zora Neale poses and attitude are evocative of interpretation of the faceted relation- Hurston became a muse, so to speak, a fashion editorial. Other artists I ship between citizenship and clothes, of the exhibition. Her cohort, which included as a result of my own read- and how that relationship is negoti- she deemed the Niggeratti, were the ing of their work. Njideka Akunyili ated throughout the diaspora. glamorous bohemian cousins of the uses collage made with images from

New Negro. Artists and writers were African fashion magazines to create For my time as a fellow, I’d like to thank my the creative force behind the move- perspective and shadow in paintings beloved colleagues, including the Curatorial Department; Edwin Ramoran, Public Programs ment. In fact, I chose the title of the of herself and her family in domestic Manager; my predecessor, Jamillah James; and exhibition from a slang term of the settings. The first time I saw her the entire Studio Museum family, whom I will never forget. I especially want to thank Thelma era that Hurston listed in a glossary portraits they reminded me of Works Golden. A profile of her in Vogue in the early she compiled for her anthropological Progress Administration photo- 2000s, which I spied by chance, inspired me to research: “draped down: to be dressed graphs of blacks in the South at the write my thesis on the history of black style. in the height of Harlem fashion. beginning of the twentieth century. also: togged down.” Coincidentally, Their cabins were often lined with Hurston’s contribution to The New newsprint, used like wallpaper. Negro anthology, “Characteristics of One could interpret that these Negro Expression,” is also an analysis African Americans, some twenty of black slang of the period. years after Reconstruction, were sur- As I selected work from the per- rounding themselves with aspira- manent collection related to the tions. Certainly, Akunyili, who is orig- theme of Draped Down, I became inally from Nigeria, wasn’t aware of aware that the connective tissue of this early American and somewhat the show is the artists’ relationship obscure practice. However, I used a to Harlem. Some were contempo- quote from Locke’s essay to justify raries of the New Negro, such as incorporating artists from other parts

James VanDerZee and Ellis Wilson. of the diaspora: “With the American Andy Warhol There were interesting sartorial Negro, his new internationalism is Ladies and Gentleman (Monique) (detail), 1974 Gift of The Andy Warhol Foundation for the connections as well. Wilson’s first primarily an effort to recapture con- Visual Arts, Pittsburgh 14.3.4–14.3.20 artistic efforts, for example, were tact with the scattered peoples of daily pictorials he painted for the African derivation.” local boutique in his native In Hurston’s definition of the neighborhood as a young artist in expression “draped down,” she also the early twentieth century. Also, provides the synonym “togged there are Andy Warhol’s Polaroids, a down.” “Togged,” I learned later, is an Previous Page: Hurvin Anderson recent gift to the Museum from the informal expression dating back to Mrs. S. Keita– Wallpaper, 2010 Warhol Foundation. The photographs the eighteenth century that means Museum purchase with funds provided by the Acquisition are of a drag queen whose name to get dressed for a special occa- Committee 11.1.3 Museum 19

Spring 2014 Glenn Kaino: 19.83

by Naima J. Keith, Assistant Curator

Glenn Kaino Bridge, 2013 Courtesy the artist, Kavi Gupta CHICAGO | and Honor Fraser Gallery, Los Angeles Photo: Adam Reich

On October 16, 1968, during the medal ceremony for Bridge (2013), 19.83 (2013) and Untitled (2013). Bridge, the men’s 200-meter race at the Mexico City Olympic a site-specific intervention composed of gold-painted Games, American athletes Tommie Smith and John casts of Smith’s raised arm, is a reservoir of memories Carlos raised black-gloved fists as a symbolic act of that reflects on the power of the athletes’ gesture nearly protest. Australian silver medalist Peter Norman stood four decades after its occurrence. 19.83, the title of both firmly with Smith and Carlos, and displayed his soli- the platform and the exhibition as a whole, refers to darity by wearing an Olympic Project for Human Smith’s world record–breaking time in the race: 19.83 Rights badge on the podium. The gesture, seen seconds. Taking the form of a three-level structure remi- around the world and preserved in images that still niscent of the podium used to honor Olympic medalists, resonate today, became a catalytic symbol for myriad the work is surrounded by Untitled (2013), twenty-seven beliefs, ideas and social causes. distorted images of the historic race captured at near- For Glenn Kaino: 19.83, Los Angeles–based Kaino even intervals. These images, presented as documentary presents the New York debut of three works that mark photographs and depicting the briefest fleeting the genesis of his ongoing collaboration with Smith: moments, subtly complicate the linear passage of time. Summer/Fall 2014 20

Spring 2014 Glenn Kaino: 19.83

Glenn Kaino 19.83 (installation view), 2013 Courtesy the artist and Kavi Gupta CHICAGO | BERLIN and Honor Fraser Gallery, Los Angeles Photo: Adam Reich

Together these works give shape to the complexities Glenn Kaino lives and works in Los Angeles. His upcoming exhibitions and of memory and bring form to the structures in which projects include Glenn Kaino, Kavi Gupta Chicago | Berlin; Tank, Prospect.3, narratives are created, transmitted, challenged and New Orleans; and Bring Me the Hands of Piri Reis, Honor Fraser, Los Angeles. His work has been exhibited at The Kitchen, New York; Creative Time, remade. Asked about what inspired him to do the proj- New York; LA>

Ralph Lemon Drawings

by Thomas J. Lax, Assistant Curator

I first met Goat Girl and Killer Space Dog in an e-mail when it is presumed to correspond to an actual person. attachment on my phone. Sent, as the signature indi- Yet while his depictions are not real, the stakes are, cated, from Ralph Lemon’s iPhone, they arrived from and are made all the more so by the fact that they are Little Yazoo, Mississippi, without accompanying text. informed by speculative histories and are meant to be They were followed by a set of Polaroid images of his enacted: They are given life and meaning in real time. collaborators, Albert Johnson and Betty Clifton, casually When, several months after that e-mail, it came laughing in bunny suits. Ralph had been traveling to time for us to choose a cover for the exhibition cata- the Delta, where he has worked with Johnson and Clifton, logue for When the Stars Begin to Fall, Liz Gwinn, as well as the Carters (Walter and Edna of spaceship Communications Manager; Hallie Ringle, Curatorial fame, not Bey and Jay of superstardom fame) for over a Assistant; Joseph Logan, the book designer; and I decade, making drawings that function as performance labored to identify an idea that would embody the scores: prompts for actions to come. ethos of the show: the conundrums presumed by the Lemon, a multimedia artist, conceptualist and inveter- term “outsider,” the allure of the handmade and the ate outlier, often works in drawing—working through shared structures of faith that exist between objects his hand and his imagination—as a way of schematizing that move between art and the divine. I asked Ralph the props, costumes and characters that make up his if he would consider making a work for the cover and elaborate and collectively made fantasies. He moves he agreed. True to form, he made more than a dozen between drawing, photography, video, writing and live drawings, any of which we could have used. A selec- performance. Each has its constraints and possibilities, tion of his commissioned work follows, which we are but his drawings allow him a specific sense of range: thrilled to welcome into the Museum’s permanent His precise depictions of abandon—sinister and playful, collection. I imagine that, like his performance scores, earthly and near-transcendental—do not bear the burden these will be prompts for actions, waiting to be of representation that a live or documented body must made in the flesh.

Polaroid sent to Thomas J. Lax by Ralph Lemon

Following Spread: Ralph Lemon Untitled, 2013–14 Gift of the artist 14.9.1

Museum 23 Summer/Fall 2014 24 Beyond Summer/Fall 2014 25

In Memoriam

by Jamillah James, Communications Coordinator

In a year touched deeply by loss, we would like to remember Stuart Hall, José Esteban Muñoz and J.D. ‘Okhai Ojeikere, whose remarkable and significant contributions to art and scholarship have enriched our community and inspired us to see and contemplate our world in critically engaged ways. Their work will continue to have lasting influence on generations of artists and thinkers alike, and the Studio Museum would like to extend our sincerest thanks for their passion and unparalleled commitment to their fields.

Stuart Hall British intellectual Stuart Hall (1932–2014) is regarded as a foundational thinker in the field of contemporary cul- tural studies and postcolonial theory. Often referred to as the “godfather of multiculturalism,” Hall employed an approach to sociology and culture that encompassed race, class and gender as significant axes of interpreta- tion. Raised in Jamaica and active in the anticolonial movement, Hall relocated to Britain in 1951 after receiv- ing a Rhodes Scholarship to study at Oxford University. It was there that his interests in leftist politics and socially engaged critical theory deepened. He was a founding editor of the political science journal New Left Review and coauthor of The Popular Arts (1964), and a respected professor of sociology at the Open University. A vocal critic of former Prime Minister Margaret Thatcher (Hall is credited with coining the term “Thatcherism”), Hall was fiercely dedicated to equality and social justice in British politics. Hall authored, edited and published a number of texts, including Encoding and Decoding in the Television Discourse (1972) and Representation: Cultural Representation and Signifying Practices (1997), and is the subject of a recent documentary, The Stuart Hall Project (2013).

Dawoud Bey Stuart Hall, 1998 Commissioned by the National Portrait Gallery in conjunction with Autograph ABP © Dawoud Bey Courtesy the artist Summer/Fall 2014 26

In Memoriam

José Esteban Muñoz J.D. ‘Okhai Ojeikere Courtesy the Department of Performance Ogun Pari, 2000 Studies, Tisch School of the Arts, The Studio Museum in Harlem; Museum Purchase with funds provided by the Acquisition Committee 01.20.1

José Esteban Muñoz J.D. ‘Okhai Ojeikere A professor of performance studies at New York Celebrated photographer Johnson Donatus “J.D.” ‘Okhai University, José Esteban Muñoz (1967–2013) emerged Ojeikere’s (1930–2014) career spanned more than fifty as an essential and influential voice in queer studies. years, and situated him as one of Nigeria’s premiere The author of Disidentifications: Queers of Color and the visual artists. Noted for his series of photographs docu- Performance of Politics (1999), Cruising Utopia: The Then menting the elaborate hairstyles and headdresses of and There of Queer Futurity (2009) and the unfinished women in Nigeria, which he began in the late 1960s, Feeling Brown, Muñoz developed scholarship that consid- the artist also was greatly interested in local architecture. ers the intersection of “brownness,” queer identity, social- Ojeikere began working in photography through state- ity and performance. Muñoz emigrated from Cuba to sponsored jobs before joining the Nigerian Arts Council Miami in 1967. He studied at Sarah Lawrence College and in 1967. The formal elements of his images, particularly later entered Duke University’s Comparative Literature those from the “Hairstyles” series, in which subjects doctoral program in the early 1990s, where he was men- stood against an unadorned backdrop, reflect his training tored by pioneering gender studies scholar Eve Kosofsky in commercial photography and advertising. In 2013, Sedgwick. He joined New York University’s Department Ojeikere participated in The Encyclopedic Palace at the of Performance Studies at age twenty-six, and became Venice Biennale. His photographs are in a number of deeply enmeshed in the city’s downtown performance national and international collections, including those scene. Muñoz’s writings on Vaginal Davis, Kalup Linzy, of the Studio Museum; Metropolitan Museum of Art, My Barbarian, Nao Bustamante, Kevin Aviance and Isaac New York; J. Paul Getty Museum of Art, Los Angeles; and Julien, among many others, established him as a tireless the Cartier Foundation, Paris. His son, Amaize Ojeikere, advocate of a radical, or punk, ethos in artistic produc- maintains the artist’s Lagos studio, Foto Ojeikere, which tion. His writings depart from what was described as an has been in operation since 1975. “antisocial turn” in queer theory, and instead embrace the power of communities, optimism and realizing queer identity as a constant state of becoming. Beyond 27

Elsewhere

by Thelma Golden, Director and Chief Curator

Made in L.A. 2014 Organized by Hammer Museum Postcard artist Wu Tsang, among June 15–September 7, 2014 Curator Connie Butler and indepen- others. Like in 2012, three awards Hammer Museum dent curator Michael Ned Holte, the will be offered to artists participating Los Angeles, second iteration of Made in L.A., the in Made in L.A., including the Mohn hammer.ucla.edu Hammer Museum’s biennial, will fea- Award, a $100,000 prize. As you’ll ture thirty-five Los Angeles–based recall, 2011–12 Studio Museum artist artists, with special attention given Studio Museum artist in residence to those early in their careers. Meleko Mokgosi was the inaugural Among the participants are Danielle recipient of this prestigious honor. Dean, Jibade-Khalil Huffman, current I look forward to hearing more Jibade-Khalil Huffman Whitney Independent Study resident about this exciting exhibition in the Mirror, 2013 Courtesy the artist Devin Kenny and spring 2012 Harlem coming weeks! Summer/Fall 2014 28

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

Chris Ofili Prospect.3 New Orleans October 29, 2014–February 1, 2015 October 25, 2014–January 25, 2015 New Museum Various locations New York, New York New Orleans, newmuseum.org prospectneworleans.org

In October 2014, our friends at the In its third edition, Prospect New Basquiat, McArthur Binion, Frederick New Museum will present Chris Orleans is definitely on my to-do list! J. Brown, William Cordova, Ed Clark, Ofili’s first major solo museum exhi- Organized by Franklin Sirmans, with Charles Gaines, Theaster Gates, bition in the since advising by Rita Gonzalez and for- Lonnie Holley, Hew Locke, Glenn Chris Ofili: Afro Muses, our 2005 mer Studio Museum Associate Kaino, Kerry James Marshall, Tameka exhibition. Chris Ofili will occupy the Curator Christine Y. Kim, the biennial Norris, Akosua Adoma Owusu, Ebony museum’s three main galleries and will include the work of more than Patterson, Gary Simmons, Tavares aims to present unexpected connec- fifty artists at venues across the Strachan, Alma Thomas and Carrie tions between his incredibly diverse Crescent City. Artistic director Mae Weems. bodies of work. Ofili’s work, which is Sirmans plans to explore the rela- largely interested in the conflation of tionship between self-taught art Alma Thomas Dogwood Display II, 1972 the high, low, sacred and profane, and academic art practices, a bur- Image courtesy of New Orleans Museum of Art; encourages us to ask new questions geoning conversation in the art com- Gift of Elisabeth R. French © Estate of Alma W. Thomas about representation. munity in New Orleans. Prospect.3’s roster is robust, with a number of Chris Ofili incredible artists that the Studio Afronirvana, 2002 Courtesy the artist, David Zwirner, New York/ Museum loves, including Terry London, and Victoria Miro, London. Adkins, Firelei Baéz, Jean-Michel © Chris Ofili Beyond 29

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

From Heart to Hand: African- American Quilts from the Montgomery Museum of Fine Arts September 21, 2014–January 4, 2015 Montclair Art Museum Montclair, New Jersey montclairartmuseum.org

I’m thrilled to see this exhibition with Funk, God, Jazz, and Medicine: Black a focus on the importance of quilt- Radical Brooklyn making in American culture, particu- September 14–October 11, 2014 larly in the American South. It will be Creative Time a unique opportunity to encounter Brooklyn, New York artistry by craftspeople who articu- creativetime.org late their mastery by creating bril- liantly conceived, nontraditional trib- Studio Museum Artist–in–Residence This presentation of performances, utes to moments both familial and alumni Simone Leigh and Xenobia installations and events is curated cultural. This exhibition of thirty radi- Bailey are a part of a fantastic roster by Studio Museum alum Rashida ant quilts made by African-American of artists for this major project Bumbray, in collaboration with artists represents major themes in presented by Creative Time and Creative Time’s Chief Curator Nato traditional quilt-making. The show Weeksville Heritage Center. The proj- Thompson and Weeksville Public started at the Montgomery Museum ect includes a series of community- Programs Curator Rylee Eterginoso. of Fine Arts and will be travelling to based artist commissions in Bedford- Stuyvesant, Crown Heights and Xenobia Bailey Montclair from the DePaul Art PARADISE UNDER RECONSTRUCTION IN THE Museum in Chicago. other neighborhoods adjacent to AESTHETIC OF FUNK: DEEP GREEN CREATION Weeksville Heritage Center. Bradford #1, AN INSPIRATIONAL RECYCLED ALTER FOR 125TH STREET. (AKA) "LIVING A DREAM IN A Yvonne Wells Young and the collective Otabenga NIGHTMARE", 2012 Rosa Parks I, 2005 Courtesy the artist Montgomery Museum of Fine Arts, Montgomery, Jones & Associates will also each col- Alabama; Montgomery Museum of Fine Arts laborate with local organizations. Association Purchase 2008.9.6 Summer/Fall 2014 30

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

Crossing Brooklyn October 3, 2014–January 4, 2015 Brooklyn Museum Brooklyn, New York brooklynmuseum.org

Organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art and Brooklyn Museum Assistant Curator Rujeko Hockley, Crossing Brooklyn features a multigenerational and multimedia profile of Brooklyn’s role as a creative center. The exhibition presents the work of thirty-five Brooklyn-based artists and collectives with program- ming that will travel throughout the borough, including several site-spe- cific installations. Crossing Brooklyn will include contributions from Just Above Midtown founder Linda Goode Bryant, Paul Ramirez Jonas, Brendan Fernandes, Zachary Fabri (whom you’ll remember from Fore and Radical Presence: Black Performance in Contemporary Art), Deana Lawson and Shantell Martin. The catalogue accompanying the exhibition will fea- ture a roundtable conversation with Brooklyn artists. I’m looking forward to seeing this ode to a borough with such a rich history! Deana Lawson As Above, So Below, 2014 Courtesy the artist and Rhona Hoffman Gallery, Chicago © Deana Lawson Beyond 31

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

Earthly Delights June 28–November 30, 2014 Museum of Contemporary Art Chicago Chicago, Illinois mcachicago.org

Get lost in Earthly Delights, which opens at the Museum of Contemporary Art Chicago this June! This exhibition seeks to ques- tion the roles of beauty, pleasure and minimal approaches to image- making. Earthly Delights engages ever-important conversations about gender, racial politics and the leg- acy of conceptual practices in all media. Among the participating artists are famed New York sculptor Lynda Benglis, Michelangelo Pistoletto and our friends Nick Cave and Yinka Shonibare MBE.

Yinka Shonibare MBE Odile and Odette II, 2005–06 Collection of Margot and George Greig Courtesy James Cohan Gallery, New York/Shanghai © the artist / DACS, London Summer/Fall 2014 32

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

Archibald Motley: Archibald Motley was a master Museum at Duke University, will Jazz Age Modernist painter whose vibrant canvases travel to the Amon Carter Museum of October 19, 2014–February 1, 2015 capture the essence of early-twenti- American Art (Fort Worth, Texas) and Los Angeles County Museum of Art eth-century Chicago. A comprehen- the Chicago Cultural Center, with a Los Angeles, California sive survey of Motley’s oeuvre will be final stop at the Whitney Museum of lacma.org traveling to the Los Angeles County American Art in fall 2015. Museum of Art this October. Archibald Motley: Jazz Age Modernist Archibald Motley The Picnic, 1936 is the first retrospective of the Collection of the Howard University artist’s work in two decades. Curated Gallery of Art, Washington, DC © Valerie Gerrard Browne by Richard J. Powell, the exhibition, Image courtesy the Nasher Museum of which originated at the Nasher Art at Duke University, Durham, NC Beyond 33

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

Don't miss some of our favorite traveling exhibitions—coming soon to a museum near you!

Radical Presence: Black Performance in Contemporary Art July 24, 2014–January 4, 2015 Walker Art Center Minneapolis, Minnesota

When the Stars Begin to Fall: Imagination and the American South August 3–October 12, 2014 Nova Southeastern University Museum of Art Fort Lauderdale, Florida

Check out:

Art Smith Romare Bearden studiomuseum.org/studio-blog Ellington Necklace, circa 1962 Circe, 1977 for more Elsewhere picks! Brooklyn Museum, Gift of Charles L. Courtesy DC Moore Gallery, New York Russell, 2007.61.4 Art © Romare Bearden Foundation/ Licensed by VAGA, New York, NY

From the Village to Vogue: The Romare Bearden: A Black Odyssey Modernist Jewelry of Art Smith November 15–December 13, 2014 June 14–December 7, 2014 and January 21–March 28, 2015 Dallas Museum of Art Miriam and Ira D. Wallach Art Gallery Dallas, Texas New York, New York dma.org columbia.edu/cu/wallach

From the Village to Vogue features As a young curator of contemporary curated by Robert G. O’Meally, twenty-six pieces including silver and art, I was inspired by the incompa- further expands the exhibition’s ear- gold jewelry created by modernist rable Romare Bearden, and often lier staging with the addition of a col- jeweler Art Smith. In addition to sought to link Bearden’s legacy to lage from Bearden’s 1968 series being one of the leading jewelers of the works of the younger artists with “Cotton Field.” the mid-twentieth century, Smith was whom I was working. Needless to an activist for black and gay civil say, I am excited that his 1977 series rights and an avid supporter of early “Black Odyssey” will be returning black modern dance groups. The to New York after a run at the exhibition, organized by and origi- Smithsonian. Based on Homer’s Iliad, nally on view at the Brooklyn Museum Bearden’s series of images explores (2008–09), is enriched by archival epic stories of travelers on their way materials from the artist’s estate. to and from home. This presentation, Summer/Fall 2014 34

Finding Harlem

by Sierra Odessa

Finding Harlem is a black-and-white photographic tribute to one of America’s most well-known yet misunderstood neighborhoods—often referred to as both “heaven and hell.” I focus on candid street photos of the lives of today’s various Harlemites, and also expose the visual aspects of the urban decay of this iconic neighborhood. I explore and document life along Lenox Avenue, as well as on Harlem’s overlooked cross streets. I run toward buildings that tell stories and carry secrets in their turrets, and just as speedily run into narrow, shady, forgotten side streets, where I often find miniature miracles and overlooked catastro- phes. By doing this, I work not only as a photographer, but also as an archi- vist to a community in transition. Well aware of Harlem and its seemingly diminishing history, I aim to bring this celebrated community back to the forefront for my generation and actively work toward its reinvigoration.

Sierra Odessa is a street photographer and documentarian based in New York. She is creator of the website Finding Harlem (FindingHarlem.com), which consists primarily of candid street photos of present-day Harlemites, with an emphasis on Harlem’s children, urban decay and the ever-changing cityscape of this upper-Manhattan neighborhood. She was inspired to begin documenting inner-city life while watching kids play with their own shadows after school at a playground on Central Park North, and by memories of her many instances of “mis-education” while growing up in St. Louis. Odessa’s work has been featured by ComplexMag.com and the National Black Theatre, and she recently released a book based on her website, also titled Finding Harlem. Beyond 35

Finding Harlem Summer/Fall 2014 36

Prospect.3 Interview with Preview Franklin Sirmans

by Tiffany Barber

Prospect New Orleans, a multi-venue, international contemporary arts biennial, launched in 2008. Conceived by Dan Cameron in the tradition of large-scale exhibitions such as documenta, the Venice Bienniale and the Bienal de São Paulo, the first iterations of Prospect showcased new artistic practices from around the world and attracted thousands of visitors to New Orleans in the wake of Hurricane Katrina. The Crescent City’s unique history, culture, people and institutions drive the biennial, which links the local and the global with a special emphasis on site-spe- cific commissions. Franklin Sirmans, Terri and Michael Smooke Department Head and Curator of Contemporary Art at Los Angeles County Museum of Art, is Artistic Director of Prospect.3, the third edition of the international event that opens in October 2014. Among the themes Sirmans explores are the distinctions between self-taught art and academic art, a topic that has ties to the contemporary art scene in New Orleans. Additionally, in recognition of the burgeoning film industry in New Orleans, Sirmans invited artists who incorporate film and video prominently in their work to participate in Prospect.3.

Tiffany E. Barber: I’m looking for- I am always heavily influenced or are in New Orleans for this exhibi- ward to Prospect.3. Do you mind seduced by literature when conceiv- tion, a city of synchronicity, a city talking a bit about how this year’s ing of an exhibition. This time was that defines the presence of Europe biennial developed and what no different. I was ensconced in six and Africa in the New World. themes we can expect to see? books, sort of like Italo Calvino’s Six So what about that space? It’s a Notes. I even flirted with calling the space I have tried to explore before Franklin Sirmans: I decided from the show 6 Notes. The first five books in a show called NeoHooDoo: Art for beginning that, having this opportu- were The Buddha of Suburbia by a Forgotten Faith, which was co- nity to consider a biennial-type of Hanif Kureishi, Another Country by organized by the Menil Collection exhibition, I would first and foremost James Baldwin, The Unbearable and shown at MoMA P.S.1 in October be concerned with the moment and Lightness of Being by Milan Kundera, 2008. The exhibition featured a mul- just look to the artists and listen to White Teeth by Zadie Smith and tigenerational group of North, South them. Whatever came from the studio another of Calvino’s books, Invisible and Central American artists who visits I conducted would be the show. Cities. The last one is The Moviegoer, address the value of ritual in the But it also felt like, well, how do we which was brought to my attention artistic process and the wider impli- represent for this exhibition in New during a studio visit in New Orleans. cations of spirituality in contempo- Orleans in a way that would be differ- Somehow, The Moviegoer rary art. Related to the impulses ent from anywhere else? I couldn’t trumped everything. Published in behind that show, Tarsila do Amaral, just take the pulse of all the studio 1961 by Southern existentialist writer an artist in whom I have been inter- visits I did, along with my colleagues Walker Percy, the book is a poetic ested for a long time, became a cen- from the Los Angeles County story of trying to find the self tral figure for me in thinking about Museum of Art: Rita Gonzalez, Jarrett through others. If all these biennial- the synchronous and the syncretic. Gregory and Christine Y. Kim. Though type exhibitions are about trying to Part of a group of artists associated all of us have traveled a lot in the past take the pulse of the moment, then with the Anthropofagia Movement year and probably could make an the framework of people seeing peo- in Brazil in the 1920s and 1930s, international show based off the best ple resonated. “Where Do We Come she made work that was, in many of those visits, it felt wrong and short- From? What Are We? Where Are We ways, the visual equivalent of the sighted to do that. Los Angeles, Going?” – thinking about this title of where I live and work, and New Paul Gauguin’s famous 1897 fresco- William Cordova Orleans became the hearts of the like, allegorical painting led me to a Untitled (Soul Rebels Band vs. Robert E. Lee— exhibition. In the end, I guess it was meditation on the artist and his or silent parade) (film still), 2014 Courtesy the artist and Sikkema Jenkins & Co., about listening to artists. search for self via the other. But we New York Summer/Fall 2014 37 Summer/Fall 2014 38

Prospect.3 Interview with Preview Franklin Sirmans

Tameka Norris and Garrett Bradley Meka Jean: How She Got Good (video still), 2014 Courtesy the artists literature that sought a way towards relationship between the local and recent Tulane graduate Sophie T. defining modern Brazilian identity. the global, and how these two terms Lvoff and the veteran New Orleans Anthropofagia, or “cannibalism,” can be frictional but also meet in photography team of Keith Calhoun represented, in this case, Brazil’s amicable, generative ways. In this and Chandra McCormick. roots in the Native, European and sense, New Orleans is an interesting African presence: eating the other model for thinking about biennial- TB: What about the works Ebony G. to find the self. This is the foundation type exhibitions and what consti- Patterson, Tameka Norris and Garrett of Somewhere and Not Anywhere, tutes the frames of international con- Bradley, and William Cordova will be which is the exhibition I am organiz- temporary art. How many Prospect.3 contributing? ing. Of course, there are many events artists will there be altogether? Can happening in the city timed around you tell me a little about the partici- FS: We will be presenting brand the show, and the overall title is pating artists from New Orleans? new paintings by Ebony Patterson Notes for Now. in the mode of her work thus far. FS: There will be fifty-eight artists, For me, they are beautiful paintings. TB: That makes a lot of sense, and and there are several artists from Then you have these obvious con- Los Angeles is certainly well repre- New Orleans. I am particularly nections in a decorative sense and sented. But Prospect is very much excited about the conversation in one that fits squarely in the tradi- about New Orleans and the actual photography that is happening tions of the carnival that are so and imagined spaces it offers for the between the work of the young important to New Orleans and Beyond 39

Prospect.3 Interview with Preview Franklin Sirmans

Franklin Sirmans is Terri and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of Art.

Tiffany E. Barber is a PhD candidate in Visual and Cultural Studies at the University of Rochester. Her research interests center on work made by black artists in the twentieth and twenty-first centuries, with special emphasis on expressions of “post/blackness” and Afrofuturism. Her writings on art and visual culture have appeared in Beautiful/Decay Magazine, Art Focus Oklahoma, THE Magazine and Afterimage, as well as various online journals, blogs and exhibition catalogues. Her curatorial projects have featured work by artists responding aesthetically to the conditions of urbanization in the contemporary moment.

Ebony Patterson And Then Beyond the Blades (detail), 2013 Courtesy the artist and Monique Meloche, Chicago other culturally connected places. TB: I know you’ve been working ences to the history and culture of Tameka Norris and Garrett Bradley hard to include a few incredible, the South and, more specifically, have been working on a new site- large-panel works by Jean-Michel the Mississippi River region. specific work that is in line with Basquiat—some really beautiful, Furthermore, he ventured to New their experience and practice as art- complex, iconographic works. Orleans shortly before his death. ists living and working in New How is that part of the exhibition Basquiat and the Bayou, an exhibition Orleans, so the sites—or sights— coming together? at the Ogden Museum of Southern and sounds of their film are from Art within the larger biennial, brings the exact location where this exhibi- FS: Perhaps an embodiment of together several works that address tion takes place. William Cordova some of the most local issues of this aspect of his work. A separate is someone who has informed my geographic diversity is the late catalogue with contributions by the interests and curatorial experience painter Jean-Michel Basquiat, who great scholars Robert O’Meally and for a while. He is working on a site- was deeply interested in Afro-Atlantic Robert Farris Thompson make this an specific film project with a New culture. Born in Brooklyn to parents of invaluable record in the ever-expand- Orleans brass band, in addition to Haitian and Puerto Rican heritage, ing discourse on the artist. a collaborative project with a Basquiat put his own lineage at play family in New Orleans and some in much of his work. TB: It sounds like there’s plenty to other things. A group of the artist’s paintings and look forward to. We’ll see you in drawings are peppered with refer- New Orleans in October! Summer/Fall 2014 40

Return of the Native

by Amiri Baraka

Harlem is vicious modernism. BangClash. Vicious the way its made. Can you stand such beauty? So violent and transforming. The trees blink naked, being so few. The women stare and are in love with them selves. The sky sits awake over us. Screaming

at us. No rain. In memory of Amiri Baraka (1934– Sun, hot cleaning sun 2014), we are honored to reproduce drives us under it. his iconic Harlem poem, Return of the Native. The place, and place Reprinted with permission from the meant of Perseus Books Group. black people. Their heavy Egypt. Amiri Baraka (Weird word!) Their minds, mine, Courtesy Getty Images Photo: Steve Pyke the black hope mine. In Time. We slide along in pain or too happy. So much love for us. All over, so much of what we need. Can you sing yourself, your life, your place on the warm planet earth. And look at the stones

the hearts, the gentle hum of meaning. Each thing, life we have, or love, is meant for us in a world like this. Where we may see ourselves all the time. And suffer in joy, that our lives are so familiar. Beyond 41

Simone Leigh Gone South

by Thomas J. Lax, Assistant Curator

Simone Leigh Cupboard, 2014 Courtesy the artist

Several years before Hattie McDaniel played Mammy in cage that encloses a chandelier composed of ceramic Gone with the Wind, Mammy’s Cupboard opened near in the shape of extra-large cowrie shells. Leigh Natchez, Mississippi. A family-owned pancake house first found out about the infamous tourist site from pho- in what was once a Shell gas station, the restaurant is tographer and photography historian Deborah Willis, and Mammy—depicted with a serving tray, earrings made of was immediately drawn to it because of its perverse yet horseshoes and a pink skirt made of brick, through which potentially open-ended connotations. For Leigh, the diners enter to enjoy their pancakes, syrup and home- structure brought to mind celebrated Mousgoum archi- made apple pie. While She has received several politi- tecture—mud houses located in the flood plains of cally corrective renovations and face-lifts—which turned Central and West Africa. Likewise, Leigh was reminded Her skin from a chocolate brown to a chalky white of the morphology of cotillion dresses, those icons of and refurbished the seating inside—She continues to Southern gentility that originated in eighteenth-century stand twenty-eight-feet tall on U.S. Route 61, the major France, which she has called “a hygiene of the black highway that leads through Mississippi to New Orleans. body.” Like the restaurant, Cupboard can be entered. For her recent exhibition Gone South (on view As a body and a house, a place to consume and to be con- from April 4 through May 31, 2014, at the Atlanta sumed, Mammy’s Cupboard was bad in all the right ways. Contemporary Art Center), artist Simone Leigh made In her work, Leigh often extends the long durée of Cupboard (2014), a twelve-foot representation of the appropriation strategies through which dispossessed pancake house that replaces the solid skirt with a wire people have taken on dominant and exclusionary cultural Summer/Fall 2014 42

Simone Leigh Gone South

Simone Leigh Tree, 2014 Courtesy the artist tropes as a way to critique them through embodiment encoded meaning,”1 while much earlier the Brazilian poet and masquerade. Consider the cakewalk, the parodic Oswald de Andrade famously cites it as “cannibalistic” dance enslaved Americans developed on plantations in his “Manifesto Antropófago.”2 to mime the grandiose mannerisms of Southern society, In her work, Leigh has repeatedly made use of exclu- which artist Houston Conwill quotes in his 1980s perfor- sionary and primitivizing forms, and perverted them in mances of the same name at Just Above Midtown the process to consider how museums stage relation- Gallery. Or Kara Walker’s recent monumental sugar ships between objects from the global South and their sculpture at the Domino Sugar Factory, which depicts a various viewers. In Gone South, for example, we come sphinx: half lion, half Mammy. Or the Haitian carnival upon Untitled (2013), a yonic, glazed ceramic sculpture character Chaloska, a send-up of Charles Oscar Etienne, hung on the wall at the height of the viewer’s torso, with the chief of police in Jacmel who murdered hundreds of blue crystals forming on its surface. The sculpture is at political prisoners in the first half of the twentieth cen- once an oversized cowrie shell (a mnemonic reminder of tury, and is resurrected in spectacular form every year the chandelier of cowries that hang inside Cupboard), before Lent. Many makers and thinkers have used this vulvae and an abstracted bust. It beckons the viewer, strategy of working with and against, variably referred to recalling a mode of eighteenth- and nineteenth-century as postcolonial or queer. The late feminist performance spectatorial address during which corpses and ampu- theorist José Esteban Muñoz, for example, described this tated body parts of dead slaves were used as bait to process as “disidentification . . . recycling and rethinking attract cowries off the coast of West Africa, according Beyond 43

Simone Leigh Gone South

Simone Leigh Simone Leigh Untitled, 2013 Jug, 2014 Crystal glazed stoneware Lizella clay Courtesy the artist and Tilton Gallery, New York Courtesy the artist

to popular lore.3 Displayed kitty-corner to Untitled, Jug the forms and materials of black American craft tradi- (2014), a sculpture made (visibly) by hand in Atlanta from tions, the artist places this lyrical domicile close to the unfired, earth-red Georgia Lizella clay, references both ground and next to a window, as if to suggest that these the scale of a face jug (here rendered sans visage), as various histories might be our only way out of—or into— well as the mouthwatering Mammy’s skirt. the belly of history. Tree (2014) sits in the corner, another wire armature without a skin, at once an antidote to and an acceleration Simone Leigh was a 2010–11 Studio Museum artist in residence and is based of the stakes of Cupboard’s architectural space. Unable in Brooklyn. She is working on a major commission with Creative Time, which will open in 2015. to be entered, Tree references the Southern bottle-tree tradition, and includes glass bottles, small jars and baby food containers. Bottle trees have been referenced by 1. José Esteban Muñoz, Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: University of Minnesota Press, contemporary artists including David Hammons, Alison 1999), 31. Saar and Gary Simmons, among thousands of other cul- 2. Oswalde de Andrade, “Manifesto Antropófago,” Revista de Atropofagia tural practitioners throughout the South. Shaped like the (São Paulo), no. 1 (May 1928), 3–7. 3. Saidiya Hartman, Lose Your Mother: A Journey Along the Atlantic Slave bow of a ship, an attic or a hiding place, Tree is at once a Route (New York: Farrar, Straus and Giroux, 2008), 209. cage and a domestic or nautical dwelling: a provisional structure. In Leigh’s installation-based mash-up of cul- tural references from global vernacular architectures to Summer/Fall 2014 44 Features Summer/Fall 2014 45 The Passion of St. Charles

by Malik Gaines

In a career spanning more than four decades, the American artist Charles Gaines has become known for his conceptually rigorous and formally compelling works exploring the relationship between aesthetics, politics, language and systems. Charles Gaines: Gridwork 1974–1989, on view at the Studio Museum in summer 2014, focuses on his early series employing systematic and rules- based processes. To celebrate this groundbreaking exhibition, below is an edited excerpt from the accompanying publication.

—Naima J. Keith, Assistant Curator

Charles Gaines’s practice has long been engaged with of deconstruction laid an enduring foundation. I think critique and reflects changes in the critical landscape over Charles Gaines would agree that the critical approach to lan- the last generation. The larger move in art and scholarship guage that he developed in his inventive early work had racial since the late 1980s toward better analyzing racialized sub- implications, even though his work before the 1990s rarely jection has put his work in a new light, forming a context for depicted people and never addressed race directly as a topic. his important 1993 exhibition and publication, The Theater In conversations, he has often attributed his understanding of of Refusal: Black Art and Mainstream Criticism, in which difference to his own sense of double consciousness as a small critical responses to black artists’ work were shown to erect child growing up in the South. For a short time in 1985 he was intellectual barriers around race.1 These barriers are still making large paintings of continents mapped amid floating sometimes visible. In 2012 an inflammatory New York Times geometric marks. During a stay in Munich that year, he was review of the exhibition Now Dig This! Art and Black Los working on one that depicted Africa, and when some German Angeles, which included Charles’s work, presented the same visitors to a gallery there suggested that it was because he was marginalizing discourses identified in Charles’s 1993 essay, black, he said that it was an outrageous and offensive asser- stoking controversy among black artists who continue to tion. Never mind that it was common practice for black people negotiate problems of difference, representation and iden- to paint Africa for exactly that reason. The visitors should tity within a “mainstream” field.2 For many of these artists, have noticed that this work was not motivated by the artist’s Charles is a remarkable and inspiring figure. Like the field romantic identification with the image. Rather, it was offering itself, his work since the 1990s has taken on more and more a critical relationship to signs, exploring the lengths to which evident social content. we will go to reason with them. If you understand race as part Before this time, as is evident in the works assembled for of a broader linguistic operation that regulates differences, this survey exhibition, chance, systems, language and notions as scholars now tend to, it all seems obvious. Summer/Fall 2014 46

It is instructive to think of this conceptual foundation there’s the specific tree, standing calmly in a park or along in relationship to Charles’s other life, the one he lives in a a roadway or within an orchard in California’s San Joaquin parallel universe in which he decided to be a jazz musi- Valley, rather indifferent. If there are ways in which this cian. Charles is quite a good drummer. He plays loudly yet tree might have evaded discourse altogether, unnoticed, fluidly, banging and swaying. He was trained by musicians the artist spoils that possibility with his exploration, his in Newark and was part of a jazz world, sneaking into discovery, his decision to bring the tree into representa- Manhattan as a teenager to see music in clubs and later tion. Importantly, there’s a romanticism in this quest that meeting great players, sitting in on some incredible sets. the artist will resist. He will build arbitrary structures and At some point he decided to pursue art instead, and he has systems that limit choice, fantasy and desire in the act of said that, upon reflection, he appreciates that decision, as image-making. The artist himself will have a simple answer many of his onetime jazz compatriots are now deceased. for why this particular tree was chosen and why that choice When I was a kid, he would load his kit into his small BMW was not important. That position might reflect its opposite, once a week to play with a local quintet. In recent years evoking, if not Caspar David Friedrich confronting the he has formed provisional groups that have included his sublime or a member of Canada’s Group of Seven engaged sister, Laurel Pryor, an accomplished singer; the trumpeter in adventurous portage painting, then at least Ansel Adams Wadada Leo Smith; and the late artist and saxophonist documenting the western landscape, as Charles Gaines sets Terry Adkins, among others. While there are deeply mod- up his medium-format camera on a grassy plain to capture ernist similarities to think about, the differences between the image of a tree. jazz improvisation and minimalist systematic repetition That action produces the next tree, the photograph. have a lot to do with the role of the artist: the virtuoso Steeped in modernity’s issues—alienation, authenticity, genius versus the rational experimenter. These roles are originality, the furnishing of evidence, the consecration racialized as well. One provides incredible provisional of the real, the documentation of difference, to name a power to a negated subject; the other restricts the inher- few—here an image science inducts the previous genealogy ent coercive power of a privileged subject. These positions of trees into the work of art. Gaines’s works of this period emerge from two different experiences of the world. typically consist of three or four panels in a row, a sequence For many years the tree was the subject matter. Or that most always began with a photograph. Later the rather the primary sign depicted. The subject matter might photograph becomes the background of a layered image. be described more accurately as the systematic decon- In this tree-photograph, the ideal tree in its treeness and struction and reconstruction of that image. If we can still the specific political tree are long gone. Gaines’s proposi- follow the logic of 1970s seriality, we might attempt here tion begins in language, in which the tree has become a to invoke an order: First, from our perspective, there’s sign, the arbitrary and meaningful tree. Then things get a tree, the ideal tree, Plato’s tree, full of treeness. Then crazy. The tree is drawn into a graph, using tiny numerals in Features 47

succession and repetition to mark specific locations, each mostly always been, anticultural. Even though the city’s numeral offering a supposed location in relationship to the population size is somewhere between that of Kansas City graph’s spatial field. The entire body of numerals forms and that of Albuquerque, there is a rural sensibility that the shape of the photographed tree, plotting its location permeates. Add agribusiness to that, and you find an elite while creating its image. Depending on the work, additional community not particularly interested in art. My mom’s graphs indicate falling leaves or other natural systems. mother’s family was part of a group of Germans from As these works were done in series, using a different tree as Russian villages who helped establish West Fresno, now a the starting point for each individual piece, the last panel poor African-American neighborhood. My other grandpar- in the sequence always represents an accumulation. The ents, Charles’s parents, lived in Newark, New Jersey, where tree is mapped onto a graph that marks/depicts each tree he grew up, after migrating from South Carolina. They had in the series up until that point. The accumulation depicts one of his college paintings in their dining room, a dark a repetitive system for analyzing any tree as an object of surrealist baseball scene. As a working-class black kid in the inquiry but also reasserts multiplicity, as in an orchard of mid-1960s, he decided to be an artist. He contested an art trees, of differences, in excess. school’s negative decision and talked his way into a gradu- “If a tree falls in the forest . . . ?” my father asks me ate program. He befriended a young New York curator with whom he would go see happenings and visit Warhol’s rhetorically. I am a child and insist that the tree makes a Factory, and he became interested in an active conversa- sound whether it is perceived or not. I still think there are tion. He got a teaching job in Mississippi in 1968, which was material particles that we understand as sound and . . . obviously fraught with racial difficulty, and then took the whatever. I have indelible memories of speeding down the job at Fresno State. freeway in Central California and staring into the perfect Like other artists after John Cage, he was interested in rows of fruit trees planted along the sides, where a blur of chance procedures and systems. As a child I occasionally foliage will open up onto a clear view deep into the orchard saw him read the I Ching, flipping pennies in a divina- that passes quickly before your eyes and then disappears, tory manner. These interests led to his invention of grid only to open up another deep view and then another, too drawings. These drawings were seen by Sol LeWitt, who quickly to think about. These are memories of perspective. befriended him and introduced him to John Weber Gallery, Trees are a part of an agricultural superstructure in Fresno, one of the many galleries I remember visiting in my child- California, where Charles Gaines accepted a tenure-track hood. I saw art out in the world, and I looked closely at teaching position in 1969. As others will describe, there Top: were influential developments emerging from California Charles Gaines Landscape: Assorted Trees with Regression, State University, Fresno—in art, poetry, philosophy and Set #4, 1981 radical politics. I was born in 1973, and those presences Collection of Malik Gaines Courtesy the artist and Susanne Vielmetter Los Angeles Projects had been diminished in my day. Fresno today is as it has Photo: Robert Wedemeyer Summer/Fall 2014 48 the art around the house. There were LeWitt lithographs ally a critique of rationality, a heroic effort that ultimately and drawings, which were obviously nice. As I understood depicted the failed tendency to place concrete language them, these were works that began with a question: How around unstable terms. many combinations of circle, square, rectangle, triangle, trapezoid and parallelogram can there be? There was a Malik Gaines is an artist and writer based in New York. He has performed and exhibited Romare Bearden print depicting a woman and a man with extensively with the group My Barbarian, with solo exhibitions at Participant Inc, New sexy and strange abstract bodies getting dressed together. York; Hammer Museum, Los Angeles; Museo El Eco, Mexico City; Yaffo 23, Jerusalem and others. The group has been included in the Performa 05, 07 and 13 Biennials, 2006 Between the two I may have had the suspicion that when and 2008 California Biennials, 2007 Montreal Biennal, 2009 Baltic Triennial and 2014 bodies are present they are black and when bodies are Whitney Biennial. The group has received awards and grants from Creative Capital, absent they are white. This thought was another version Foundation for Contemporary Art, Art Matters and the City of Los Angeles. Gaines has written scholarship and criticism including the recent essays “Nina Simone’s Quadruple of a question Charles faced professionally at the time: If Consciousness” in Women & Performance, “City After 50 Years’ Living: LA’s Differences you’re not making black art, aren’t you making white art? in Relation” in Art Journal, “A Defense of Marriage Act: Notes on the Social Performance of Queer Ambivalence” in e-flux and an interview with Simone Forti in the book Judson This question was disrupted by his work, which was all Now. He has written monograph texts for Andrea Bowers, , Glenn Ligon, over the house. There were albums by Terry Allen, who was Wangechi Mutu, Sharon Hayes and others, and has contributed several texts to The Studio Museum in Harlem publications, beginning with Freestyle in 2001. Gaines holds a local, and Laurie Anderson, who visited once, and there PhD in Performance Studies from the University of California, Los Angeles and an MFA were other visitors. Charles ran a lecture series at Fresno in Writing from California Institute of the Arts. He is currently Assistant Professor of Art at Hunter College, City University of New York. State, where I watched a lecture by Adrian Piper. I thought carefully about her piece My Calling (Card #1) (1986–90) 1. See Charles Gaines et al., The Theater of Refusal: Black Art and from that day forward. This is all to describe a milieu and Mainstream Criticism, ed. Catherine Lord (Irvine: Fine Arts Gallery, to say that I had an education in conceptual art and related University of California, 1993). genres and could interpret my father’s work. Having often 2. Ken Johnson, “Forged from the Fires of the 1960s: ‘Now Dig This! Art and Black Los Angeles,’ at MoMA PS1,” New York Times, October 25, 2012. On witnessed his diligent drawing practice, drafting line after the reaction, see David Levi Strauss, “When Formalist Criticism Fails,” Art line, tiny numeral after tiny numeral, for hours at a time, in America 101 (March 2013): 37. For Johnson’s response, see Ken Johnson, I was struck by the irony of the impossibility of that effort “Reading with One Eye Closed,” Art in America 101 (April 2013): 39. ever adequately representing a tree. Though the result was beautiful in an austere way, I thought the project was actu-

Now available at the Studio Museum Store

Charles Gaines: Gridwork 1974–1989, is a 160-page, full-color hardcover exhibition catalogue that includes newly commissioned essays by leading scholars and curators in the field, an illustrated chronology contex- tualizing Gaines’s life and work, and—for the first time—expository texts explaining the production process for each body of work.

$50 / $40 Members Features 49 Studio Visit Ayanah Moor

by Hallie Ringle, Curatorial Assistant

Conceptual artist Ayanah Moor’s practice is located of the black body, Moor samples the archives of Jet and firmly at the intersection of lexicography, spaces of Ebony to create galleries of sound and printed quotes that desire and representations of black women. Her work, generate a dialogue between artist, audience and pub- especially recent work, features passages of text that lishers of the magazines, without relying on figuration. are drawn or read from popular magazines, songs and In her 2011 sound installation, All My Girlfriends, Moor other sources of popular culture. I caught up with the complicates spaces of sexuality and desire by reading the artist, soon to be featured in the upcoming exhibition descriptions of 1,296 women featured in the Jet swimsuit Speaking of People: Ebony, Jet and Contemporary Art, to centerfold “Beauty of the Week.” In reciting the short discuss her text-based works. biographies, Moor embodies the implied male narrator, Originally from Norfolk, Virginia, Moor earned but the pitch of her voice calls into question the place and her BFA in Painting and Printmaking from Virginia role of female spectators. Moor’s sound archive further Commonwealth University and an MFA from Tyler complicates the magazine as a purely heterosexual space. School of Art. She is currently Associate Professor of Her methodical and almost sensuous narration of the Art at Carnegie Mellon University in Pittsburgh. Moor “Beauty of the Week” raises the possibility for an inclusive has completed numerous residencies, including the reading of desire that both questions and expands pre- Brandywine Workshop in Philadelphia, which has also sumed binaries of sexuality. hosted Alison Saar, Alvin Loving and Benny Andrews. Similarly, Moor’s 2011 installation Good News features During her residency in 2011 at Proyecto ‘ace in Buenos quotes from a 1980 Ebony article entitled “What They Say Aires, Moor created Shift: Cambio, a text-based installa- About the Men in Their Towns” screenprinted on news- tion that examines the shifting racial identity of Buenos print. Moor shifts the pronouns in the women’s state- Aires and popular conceptions and attitudes towards ments, originally about the eligibility of black men in their blackness in Argentina. cities, from male to female, effectively re-coding the piece As in Shift: Cambio, Moor’s work in Speaking of People is as a feature on female homosexual desire. Additionally, also text-based. Concerned with the overrepresentation queering the statements positions women as both object Summer/Fall 2014 50 Summer/Fall 2014 51

Ayanah Moor Ayanah Moor Photo: Tom Little Script for All My Girlfriends, 2011 Courtesy the artist and subject, and creates a kind of dialogue between women that complicates notions of gender norms. For example, one of Moor’s panels reads, “Nashville: ‘If you’re looking for a professional black single woman already established in her career, you’ll not find her in Nashville. Most are in relationships. But there are plenty of college women.’” Though the original Ebony article contained images of men in the various cities, Moor allows the audience to conjure images of the women speaking. Though she avoids traditional displays of figuration, her interest in archives is reflected in both the content and formal installation of her works. In by and about (2012), originally installed at the Mattress Factory Art Museum in Pittsburgh, grids of words echo the language of poets and artists, such as Billie Holiday and Nikki Giovanni, while burnt red paper and writing simulate the appearance of an ancient text. Moor uses text as means of examining and interrogating fantasies, race and gender, screenprinting it onto newspapers, a vehicle through which these desires are often expressed.

Ayanah Moor this blackness is just for you, 2012 Courtesy the artist Summer/Fall 2014 52

Artist× Artist Remembering Terry Adkins

Organized by Thomas J. Lax, Assistant Curator

Terry Adkins (1953<2014) was one of the most innovative artists of his generation. An accomplished artist, performer, musi- cian and educator, Adkins weaved together a lyrical approach to visual art, a deep investment in the individuals who shaped American history and a fascination with material culture. Known for his instruments, including a variety of long horns, Adkins remained committed to the history and possibilities of abstraction, and applied the improvisational tendencies of black musical forms to his exhibitions and sculptural series. A participant in the Studio Museum’s Artist-in-Residence program in 1982–83, Adkins’s work is represented in the Museum’s collection, in addition to many important international public collections. Most recently, his sculptural tribute to blues singer Bessie Smith, Matinée (2007–13) was in the exhibition Radical Presence: Black Performance in Contemporary Art on view at the Museum. In addition, he performed with his long-time band, the Lone Wolf Recital Corps, at the exhibition’s opening reception. His artistic and personal commitments will live on not only through his body of work, but also through the lives and work of the thousands of students he mentored during his tenure as a beloved Fine Arts professor at the University of Pennsylvania. In celebration of his ongoing legacy, Assistant Curator Thomas J. Lax invited several former students and other mentees to share their memories of Terry Adkins.

Terry Adkins Tambour, 2013 Courtesy the Estate of Terry Adkins and Salon 94, New York Summer/Fall 2014 53 Summer/Fall 2014 54

Matt Jessica Mary Valverde: Neff Vaughn AXIS:art/life

We had been working tirelessly on a Sculpture with a capital “S,” working Like my father, you act all tough and printing project. Terry decided that I with materials and developing a way mean because you want to make sure had made a mistake. He started to lay to understand them, tackling complex I don’t mess up. “You belong here. into me. For some reason, for the first ideas without hesitation and simplify- This is your time. Don’t let anyone time ever, I yelled back. I knew he was ing them, and just outright ambition. take this from you.” I wasn’t all the wrong, and I told him so. Loudly. These are the lessons he taught his way convinced, but you made me students. An advocate for emerging believe it. The intensity, rigor and It was quiet for a few excruciating and established artists alike, Terry consistent work during that time moments, then suddenly Terry broke Adkins was a great friend, mentor and transformed me. Your method is both out in his huge, contagious laugh. teacher. His presence was undeniable. nurturing and critical. In our native– He left a permanent impression on old school–country–catholic way, we As we left the studio late that night, those around him. share and exchange ideas. Kindred he stopped and turned to me. “Finally, spirits. I’m still learning from you. Neff!” He laughed, patted me on the I express my appreciation for having shoulder and grinned approvingly. had the opportunity to work with Lately, I’ve been receiving so him. His thoughtfulness, inclusive- many blessings. Thank you. I miss Teacher. Mentor. Colleague. ness and investment in creative you, Terry, and promise to make Tormentor. And, in the most communities—I look to carry these you proud. unexpected moment, friend. traditions forward.

Mary Valverde makes research-based work about the Matt Neff’s formal interests include the lack of imagistic Jessica Vaughn was born in Chicago and received an MFA chronicling, indexing and archiving of patterns, and the content, anti-icons and the repeated and shifting use of from the University of Pennsylvania in 2012. She recently examination of ways in which they empower and adorn common materials such as sugar, graphite, air and ash to completed the Whitney Museum Independent Studio space, the body and the psyche. She currently lives and evoke visual mystery and a visceral reaction to objects and Program, and lives and works in Brooklyn, New York. works in New York. images. He teaches and runs the Common Press at the University of Pennsylvania. He lives in Philadelphia. Features 55

Nsenga Jacolby Kelsey Halliday Knight Satterwhite Johnson

The following is an excerpt from Terry Adkins is one of my most valued The streets of an exiled Dante a letter from Terry to me in the mentors. He was instrumental in Alighieri’s Ravenna; spit-filled insides midst of a long series of very heated my enrollment at the University of of saxophones and arkaphones; exchanges between us (with most of Pennsylvania MFA program, and a studio adorned with taxidermic the heat coming from him) after my took on the role of mentor, friend birds; the worn surfaces of muffled first semester at Penn. Terry was a and professor for six years. We had a bass drums; loved pages of Melville’s whirlwind, an amazing teacher and a unique relationship full of debate, dis- Moby Dick; a Row House in Houston; force to be reckoned with. Sometimes agreement, arguments and laughter. an archive of photographs of the mean. Very paternal. His studio was He had a license to call me at 2 am to great Jimi Hendrix as a paratrooper; right next to mine, and who knows impulsively check on my progress or the Bering Sea shores of Nome, when he ever went to sleep (in his scold me for my divisive performance Alaska; the classroom (a laboratory studio), but he often dropped by antics on social media. Although he of thought)—it is a daunting task to my studio—whether I was there or expressed high approval of my artistic begin to map the sites that memories not—for spontaneous crit, gossip, practice, I value his fearless assaults of Terry Adkins will forever inhabit. to trash-talk or to leave a note, eat my on my critical positions the most. He snacks, whateva . . . had a critical moral code regarding To behold Terry’s work is to see his- art facilitated by artists of African tory anew, and now we must all imbue Nsenga, descent. It wasn’t strict, but he was his legacy with the same generous life It’s always cool to make mistakes. Don’t take my words too literally or too hard. conscious of the traps, barriers and he pumped into the forgotten veins They are meant to jolt you, to launch you tropes to which artists of color were of others through his art. Despite this into a sphere of working as if your life depended on it. . . . I want the best for victim, and strived to use his power monumental loss, Terry’s radical ide- you, longevity and depth first and as an educator to provide an upcom- als and humor will proliferate through foremost . . . . intent in art only becomes ing generation with ultimate agency. a constellation of students and col- clear when you[‘ve] torn through a hell of a lot of garbage to get to the essentials, I have never seen someone care so leagues, family and friends. and that is what hard work is—tearing much about artistic equality through through a lot of garbage, more than you can imagine. . . . Do not confuse my a racial and gender lens. I understood Kelsey Halliday Johnson is a curator, writer and artist boisterous nature with frustration . . . his position more than I would allow based in Philadelphia. She currently works at Locks Gallery and is a member of the artist-run collective him to know. Several nuances in my Vox Populi. Keep The faith, Terry pieces are responses to his politi- cal and conceptual infrastructure. I anticipated the day when I could Nsenga Knight is an artist whose work poses critical questions about the relationship between Islamic art, destabilize and enhance our conversa- American and European abstraction and the conceptual tion. Due to his passing, his voice arts movement. She lives and works in New York. will forever act as a mediator and destabilizer in my decision-making as an artist.

Opposite: Terry Adkins was born in Columbia, South Caro- Courtesy University of Pennsylvania lina. He received a MFA from the University of Pennsylva- School of Design nia in 2010 and a BFA from the Maryland Institute College Photo: © Jamie Diamond of Art in Baltimore in 2008, and completed a residency at Skowhegan School of Painting and Sculpture in 2009. In Page 57: 2014, Satterwhite is a participant in the Whitney Biennial Nenuphar at the Whitney Museum of American Art, New Frontier, Courtesy the Estate of Terry Adkins and Sundance Film Festival and When the Stars Begin to Fall: Salon 94, New York Imagination and the American South at The Studio Museum in Harlem. Summer/Fall 2014 56

Tameka Clifford Sam Norris Owens Mapp

In 2012, I had the great fortune to be Terry Adkins was a great American He motioned toward the sea and said it curated into the exhibition Radical artist. was from there. Presence, in which Adkins also partici- pated. This opportunity provided me As I reflect on the art and life of my “Where?” I asked. with an instant ally. He invited me to beloved friend for this text, I listen be a member of the Lone Wolf Recital to John Coltrane’s Infinity, a seminal “From the other side,” he said. Corps—his post-media performance recording in the early formation of collective. During my time with the Terry’s towering genius. Ultramarine means from across the sea. LWRC, Adkins challenged, pushed It is a blue that reaches Italy from Africa. and required excellence in perfor- An elder artist once said, “Sprits are mances that sometimes seemed quite always in the room.” Terry’s brilliant He said that an artist told him this when unfair and unreasonable. But I soon spirit stands before us, speaks to us he was a young man living in Switzerland. realized this was a part of his brilliance and lives and thrives deep within us. and generosity. Then, in summer 2013, He carried “Ultramarine Light” his we were in residence at the Hermitage For those of us who were moved whole life. Artist Retreat, where Will Villalongo by the power of his presence and and I frequently caught the wrath of inspired by his wise words, he trans- The body of water and distance Terry’s (larger than life) laugh. I have formed our lives. In his absence, implied within the color produces a so many stories and memories that we embody his spirit in living space. simultaneous contrast of something this short paragraph simply can’t hold. fixed and yet vast. It bridges land and, I am so thankful to have known him. Clifford Owens is an artist. He lives in Queens, New York. in doing so, analogizes sea with sky Rest in peace. and here with there. Jamal Cyrus: Tameka Norris is a visual and performing artist currently Sam Mapp is an MFA candidate at the University of living and working in New Orleans. She attended the TMMO Pennsylvania. He lives and works in Philadelphia. Skowhegan School of Painting and Sculpture before earn- ing her BA at University of California, Los Angeles, School of Art and Architecture and her MFA at Yale School of Art. “transcendentally material, mystically Steffani Jemison: objective . . . ” Aftermath Ernel As I read the above passage in a cor- Martinez He read everything I wrote and sent respondence between Emir Douglas versions and revisions of his own texts. and Duke Hughes, the moon became Terry never lost his humanity or his Compliments were free. “Outtasite!” full. I received a slight opening, and Southern-style upbringing while was my favorite. Then he would call, then saw with more clarity the truth navigating the complex art world as usually on Saturday mornings. There is of what you had said, and knew with an African-American artist or being a connection, he once told me, between more certainty the strength of the recognized for his many accomplish- my title and your project. The connec- chain to which you were linked. ments. When he walked into a room, tion is math. The title is Aftermath. With this wisdom the air became his presence dominated any space. charged with newborn possibility, His personality was bigger than life. Aftermath: a second crop in a single and the path took a step towards me. He has finally received the acknowl- season, having renewed after being cut, edgment and appreciation he as in grass that grows back after being Signed, deserves. The art world has lost a mowed. Sow once, harvest endlessly. Lone wolf cub tremendous mind and talent. His Our relationship was rooted in dialogue, legacy will live on in the lives of young collaboration and critique. His generos- Jamal Cyrus earned his BFA from the University of Hous- artists and the people he influenced. ton, participated in the Skowhegan School of Painting ity was unfathomable. and Sculpture and received his MFA from the University of Pennsylvania. Ernel Martinez is an artist and cofounder of Amber Art Steffani Jemison was a 2012–13 artist in residence at The and Design, a collective committed to transformative so- Studio Museum in Harlem. She lives and works in Brooklyn, cial practice. He currently lives and works in Philadelphia. New York. Features 57

Sarah Mohammadreza Demetrius Tortora Mirzaei Oliver

I spent a great deal of time in Terry’s We were near a church around Terry’s engagement with the world class with my eyes closed. As a deliber- Ravenna. I was leaning against the was not just confined to his art, but ate rejection of a purely “visual” art wall and thinking about what he told also involved how he carried himself. and its corresponding omniscient me the night before. The joy of losing. He was never without a cause and his “viewer,” Terry encouraged me and He had asked me to lose. Isn’t it causes were many, whether the need my classmates to amplify our constant strange? He told me that it’s not good for public monuments for under- reception of sensory information to be always good. You should be bad recognized individuals such as Bessie and reclaim that which we had taught to be better. Smith or the proper appreciation of ourselves to repress. He was at times free thinkers such as John Brown. puzzlingly esoteric in his vision, but He came and passed me. He touched He constantly sought to herald indi- always generous with his words. I am the cow sculptures in front of us and viduals who reflected his own values indebted to this manner of thinking— then brought out a cigarette. I put and, in doing so, became a beacon for of navigating by intuition, by physi- away my camera and looked at him. the rest of us. While he is no longer cally retreating inward. As a result, For a moment he looked at me and with us, the torch has been passed to Terry’s focus, movements and legacy, then my camera, and I took this photo. his many former students to carry on and the recollections of these most the principles he so deftly demon- subtle gestures, provide a perpetual It has been three months. I look at strated in his own life. resplendence of all he has given and, it. At those eyes. And think of that in memory, continues to give. moment. And the joy of losing. Demetrius Oliver received his BFA from the Rhode Island School of Design and his MFA from the University of Pennsylvania, and attended the Skowhegan School of Painting and Sculpture. He lives and works in New York. Sarah Tortora received her MFA at the University of Mohammadreza Mirzaei is an Iranian photographer Pennsylvania in 2013. She currently lives and works in and writer, whose book , What I Don’t Have (Edizioni del New Haven, Connecticut, where is an Adjunct Professor Bradipo, 2013) was curated by Terry Adkins. of Sculpture at Southern Connecticut State University. Summer/Fall 2014 58 Performing Prison The Art of Incarceration

by Sable Elyse Smith, Education Assistant

In August 2005 I decided to do a Google image search Among the artists who have explored this alienation for photos of prison inmates. I started to interrogate the are Henry Ray Clark, Frank Albert Jones, Antonio Vega aesthetics of prison, to look at the cell and at the concept Macotela and Yashua Klos. Each was interested in, and of time. I archived strange gestures that had imprinted somehow intervened upon by, the prison-industrial com- themselves upon my body, gestures I had performed plex. Clark and Jones—both included in Lax’s exhibition— since the age of ten, when I learned that the prison system created art while incarcerated at the Texas State Prison would eventually touch us all. How does one “perform” in Huntsville. Klos made a series of drawings based on his prison? Prison is a sequence of gestures that un-learn the correspondence with a friend who had been imprisoned body’s articulation of freedom. It might also be one’s first for six years. Though their incarcerations span different encounter with time itself. To be contained in a system epochs, there is something strikingly contemporary about where the smallest liberties are regulated creates a sense their endeavors. of slippage—a feeling of being outside of time. Prison Each of Jones’s drawings is marked by his inmate inscribes, and the body remembers. number: 114591. The decision was not his own; every inmate Assistant Curator Thomas J. Lax has described his accepts this numerical moniker, and with it their place exhibition, When the Stars Begin to Fall: Imagination in the in time is solidified. With this number, individuals are American South, as “an exploration of categorization, an archived away and constantly recategorized. This is the experiment in reorganization and a meditation on the way residue of prison, a residue that spills over onto families, ideas about place—real and imagined—structure our sense veiling them and somehow collapsing the difference of belonging.”1 One might say that prison presents a sense between the inside and the outside. Jones made hundreds of no place, an alienation that creates a new visual and of drawings in the four years leading up to his death. social vernacular. He created intricate schema, primarily with blue Features 59

Frank Albert Jones Devils Got the Drinking Woman, c 1965–69 Courtesy the Blanchard-Hill Collection, New York, NY Photo: Marc Bernier

and red pencils salvaged from the prison’s account- In the instant that time is transformed into hours, minutes, ing office. These repetitive architectural structures are and seconds instead of experiences, well, then time has reminiscent of military and cell-like facades, with barbed been taken from us.”3 Though Macotela was looking for a wire–like accoutrements intertwined throughout. Dwelling scale model of an economic system, his experience within inside this architecture are “haints” or spirits. Despite the prison system instead led him to create a symbolic these deft quotations on prison life, it is recurring motifs, exchange of time. These intimate exchanges collapsed— such as the clock, that really begin to elucidate the irony if only for a moment—disparate temporalities. The sum that is “doing time.” The clock presents the same duality of Macotela’s project begins to reveal itself, unfolding into as the “haints,” which Jones describes “as both protective the image of a clock. Macotela traversed across Mexico guardians and deceptive phenomena.”2 Similarly, clocks City carrying out tasks given to him by the 365 inmates he’d present a sense of time and timelessness—a regulating collaborated with over the span of four years. In return, he force and an absurd abstraction. Time is protective, as it asked them to archive certain details and artifacts using the presents a reliable constant. However, it is also deceptive most inherent clock they possess: their bodies, their breath, in its unattainable nature. their heartbeats, their thoughts. For instance, in exchange Macotela underwent “time exchanges” with 365 inmates for Macotela videotaping an inmate’s sons’ first steps, he in Mexico City’s Santa Martha Acatitla prison. In these asked the inmate to catalogue every cigarette butt on the scenarios, each artist was forced to make certain decisions. floor of his cell. Another inmate collected swaths of cloth- Prison has a way with people. For Macotela, prison acts ing from prisoners being released. And, as Macotela cooked as a caricature of society, and time is a commodity. From for an inmate’s family, the inmate archived each of his a Marxist point of view, “time has been transformed into heartbeats for the three hours it would take to prepare the production and then production into distribution. meal. These are the measures of the accumulation of time. Summer/Fall 2014 60

Antonio Macotela Time Exchanges 331, 2010 Courtesy the artist

Henry Ray Clark I am Four Eyes from the Planet Known as Four Stars, c 1985–95 Courtesy Jack Massing

Klos, who primarily works in printmaking, drafted a The exact dimensions processed through and measured scale model of a cell inhabited by his friend, Silowae, with the disenfranchised body. With his body resting on who had been incarcerated for six years. Klos maintained the cold metal in the visiting room, Klos remembers three a correspondence with Silowae throughout this time, words spoken to him by Silowae: “Live for me!” though a certain closeness began to dissipate as each Each of these artists has managed to explore the little- tried to understand the other’s very different reality. spoken-about and most psychologically damaging part of In those six years, Klos traveled to France and relocated prison. And, as one of the prisoners told Macotela, “If art to New York, where he completed his graduate degree at is—as you say it is—the modification of daily life, or the Hunter College. He became a part of the art world, and modification of objects and acts to give them new mean- enjoyed vast new freedoms. Neither one of their words ing, then we have a question for you: Don’t you think that would ever be understood in the same way. Considering survival in here can be art too?”4 the rupture experienced in this relationship, and that of Silowae’s absence from the outside world, Klos embarked 1. Thomas J. Lax, When the Stars Begin to Fall: Imagination and the American South (exhibition catalogue) (New York: The Studio Museum on a suite of drawings that visualized what he understood in Harlem, 2014), 10. of his friend’s experience, as informed by the letters he 2. Ibid., 62. received. The drawings were incorporated into a three 3. Antonio Vega Macotela and Gabriella Gomez-Mont, “Mexican Rashes,” VICE, June 1, 2008, accessed April 10, 2014. http://www.vice.com/read/ dimensional structure, recently included in an exhibition mexican-rashes-137-v15n6 of Klos’s work at Jack Shainman Gallery in New York. 4. Ibid. FeaturesSummer/Fall 2014 61 Not When You Want, but Always on Time: In Conversation with Otabenga Jones & Associates

by Ryan N. Dennis

Otabenga Jones & Associates is a Houston-based artist collective founded in 2002 by artist and educator Otabenga Jones in collaboration with members Dawolu Jabari Anderson, Jamal Cyrus, Kenya Evans and Robert A. Pruitt. The group’s pedagogical mission is manifested in myr- iad forms, including actions, writing, DJ sets and installations. In scope the collective’s mission is three-fold: to underscore the complications of black representation, to maintain and promote the core principles of the Black radical tradition and to (in the words of the late Russell Tyrone Jones) “teach the truth to the young black youth.” Summer/Fall 2014 62

It has been a few years since the collective came Can you discuss the impetus for a project such as together to do a project. Before we get into the current Round 40: Monuments: Right Beyond the Site, currently project, can we talk about how the process of working on view at Project Row Houses? together as a collective has been different this time around compared to previous years? This project primarily highlights events, people and organizations we see as having played important roles in First of all, don’t call it a comeback. We have always forming the identity of Houston’s Third Ward. Like many been working, even if the products are not highly visible. other urban areas, this neighborhood is seeing shifts in However, you are right, our production has dipped in the its demographics, and we want to make sure that some past few years. But in recent months it has kicked into important parts of the neighborhood’s history remain hyper-drive, so I guess, in a sense, we have come back into intact. We would also like to add that this is hopefully only the public eye. We were recently listening to an interview the beginning of a longer process. We plan to continue with the MC Pharoahe Monch. He has begun working to partner with individuals and organizations to do this with his rhyme partner Prince Po after not having worked work. There are many stories that still need to be told. together for an extended time. The interviewer likened bandmate relationships to romantic relationships, except Can you discuss the sites you chose and how their without the romance, which provides the advantage of identities/histories are aligned with the collective’s allowing time off without the fear of complete dissolution. practice? This comparison is apt for us as well. Our connection as a group goes beyond art-making and collaborative projects, We chose the following sites, events or traditions: PABA and this is where we have an advantage over others. From (Professional Amateur Boxing Association), the People’s working together over the years, and just knowing each Party II’s Carl B. Hampton Free Health Clinic, the Blue other, we have developed a shorthand for our creative pro- Triangle YWCA, the 1967 TSU Police Riot, Unity Bank cess. It’s been really exciting to be in the same room again, and a group of sign-painters who have worked in the focused on particular projects. There is great strength in neighborhood over the last forty years. In a nutshell, to creative cooperation, but this is not to suggest that there us this group embodies a certain resilience, and do-for- isn’t conflict. The periods of group inactivity have allowed self attitude that we find to be important to Third Ward’s us to focus on our individual adventures and practices, collective identity, especially among its older generations. and you build a lot of confidence in your own ideas and Though on first sight, some of these groups might not eas- instincts when you are engaged in your own work like ily fit into the histories we usually champion as a group, that. It can be complicated to reel in that mindset and when one uncovers their functions and achievements go back to listening to other people’s opinions. But this in the neighborhood, it becomes evident that they were return has reinvigorated our assuredness in each other, indeed radical. and in the very idea of Otabenga Jones & Associates. This project is very much about countering erasures I became familiar with you while I was working at in urban areas. In addition to creating a visual rep- the Menil Collection and you were preparing for the resentation of each site in the art houses, you all are Lessons from Below: Otabenga Jones & Associates exhi- physically adding to the landscape of the neighbor- bition. This was in 2007. I see the mission of Otabenga hood. Tell me about that. Jones & Associates has shifted a bit. At that time one objective in the mission was “to ‘mess wit’ Whitey.” In Houston there is a tendency to tear down, or forget That is no longer explicitly in the mission. Can you histories that get in the way of what “the city” currently speak on that? thinks of as progress. With this project we wanted to cre- ate works that disrupt that process in some way. The crafting of that message was done in youthful exuber- ance and naïveté. It got a lot of people excited and served its purpose well, but we do not feel the need any longer to advertise ourselves in that way. People know what we’re about. At its core, that “messin’ wit Whitey” statement Lanier East Hall Men’s Dormitory at Texas reflected the natural disruption of the structure of white Southern University (installation view) supremacy through black liberation. So in that sense it Round 40, March 29–June 22, 2014 Courtesy Project Row Houses, Houston still holds true, and we are still very much about that life. Photo: Alex Barber Features 63 Summer/Fall 2014 64

When we first started talking about this installa- So, for you, “black spatial practice” is a term that tion, we had a few back-and-forth conversations conflates black space and spatial practice as a means about black spatial practices versus the idea of black to highlight a more intentional position taken by space. For you, is there actually a difference? And if black folks? so, how are each being defined from the collective’s perspective? Yes, if I understand your question correctly. It was a term that started being used to help us understand some This has been an interest of Otabenga Jones & Associates ways black folk have traditionally dealt with the issue of for a few years now, and has come through in a few dif- commemorating and monumentalizing aspects of their ferent projects. The problematic nature of black people’s history. And those traditional strategies are informed Object-ness is well documented. Our historical “narra- by a mixture of artistic concerns, political realities and tive” is, of course, rooted in our beginnings as property. resources. Perhaps this is why you find so many of these During slavery, we couldn’t own ourselves, much less memorializing gestures on or inscribed in the body. land or property. This is, of course, largely fiction. Black people did own land and property and built institutions. Can you discuss the pedagogical mission of Otabenga However, these were sometimes stolen and or destroyed, Jones & Associates and how it plays out in Round serializing our Object-ness and further advancing the 40: Monuments: Right Beyond the Site and upcoming narrative of the general impermanence of our existence projects? and our relationship to our environment. Even today, black neighborhoods are frequently sites of disposses- Our projects have essentially always been about trying sion—empty buildings, vacant lots and large tracts of to evoke spirit. I refuse to use the tired term “memory” rental properties. I think Otabenga Jones & Associates is here, but prefer “spirit.” From our study, and what we have interested in what ways black people have responded to been able to glean from it, a certain brand of spirit, and not this cycle of deprivation of space. What have we lost and memory, has been an important factor in sustaining and in what ways have we tried to retrieve things or curtail preserving our struggle. Memory has been used as a means that loss? of getting to that place, but is not the end. The end is the acquisition of a certain spiritual consciousness that is able to initiate action, to move mountains. Features 65

This plays out in the content and form of our projects. And it’s tricky, because many are of the opinion that we are in a place where this type of dialogue is no longer nec- essary. Of course this works to assuage some of us, but Mr. Otabenga Jones does not think it holds water, so we will continue doing the type of work we have always done, but hopefully with more intelligence, vigor and tact. This is a marathon run.

A marathon it is. You all are participating artists in funkgodjazz&medicine: Black Radical Brooklyn, orga- nized by Creative Time and Weeksville for the fall. Would you care to talk about that?

We’re real excited about this project. In fact, what we’re doing shares a lot of similarities with the Project Row Houses Monuments project. We are addressing two long- time Brooklyn institutions that have a history of that same resilience and do-for-self tradition we spoke of earlier: the Central Brooklyn Jazz Consortium (CBJC) and its antecedent the EAST. The EAST no longer exists, but the CBJC was founded by some of the same people and adheres to many of the same principles. We are creating an incredible sound sculpture that operates as a local radio station with programming pulled from the music and performance histories of both the EAST and the CBJC. This work will have a lot of community involve- ment, including local radio hosts and DJs. Unity National Bank (installation view) Round 40, March 29–June 22, 2014 Courtesy Project Row Houses, Houston This interview took place between Ryan N. Dennis and Otabenga Jones & Associates via Photo: Alex Barber email from April 22–29, 2014.

Round 40: Monuments: Right Beyond the Site examined strategies traditionally used by African Americans to mark, beautify or commemorate public and private space, with a focus on spaces that have been created and sustained for a number of years in Houston’s Third Ward. Otabenga Jones & Associates created installations that served to com- municate and celebrate the values of cooperation, entrepreneurship, self-determination, resistance and communal responsibility that have come into play as the historic Third Ward has changed.

Organized by Ryan N. Dennis, Round 40: Monuments: Right Beyond the Site was on view March 29–June 22, 2014, at Project Row Houses.

Otabenga Jones & Associates have appeared in exhibitions at The Studio Museum in Har- lem, the 2006 Whitney Biennial at the Whitney Museum of American Art in New York, the High Museum in Atlanta and the Menil Collection and Contemporary Arts Museum Houston, among others.

Ryan N. Dennis joined Project Row Houses as the Public Art Director in October 2012. Prior to moving back to Houston she worked at the Museum for African Art as the travel- ing exhibition manager, working on exhibitions includeing but not limited to El Anatsui: When I Last Wrote to You about Africa, Dynasty and Divinity: Ife Art in Ancient Nigeria and Jane Alexander: Surveys (from the Cape of Good Hope). She received her MA in Arts and Sign Painters: Israel McCloud, Bobby Ray, Walter Cultural Management from the Pratt Institute, where her research focused on the role of Stanciell (installation view) the artists as the administrator and cultural producer through residencies and collabora- Round 40, March 29–June 22, 2014 tive programming. Prior to moving to New York, she worked as a community organizer Courtesy Project Row Houses, Houston and a curatorial assistant at the Menil Collection in Houston, Texas. Alex Barber

Opposite: Progressive Amateur Boxing Association (installation view) Round 40, March 29–June 22, 2014 Courtesy Project Row Houses, Houston Photo: Alex Barber Summer/Fall 2014 66 Studio Museum Interns Where Are They Now?

by Shanta Lawson, Education Manager

For more than thirty years, the Studio Museum’s college internship program has served as a stepping stone for stu- dents eager to gain experience working in museums. The internship is designed to provide students with the three E’s: Exposure, Experience and Education. These are the necessary steps on the path to a career in the arts. The Museum has welcomed interns into several Museum departments including Curatorial, Communications, Education, Development, Community Engagement and Programs, and the Director’s Office. Far from the fabled “coffee- run” intern experience, interns at the Studio Museum work closely with staff on a range of important projects and tasks that provide insight into the inner workings of the Museum. Meaningful projects and mentorship, along with intern meet- ings, off-site professional development visits and other training sessions form an internship experience that empowers students to make informed decisions about the next steps in their academic and professional paths. Have a look at a few former interns who are currently working in exciting, important roles at the Studio Museum and other arts institutions and nonprofit organizations.

Studio Museum employees who were once interns: Former Studio Museum interns at other organizations: 1. Thelma Golden, Director and Chief Curator 8. Anika Selhorst, Art Center Director, 92nd Street Y Public Relations Intern, 1985; Curatorial Fellow 1987–88 Studio Museum Education Intern, Summer 2003 2. Hallie Ringle, Curatorial Assistant 9. Janelle Grace, Publicity Coordinator, Curatorial Intern, Summer 2012 3. Naima J. Keith, Assistant Curator Studio Museum Curatorial/Communications Intern, Curatorial Intern, Summer 2003 Fall/Winter 2008–09 4. Kim Drew, Communications Assistant 10. Kendra Danowski, Editor and Director’s Office Intern, Summer 2010 Engagement Coordinator, ArtsFwd 5. Erin Hylton, School Programs Coordinator Studio Museum Director’s Office Intern, Summer 2009 Development Intern, Summer 2012 11. Makeba Dixon-Hill, Curator of Education, Spelman 6. William Armstrong, Project Manager, Data Systems College Museum of Fine Art Development Intern, Summer/Fall 2010 Studio Museum Education and Public Programs Intern, 7. Thomas J. Lax, Assistant Curator Spring/Summer 2004 Curatorial Intern, Fall 2007 12. Edward Salas, Assistant to Access and Community Programs, Whitney Museum of American Art Studio Museum Communications Intern, Spring 2013 Studio Jr. 67

1. 2. 3. 4.

5. 6. 7. 8.

9. 10. 11. 12.

Thelma Golden's photo: Timothy Greenfield-Sanders. Thomas J. Lax's photo: Paul Mpagi Sepuya. All other photos courtesy the subject.

Interested in becoming part of this prestigious list? Summer, fall and spring internships are available for undergraduate and graduate students. To learn more about the Studio Museum’s internship program, please visit www.studiomuseum.org/learn Summer/FallSSuSumumummemermer//F/FaFaFallll 220201400114 686 Studio Jr. StuStudiodio JrJr.. 69

Art Work, Marie "Big Mama" Two Ways Roseman by Hallie Ringle, Curatorial Assistant, and Erin Hylton, School Programs Coordinator

In Art Work, Two Ways, Curatorial Assistant Hallie Ringle discusses the works of Marie Roseman, one of the artists included in the Studio Museum’s spring 2014 exhibition, When the Stars Begin to Fall: Imagination and the American South. School Programs Coordinator Erin Hylton offers a lesson inspired by one of Roseman’s signature pillows.

Hallie Ringle Marie Roseman began making her improvisational quilts, which are in many ways more akin to sculptures than traditional quilts, in the 1970s when she was in her seventies. Roseman, a native of Tippo, Mississippi, generally appliqued materials on pillows and quilts using yarn, thread, fabric scraps and materials from around her home and yard to express narratives, abstract scenes and veiled messages. The expressive nature, dynamic compositions and Abstract Expressionist ges- tures of the threads align her work with action painting as much as with domestic objects, which quilts are usually considered. Roseman began her career making more traditional quilts and using her bed as a quilt frame. Though most of her quilts are hand-sewn and appliqued, she also Marie “Big Mama” Roseman Untitled (Pillow with plastic leaf), c. late 1960s employed a hand-pumped machine, likely to create the Collection of Donald Roseman quilt and pillow bases. During her lifetime, Roseman hung her pillow and quilt creations around her home. She tapped into their aesthetic rather than functional amorphous throngs of yarn that are piled thick like hair value to create an environment. on a ragdoll, another form that Roseman explores in Untitled (Throw) (c. late 1960s) combines her use of her other works. Roseman likely also gained inspiration machine-made quilts with hand-sewn applique. Using a from her garden, which may have resulted in the green quilt as the base, Roseman’s improvisational stiches form leaf and the vine-like threads dangling from the bottom yellow, orange, red, blue and black zigzags that closely of the pillow. resemble text-like structures. In the lower half of the The painterly quality of Untitled (Pillow with plastic quilt, the yarn is an organic mass of angular forms and leaf) is more pronounced than in the gestural stitches of bursts of color that reverberate off the grid formed by the other works. Elongated green forms cling to the sur- the quilted squares of pastel, flower-motif polyester/cot- face of the pillow from all four corners and slowly make ton. Produced by large stitches, jagged, intersecting their way to a center mass that contains tightly bound, lines radiate from the throng of thread and are inter- flower-like sections of cloth. Likely using houseplants as rupted periodically by clumps of fabric sewn tightly inspiration, Roseman incorporated plastic and yarn together in a pincushion style that resembles a swarm leaves into the vine-like structures that stretch across of sea urchins or plant-like pods. the surface of the pillow. Like Untitled (Throw), Roseman’s work Untitled (Pillow Roseman’s intentional placement of these works as with plastic leaf) (c. 1960s) is nearly painterly in nature, aesthetic objects only is reified by their vertical position. with hundreds of red, green, blue and yellow twists, Seen together, the three works begin to create the entangled atop the cream, preformed pillow base. same textile-based milieu Roseman had constructed in Sequins, nylon and a plastic leaf are ensnared by the her home. Summer/FallSummer/Fall 2014 70

Art Work,Work, MarieMarie "Big"Big Mama"Mama" TwoTwo WaysWays RosemanRoseman

Introduction Untitled (Pillow with pplasticlastic leafleaf)) introducesintroduces sstudentstudents ttoo Marie “Bi“Bigg Mama” RosemaRosemann Untitled (Pillow with plasticplastic leaf)leaf),, the wonderful world of color and texture. Through rich cc.. latelate 1960s1960s use of materials, this image can provide a basis for the CoCollectionllection ofof DonaldDonald RosemanRoseman discussiondiscussion of design, creative problem solving and patpat-- terns, as wewellll as art expexploration.loration. As stustudentsdents participate inin tthehe art-maart-makingking process, theythey willwill experience ddesignesign thinking, investigate and use critical thinking to reflect onon theirtheir own visions, andand exploreexplore relationshipsrelationships betweenbetween texture, pattern anandd cocolor.lor. StuStudiodio Jr. 71

Art Work,Work, Marie "Big"Big Mama" TwoTwo WaysWays RosemanRoseman

ObjectiveObjective PreparationPreparation StudentsStudents wiwillll investigate using ddesignesign thinkingthinking andand rela-rela- 1.1. IntroduceIntroduce vocavocabularybulary words.words. Discuss tthehe meanings tionshipstionships bbetweenetween materiamaterials,ls, as wewellll as create artworartworkk in ofof pattern, texture, design and design thinking, and whichwhich they express aspects ooff their own identities. itsits applicationapplication in thethe classroom.classroom. 2. DisplayDisplay images ofof Roseman and explain who she was. “How“How MigMightht We” Question Show an image ooff her UntitledUntitled (Pillow with plastic lealeaf)f). How migmightht we use ddesignesign thinkingthinking to create a piece 3.3. PlacePlace ttackyacky glue and other adhesives at center ofof fullfull ofof texture and pattern?pattern? table. Leave space forfor work to develop. 4.4. Set out materials forfor studentsstudents to makemake theirtheir own MaterialsMaterials patterns, making sure they have a variety ooff string, • TissueTissue paperpaper yarn, rope or ribbon to choose ffrom.rom. • ConstructionConstruction paperpaper 5.5. ProvideProvide eacheach studentstudent withwith one shoeshoe boxbox or piece • String/yarn/ropeString/yarn/rope (a variety ooff styles and colors ofof cardboard. suggested)suggested) • T Textiles/fabricextiles/fabric swatches and pieces MethodsMethods • T Tackyacky ggluelue or ototherher aadhesivesdhesives 1.1. AskAsk stustudents:dents: HHowow migmightht we use ddesignesign thinkingthinking to • Shoe box/cardboardbox/cardboard create a piece fullfull ofof texture and pattern?pattern? • 2. IntroduceIntroduce thethe materials.materials. VocabularyVocabulary 33.. HaveHave studentsstudents bbeginegin to seselectlect materiamaterialsls to pplanlan ttheirheir • MarieMarie "B"Bigig Mama" Roseman: Roseman was bornborn designdesign pieces. inin 1898 andand grew up in Tippo, Mississippi. SShehe was 44.. ExecuteExecute eacheach designdesign thinkingthinking planplan using aadhesivesdhesives married,married, had fourfour children and, in 1947, moved to andand materials.materials. BentonBenton HarHarbor,bor, MicMichigan.higan. SShehe bbeganegan creating herher 55.. RemindRemind stustudentsdents to consiconsiderder ddesignesign thinkingthinking andand quiltsquilts anandd textitextilesles in herher seventies. how their pieces can reflectreflect design and pattern • Pattern:Pattern: a repeated formform or design, especially used using thethe materialsmaterials at hand.hand. to decoratedecorate sometsomethinghing • Texture:Texture: the visual and tactile quality ofof a surfacesurface ClosureClosure • Design:Design: a plan fforor the construction ofof a system or 1. DisplayDisplay finished designsdesigns around classroom.classroom. objectobject 2. AskAsk sstudentstudents ttoo ttakeake a gallerygallery walk and view their • DesignDesign Thinking:Thinking: a mode ooff thinking during the peers’ designs.designs. processesprocesses ofof design that employs a formalformal method 33.. InviteInvite students to exexplainplain the choices theythey made forfor the development ooff practical, creative resolutions inin creatincreatingg their artworks. to proproblemsblems or issues 4. DiscussDiscuss dedesignsign thinkingthinking in the finished projects.projects.

Share your final results on Twitter and Instagram using #ArtWork2Ways! Summer/Fall 2014 72

The Past. The Present. The Future. Expanding the Walls 2014

by Sim E. Smith, ETW/Youth Programs Intern

Influences come in various forms The students, working in small Workshop with Xaviera Simmons and from different generations, but groups, then combined their indi- 1. Alice Zheng all help express a vision. Artists pro- vidual photographs to tell a collec- Passionate Sorrow duce sculptures, photographs, audio tive story. Simmons guided the 2. Andrew Maldonado works, paintings, videos and more to group through experimentations and The Wonders portray very specific messages. For ideas about how to get viewers to the young artists in Expanding the identify with an image. Many of the 3. Atzimba Xoyalta Innocence Walls 2014, influences come from students now say that working with musicians, photographers and even these teaching artists helped them 4. Justin Perez authors, in addition to the inspiration clarify their messages. 4 Cards Never the Same provided by James VanDerZee’s pho- As an Expanding the Walls alum- 5. Sarah Ortiz tos of African-American life in the nus, I know the importance of exper- The Blimp Theory first half of the twentieth century. imentation for these students. Each

Expanding the Walls is an eight- class goes through different stages Workshop with Ivan Forde month photography-based program of artistic development, but we all 6. Brendly Fernandez, Sarah Ortiz, for a select group of students relish having a place to express our- Kelvin De Leon and Christopher Neal enrolled in a high school or equiva- selves and grow personally and artis- Off My Playground lency program. Students participate tically. The support system at the 7. Maia Weisenhaus, Gabriella Rosen in a regimen of art workshops, dis- Studio Museum is critical to this pro- and Alice Zheng cussion groups and field excursions cess, and most students leave the The Reach while learning the fundamentals of program with a deeper understand- 8. D’Angelo Heyward digital photography. The artists ing of both mind and spirit. Urban Jungle exhibit this documentation of their own communities and the photo- Workshop with Kwesi Abbensetts graphic expression of their ideas 19 during the summer exhibition sea- 5 9. Brendly Fernandez Untitled son here at the Studio Museum.

The current students have worked 10 10. Gilberto Mena with artists such as Kwesi Abbensetts, 2 Running Through Waterfalls with No Apron On Ivan Forde and Xaviera Simmons to 6 expand their photography skills and 11 11. Jesus Morales develop their ideas. Abbensetts The obscurity of a Mannequin lover explained, in a series of workshops, 3 7 12. Maia Weisenhaus how one can create moods and feel- 12 Out of the Tangle ings through lighting, and also gave 13. Steven Sanchez tips on how to use their cameras. 4 8 Greek Run Forde, an Expanding the Walls par- 13 ticipant in 2008 whose work was featured in a 2014 Harlem Postcard, taught the students about image manipulation. He selected a few photos taken by the students and showed how one could reconstitute them into entirely different images. Summer/Fall 2014 73 Summer/Fall 2014 74

DIY Unconventional Puzzle Art

by Elan Ferguson, Family Programs Coordinator and Teaching Artist

Here’s what you’ll need: • 8½ x 11–inch image printed on paper • 2 sheets of graph paper (There are many kinds of graph paper, so pick the one you like best.) • Scissors • Glue • Tape • Pencil

Charles Gaines Numbers and Trees, Matilda, #4, 1986 Courtesy of Fresno Art Museum, Fresno, California

Charles Gaines’s “Numbers & Trees” series is the inspiration for this do-it-yourself project. In an interview with Gaines by Leila Hamidi, on the website Notes on 1. Leila Hamidi, "Interview with Charles Gaines," Notes on Looking, accessed June 1, 2014,

Looking, Gaines stated of the series: “It’s not a graphing of—its pattern. What I http://notesonlooking.com/2011/12/interview- did was I graphed the difference in the same tree over a period of days so that if with-charles-gaines-by-leila-hamidi you took a photograph of a tree one day and then come back two days later, leaves are missing. I’m recording the rate that the tree is losing its leaves. And Studio Museum Challenge: Send a picture of your completed Puzzle Art the plotting system is simply to transfer the numbers from the crown of the tree or Coloring Page to me, Elan Ferguson, at to the bottom of the grass. So, if I compare two photographs, there might be [email protected]. leaves at the crown of the tree in one photograph but not in the other. So with Chosen images will be posted to Studio Museum 1 this plotting, I can locate the missing numbers or the missing spaces.” Gaines social media; follow us at @studiomuseum on colorfully documents the random happenings of leaves, so in this project you Facebook, Twitter, Instagram and Tumblr to see when they post! will experiment with the random placement of a dissected image. Studio Jr. 75

Step 1 Step 2 Step 3 Choose an image and print it out on Place the graph paper on top of the Use a pencil to highlight a pattern—of a standard sheet of printing paper. image and tape it into place. your choice—of squares. The squares can be large, which is good for small children, or as small as a single grid square, which is more challenging for older children and adults.

Step 4 Step 5 Step 6 Cut out the squares through both Separate graph paper from the Glue the square pieces of your origi- sheets of paper so that you have the image. nal image onto the second piece of pattern of squares cut out of your graph paper into a different, all-new original image. pattern—or place them randomly.

Coloring Page

Hello! My name is Marc and I am the Exhibitions Manager for The Studio Museum in Harlem. It is my job to work with the museum’s curators on the installation of artwork in the galleries. Step 7 I help create engaging environments that maximize the visibility and acces- sibility of each artwork. Behind me is the main gallery space in the Studio Admire your new composition, Museum. Please help me arrange and add artwork to this space! which deconstructed and then reconstructed your original image.

Summer/Fall 2014 78

Ten Years of Collaboration: Children's Art Hour at Harlem Hospital Center

by Erin Hylton, School Programs Coordinator

This year, The Studio Museum in Harlem and the Harlem Over the last ten years, the children have created proj- Hospital Center Community Health Education and ects inspired by a range of artists, including , Outreach Department celebrate ten years of collabora- Clementine Hunter, Romare Bearden, Gordon Parks, tion on Harlem Hospital Center Children’s Art Hour. Selma Burke and Brian Pinkney. The projects range from Each year, throughout the month of March, volunteers sculptural paintings with origami and tissue paper to facilitate an art-making activity with children receiving black-and-white collages inspired by Harlem. Each proj- pediatric services. Volunteers, including hospital staff ect builds connections between the children, their fami- and volunteers from the city council, Big Apple Circus, lies, volunteers, the Harlem community and artists of ABC News and other community organizations and busi- African descent. The Studio Museum and Harlem nesses, are trained by the Museum’s education staff to Hospital Center look forward to continuing the annual assist children in creating artworks inspired by the work Children’s Art Hour collaboration, in which children learn and life of an artist in Museum’s permanent collection or and enjoy hands-on art-making experiences within the on view in the current exhibitions. The children receive hospital environment. free admission to the Studio Museum to visit the exhibi- tions with their families.

Faith Ringgold inspired quilt patches created by participants during Harlem Hospital Center Children’s Art Hour in 2007 Photo: Shanta Lawson Studio Jr. 79 Friends Summer/Fall 2014 80

Spring Luncheon 2014

Erana M. Stennett, Thelma Golden On Friday, May 2, 2014, The Studio Museum in Harlem held its seventh annual

All photos: Julie Skarratt Spring Luncheon at the Mandarin Oriental New York. This year guests saluted Erana M. Stennett of Bloomberg. Guests were also treated to a special presentation by Expanding the Walls artist Brendly Fernandez. The proceeds from the luncheon are a fundamental source of support for the Museum’s outstanding exhibitions and public programs, and help strengthen the Museum’s arts education programming. The Studio Museum would like to thank the following businesses and individuals for their generous support to the success of the luncheon, where we raised nearly $400,000. Friends 81

Spring Luncheon 2014

Thomas J. Lax, Carrie Mae Weems, Lauren Eara Smith, Erana M. Stennett Thelma Golden, Edris Nicholls Haynes Gordon J. Davis, Esq, Erana M. Stennett Deborah Roberts, Erika Liles Tracy Reese, Aliyyah Baylor Holly Phillips MD, Mica Hughes Carrie Mae Weems, Deb Willis, Sandra Lorna Simpson, Merele Williams Adkins Jackson-Dumont

Tables: Patron halley k harrisburg Benefactor Peg Alston Stephanie Ingrassia Frank & Laura Day Baker Benjamin Slome Charitable Foundation LaTanya Richardson Jackson Nicole A. Bernard / FOX Audience Strategy B Michael Laurie M. Tisch Illumination Fund Bloomberg Marianne Boesky Loida Nicolas Lewis Valentino D. Carlotti Susan Sarnoff Bram Adam Lindemann & Amalia Dayan Kathryn C. Chenault Michèle Lallemand Brazil Dr. Shirley Madhère Marie-Josée Kravis Melva Bucksbaum Margaret and Daniel Loeb-Third Point Carol Sutton Lewis Peggy Cooper Cafritz Foundation LVMH Moët Hennessy Louis Vuitton Inc. Racquel Chevremont Marva Smalls Endowment of Coastal Raymond J. McGuire & Crystal McCrary Malaak Compton-Rock Community Foundation of SC MZ Wallace Jocelyn Cooley May and Samuel Rudin Family Foundation, Inc. Amelia Ogunlesi Gordon J. Davis and Peggy Cooper Davis Julie Mehretu & Jessica Rankin Karen Proctor Lisa Dennison Laura Michalchyshyn Ann Tenenbaum & Thomas H. Lee / Jeanne Janine Dorsett Iva C. Mills Greenberg Rohatyn Rebecca Eisenberg Brooke Garber Neidich Viacom / BET Networks The Estée Lauder Companies Inc. Michelle R. Paige Vicky L. Free Laura Paulson Kathy Fuld Lisa Perry Andrea Glimcher Amy Phelan Agnes Gund Holly Phillips MD Christina Lewis Halpern Karen C. Phillips Summer/Fall 2014 82

Spring Luncheon 2014

Joyce K. Haupt, Kathryn C, Chenault and Jacqueline Nickelberry Thelma Golden, Kate D. Levin Marie-Josée Kravis Caralene Robinson Saundra Parks, Pauletta Washington Deb Willis, Gia Hamilton Joyce K. Haupt, Carol Sutton Lewis Nazie Tesfit, Mario Rinaldi Dawanna Williams, Tracey Riese

Deborah Roberts Donor Robyn Coles Victoria M. Rogers Shelley Fox Aarons Wendy Cromwell Fiona and Eric Rudin Joree Adilman Norma Darden Susan & Jack Rudin Elizabeth Alexander Dr. Judith Davenport Barbara H. Scott Danielle Austen Dawn L. Davis Jack Shainman Jacqueline Avant Lisa E. Davis, Esq. Melissa Schiff Soros Yetta Banks Karlene Dennis Tamara L. Harris Foundation, Inc. Donnamarie Baptiste Olivia Douglas Lindsay Taylor Aliyyah Baylor Gail May Engelberg Time Warner Inc. Joeonna Bellorado-Samuels Louise Eliasof Mickalene Thomas Laura Blanco Elizabeth W. Easton Teri Trotter Valerie J. Blanks, Esq. Susan Fales-Hill Jeanette Sarkisian Wagner and Paul A. Wagner Holly Block Rita J. Falkener Pauletta Washington Berdie Brady Yolanda Ferrell-Brown Nina Mitchell Wells Valerie S. Brown Emily Glasser T Merele Williams Spencer Brownstone Sunny Goldberg Janice Savin Williams Judith I. Byrd Lea K. Green Saundra Williams-Cornwell Carla Camacho Sezelle & James Haddon Carolyn Wilson Tamara Campbell Tiffany Hall Jonathan Caplan and Angus Cook Gia Hamilton Midwin Charles, Esq. Sandra J. Harper Pippa Cohen Joyce K. Haupt Friends 83

Spring Luncheon 2014

Bethann Hardison, Crystal McCrary Monique Ware, Aliyyah Baylor Michelle R. Paige

Sherry Bronfman, Kimberly Chandler Audrey Smaltz, Susan Fales-Hill Aliyyah Baylor

Erana M. Stennett, Jonelle Procope Edris Nicholls, Kim Ayers Shariff, Rosemarie Maya George, Christina Conrado Ingleton, MD

Barbara Hoffman Rhonda Mims Toby D. Lewis Philanthropic Fund Dr. Karen M. Hopkins Alondra Nelson Wendy Washington Joan Hornig Edris E. Nicholls Constance White Arthur J. Humphrey, Jr. Jacqueline Nickelberry Donna Williams Rosemarie Ingleton, M.D. Gabriela Palmieri Deborah Willis Sarah James Irby Dr. Vanessa Perez Ali Winter Sandra D. Jackson-Dumont Phillip and Tracey Riese Family Gift Fund Deborah C. Wright Dwight C. Johnson William Pickens Zubatkin Owner Representation Kim Johnson Marquita Pool-Eckert Leah C. Johnson Jonelle Procope Contributors Dawn Kelly Denise L. Quarles Ashley Shaw Scott Adjaye Jayme Koszyn Tracy Reese Tunji Adeniji Elizabeth Szancer Kujawski Caralene Robinson Naomi Alston Nancy L. Lane Sandra G. Serrant Emma K. Ancelle Miyoung Lee Jean Shafiroff Jennifer Baltimore Nyssa Lee Kimberly Ayers Shariff Christopher Bevans Courtney Lee-Mitchell & Marcus Mitchell Audrey Smaltz Sayu Bhojwani Yvette Leeper-Bueno Jane Sutherland Myra J. Biblowit Jeanine Liburd South African Tourism Bethanie Brady The Honorable & Mrs. Earle I. Mack Ellen L. Stern Sherry Bronfman Karen I. Mauersberg Mr. & Mrs. Larry D. Thompson Alexandra Browne Ira Millstein Connie Rogers Tilton Jacqueline Brown Summer/Fall 2014 84

Spring Luncheon 2014

Peg Alston, Kathryn C. Chenault Marcus Samuelsson and Thelma Golden b michael, Mario Rinaldi

Nicole A. Bernard and Jocelyn Cooley Dr. Shirley Madhère, Kimberly Chandler Lea K. Green

Yvette Leeper-Bueno Saundra Cornwell, halley k harrisburg Felicia N. Crabtree and Evans Richardson

Pauline J. Brown Dominique Kelly Jane Penn Drs. George and Mary Campbell Tracey Kemble Tamar Podell Lydia Carlston Blythe Kennedy Dawn Porter Margaret Cepis Lorrie D. King Patricia Price Teresa Clarke Lara Lauchheimer Peter S. Reed Stuart Ingle Comer Susan Lewis Ann and Mel Schaffer Anita Contini Sonya D. Lockett Joyce Pomeroy Schwartz Monique Cunningham Sharon Lopez Gena Smith Sarah B. Curtis-Bey Amy F. Lucas Suzanne McFayden Smith Linda F. Daitz Doreen A. Malliet Sharon G. Socol Leah A. Dickerman Alison Mandelker-Burnett Susan Sosnick Liz Dimmitt Roxana Marcoci The Foundation, To-Life, Inc. Erin Dooley Ayana Mathis Karen Toulon Jennifer Francis Lucille McEwen Wendy Van Amson Susan K. Freedman Lisa Rose McGowan Monique Ware Sarah Haga Sandra G. Meegan Ernestine Washington Bethann Hardison Erica Motley Karen Lynne Watkins Kim Hastreiter Paula Nailor Alice K. Wells Allison Jaffin Alondra Nelson Anita Volz Wien Julia A. Joern Pamela Newkirk Carla Williams Susan C. Joseph Leslie A. Norville Rodney K. Williams Dawn Kelly Stephanie O’Toole Katherine Wilson-Milne Friends 85

Member Lara Land Spotlight

Level: Individual Location: Harlem Occupation: Owner/ Instructor at Land Yoga Member since 2012

Lara Land and Thelma Golden Photo: Scott Rudd

What is your connection to Harlem?

I moved to Harlem in early 2009, eager to express, create and give. I came with the clear intention of staying a long time, and with a desire to be a part of a community. To me that means being in a space where what I offer is valued and needed, and where I can add something positive. I have my studio, Land Yoga, for children and new and expectant moms. We are involved in the schools, parks, food bank—anywhere we feel yoga is wanted and we can be beneficial. Harlem is the single most welcoming community I have ever been a part of. There is a respect here for health, arts and people, as well as an openness and sharing of resources and knowledge that I have never seen anywhere else.

What does it mean to you to be a Member of the Studio Museum?

To me the Studio Museum is crucial. The other night I was feeling like I couldn’t think, like I needed somewhere to clear my brain. Then I remem- bered: I am a Member of the Studio Museum. I walked right in and sat amidst the art. Just sitting at the Carrie Mae Weems exhibit, I immediately felt calmed and clearer. I also had this feeling of pride in being a Member, like I was a piece of the experience I was receiving. I’m not at all an art expert, but I know what I needed to feel on that night standing on 125th Street, and it was the experience found in powerful art, which I could have found nowhere else. Art is the ultimate. The artist sees something we can’t see and reframes it in a way that makes it appear. Good art exposes a secret and once you to see it, you can never see the world the same again. That’s how I feel every time I enter the Studio Museum —changed. Summer/Fall 2014 86 Members

The Museum’s Membership Anthony Meier Deborah Cates Dr. Kenneth Montague Jocelyn Charles Program has played an important Eileen Harris Norton Andre D. Juste and Vladimir Cybil Charlier- role in the institution’s growth for Lacary Sharpe Juste Diane Solomon Edythe C. Cherry more than forty years. Thank you to Lyn and E. Thomas Williams Ian Christie all the following who helped main- Rodney Clayton Robert Clemons tain our ambitious schedule of exhi- Associate Patricia G. Coates bitions and public programs during Daryl and Rodney Alexander Velma L. Cobb Jennifer Arceneaux Garland Core, Jr. the 2013–14 season. Peggy and John Bader Lynda and Raymond Curtis Linda K. Beauvil Ronald and Linda Daitz Corporate Members Jemina R. Bernard Tyrone M. Davenport American Express Dr. Aliya Browne and Reginald Browne Carlton Davis JPMorgan Chase Cheryl L. Bruce and Kerry James Marshall Sasha Dees New York University Randolph C. Cain Ellyn and Saul Dennison Pfizer, Inc. Charles Davis Russell J. Drake and Rebecca C. Drake UBS Suzy Delvalle Ryan Drake-Lee Sally Dill Erica Eaton SPECIAL MEMBERSHIPS Thelma and David Driskell Lonti Ebers Studio Society Elaine G. Drummond Georgia E. Ellis Drs. Answorth and Rae Allen Arti and Harold Freeman Valentino and Ingrid Ellis Valerie Blanks Ira Goldberg Elizabeth Esch Jonathan Caplan and Angus Cook Lea K. Green, Esq. Toni G. Fay Alessandra Carnielli / Pierre and Tana Matisse Maxine Griffith Ruth Fine Foundation Marla Guess Susan and Arthur Fleischer, Jr. Barbara T. Hoffman Robert and Patricia Gwinn Jack A. Fogle Sarah and Derek Irby Savannah and Dion D. John Patricia Freeman Noel Kirnon and Michael Paley Charla Jones Louis Gagliano and Stefan Handl David Maupin / Lehmann Maupin Jennie C. Jones Anne Garrissen Helen Stambler Neuberger and Jim Neuberger Phyllis L. Kossoff Charlynn and Warren Goins Elizabeth D. Simmons Peter D. Lax Alvia Golden Brenda and Larry Thompson Maureen Mahon Denise L. Greene Francis H. Williams Cheryl and Eric McKissack Joan Greenfield Katherine Wilson-Milne Ernest Mensah Anthony A. and Anne Cochran Grey Marcus Mitchell and Courtney Lee-Mitchell Sharon Griffith Jason Moran and Alicia Hall Moran Sarah Haga GENERAL MEMBERSHIP Maryanne Mott Carole F. Hall Benefactor Edward Nahem Sanjeanetta Harris Anonymous Anne Newman and Joe M. Bacal Janet O. Henry Douglas Baxter / The Pace Gallery Nell Painter Marilyn Holifield Melva Bucksbaum and Raymond Learsy Amy and Joseph Perella Dorothy D. Holloway Agnes Gund Marquita and Knut Eckert Anonymous Sondra A. Hodges Roger C. Tucker III Barbara Johnson Tina and Lawrence Jones Jeanette Sarkisian Wagner and Paul A. Wagner Robert M. Jordan Elizabeth Marks Gwen and Arnold Webb Mitchell Karp and Jonathan Bregman Gwen and Peter Norton Alitash Kehede Connie and Jack Tilton Supporter Wayne H. Kelton Beth Zubatkin Anonymous Zannoah Kinsman Peg Alston Mary M. Kresky Barbara E. Anderson Kelli Lane Donor Beverly J. Anderson James D. Lax, M.D. Ellen Brathwaite Richard Armstrong Jeffrey A. Leib Valerie S. Brown Nicole Awai Pierre Levai Heather Rae Byer Wayne Benjamin Linda A. Lewis Dana Cranmer Daniel Berger, M.D. Joyce Lowinson, M.D. Mia Enell and Nicolas Fries Ann and Jonathan Binstock Daisy W. Martin Nadja Fidelia Vence Bonham Allyson Martinez Joshua Guild and Carla Shedd Barbara Boyd Sheila Ann Mason-Gonzalez Barbara Jakobson William R. Brown Laurence Mathews William Bowen King III E. Maudette Brownlee, Ph.D. Lorenzo McRae Elizabeth Szancer Kujawski Edward Blake Byrne Sal Miele Daniel S. Loeb and Margaret Munzer Loeb Anne B. Cammack Jeanne-Marie A. Miller Harriette and Edgar Mandeville Elaine Carter Cerisa Mitchell Robert L. Marcus Friends 87

Members

Daphna H. Mitchell Yaëlle Biro Mildred B. Roxborough Anna Miyaji Matthew Blesso Anna and Wolfgang E. G. Saxon Isolde McNicholl Motley and Joel W. Motley Michèle and Joseph Brazil Joyce Pomeroy Schwartz Lucienne Muller Daphne A. Brooks Abukarriem Shabazz Madeline Murphy Rabb Cynthia Brown Elza Rohan Sharpe Kay C. Murray Wilma Bucci and Bernard Maskit Marcia Smith and Stanley Nelson Hal Newell George Calderaro Leanne Stella Robert Newman Nia Chambers Kristin Pulkkinen and Peter Stepek Cynthia Orage Nancy L. Clipper Robert and Rosamund Storr Jonathan W. Parker Erica Corbin Keith Strand George D. Patterson Kevin R. Curry and Abdou Seye Laura Sweeney CCH Pounder-Koné Alice M. Dear William L. Thompson George Nelson Preston, Ph.D. Kay Deaux and Sam Glucksberg Edith Van Slyck and James R. Hammond Jennifer Prince and Deborah Thornhill Ellen M. Donahue Daniel and Laura Victor Martin Puryear and Jeanne Gordon Cheryl Finley Harriet M. and Charles Weiss Jane Ratcliffe Darrell and Helen Forbes Fields Celia and Landon H. Wickham Donville and Rashaan Reid Emma Galler and James Goldberg Robert and Barbara Willner Sarah Ringle Drew Gilmore Sande Robinson Eleanor and Lyle Gittens Individual Carol and Aaron B. Russell Kristen B. Glen Adwoa Adusei Eugene Schiff Carol and Arthur Goldberg Pia Alexander-Harris Sideya Sherman Gayatri Gopinath Donia Allen Danielle Siegelbaum Deborah Pilgrim Graham and Kenneth R. Keith D. Amparado John Silberman Graham Dianna Anderson Kenneth Sills Janet Greene Frank Anderson Patterson Sims William A. Harper Charles A. Archer, Esq. / EDCSPIN, Inc. Laura Skoler Ruth Eisenberg and Greg Hendren Mary Ellen Arrington Damon Smith Geoffrey Hendricks and Sur Rodney Dr. Kenneth Ashley Judith W. Smith Brian and Molly Horowitz Jacqueline A. Bailey Seton Smith Victoria Horsford Hilary M. Ballon Clara R. Stanton Gigi Hozimah Veronica Banks Salim I. Talib Erica Hunt Donnamarie Baptiste Julian Taub Mari Iki and Martin Maguss Gloria Batiste-Roberts Magda Teter Chrislyn Janine Carolyn Bell Beatrice Thomas Denise Jones and Dennis Jordan Rosemary Blake Carla and Cleophus Thomas Sonia Katyal Donyisha Boston-Hill Ellie and David B. Tweedy Amy B. Kuhn and Stuart L. Rosow Monica Bowman Gina Athena Ulysse Kimberly and Roderick E. Lane Kim Brandon Alexa Verme Joshua Leach and John Thomspon Cynthia D. Brown Sametta Vick Rosalyn Lee and Beverly Tillery Matthew Buckingham Clara C. Villarosa Jerome M. Lewine Sheryl Byfield Margo and Anthony Viscusi Dawn Lille Cathleen Campbell Denise Wagner Furman Barbara A. Linton Milton G. Campbell Carolyn and Ed Wagner Lewis P. Long Jennifer Carruthers Edward Walrond Arnaldo J. Lopez Gulzar R. Charania Joy Wellington Sarah Lowing Clairesa Clay Olivia and Carey White Noah Marmar Mike Cohen Jacqueline White William Marshall Pippa Cohen Gilbert S. Williams Jr. Mari Matsuda Sylvia de Cuevas Jeanne Willis Autumn D. McDonald Dennis Decker Hugh A. Wilson Ozier Muhammad Elizabeth Dee Mabel O. Wilson Meredith Nickie and Nathan Bennett Bunny Dell Paula Wynter Monica Otieku and Omar Otieku Edward Dew Douglas Zywiczynski Jelena Pasic Kathleen A. Dill Gloria C. Phares and Richard Dannay Louise S. Dockery Family/Partner Sean Phillips and Margrit Mateo-Phillips Danielle Dowrich Anonymous Howardena D. Pindell Peter Erickson Vernona Adams Jerry Pinkney Gertrude F. Erwin Elizabeth Alexander and Ficre Ghebreyesus Kylan Powe Tabetha Ewing Tarrie Alexis and Julius Butler Tracy Pugh Susan Fanshel Elisabeth Ames Kellie Jones and Guthrie Ramsey Jeanne Fishman Eunice Asare Bill and Georgia Ringle Vilma E. France Anina Banks Guy Roberts Janine Francis Yajaira Beltre Francisco and Hope Rodriguez Tiffany Frasier Ard Berge and Alisa LaGamma Hyacinth Ross James E. Frazier Summer/Fall 2014 88 Friends 89

Members

Linda Galietti Denise M. Murrell L. H. Whitehead Janet Gardner Eileen Newman Avelino Williams Ervin J. Garrison Derek G. Nichols Dyana Williams Lyndon K. Gill Chanda M. Nunez Bobbie Willis Michael C. Gillespie Mary Alice O'Connor Samuel Wilson, Jr. Marilyn T. Glater Rukaye Odero Teneia Wooten Stuart Golvin Monica Parham Hilda L. Wradge Jo-Ann Graham Sandra M. Payne Missy Wright Carla Grant Denise A. Penn Antoinette Young Herman Gray Olivia E. and Paul Bruce Perkins Kevin L. Young Cheryll Y. Greene John Pfeiffer Constance Grey Valerie Pinckney-Williams Senior Angela E. Gumbs Nancy Delman Portnoy O'Neal Abel Janice Guy Princeton University Library Periodicals Beverly C. Abisogun Cheryl S. Haigler Ann Ranniar Jarrettia Adams Shannon Hales Valerie A. Rhodes Kojo Ade Dionne Hansen-Sexton Ayinde Ricco Sherli Allen Sydette Harry Kenneth W. Richardson Sandra Allen-Lesibu David C. Hart Mary E. Riley Emma Amos Michelle Hart Ayana M. Rivers Jan Arnesen Monroe Head Floree Roberson Jimmy Arnold Veronica Hemmingway Verraine Rock Anna R. Austin Herbert Henry Denine Rodney Frederic H. Bacon Stephanie Hicks Richard Rodriguez Wanda Baker-Smith Camara Holloway Mia Rogers Nubia Beazer Karen Hughes George Romero Dolores H. Bedford Al-lyce Eloise James Nada Rowand Barbara Boggs Erica M. James Bobby Savinis Elizabeth T. Bolden Robert O. Johnson Agnes Bundy Scanlan Roscoe Born Patricia Jones Gregory Tigist Selam Herb Boyd Imara Jones Farah Severin Bertha Brandon William Jones Ellen Shaffer Ruby Branker Susan C. Joseph Regina Shanklin Ava Brown Cheryl Keeve Christopher Shaw Jean Bunce Rev. Wendy Kelly-Carter Daryl Shore Vinie Burrows Jane Kirkland Stefanie Siegel Janice L. Bynum Antoinette Lamb Todd Simley Diana Cagle Aimee E. Lang Adelaide E. Simms Flossie Canada Lara Lauchheimer Marsha E. Simms Allison Carter Brad Learmonth Andrea C. Skinner Veronica Clyborn Scott Marie LeDoux Sippio Small Sadie and Roberto Codling Mary Ann Lee Kimberly Snead Milton Collins Gregory Lenhardt Madelyn Soussoudis Aaron Cox Lynn Lieberman Barry Stanley Charlotte H. Crawford Carrie Lowery Paulette V. Starling, Ph.D. Brent Crayton David Lucas Jennifer E. Stern Ruth Curtis David S. Lucas Emmlynn Taylor Carl F. Davis Karen Lumpkin Janet Taylor Emilie de Brigard Darryl J. Mack Ethel Terrell Diane D. Dean Andrea Mahon Randy Thomas Veronica DeLuze Larry Mantello Roxanna Thomas Joan Deroko Dana March Susann Thomas Susan C. Dessel Mehdi Matin Lloyd E. Thompson Evelyn Dill Jennifer Matthews Anthony Todman Gwen Dixon Roslyn McClendon Holly Tomlin Betty Donerson Gay McDougall Jeanette Toomer Bernice Earle Julie McGee Alia Uduhiri Joan M. Eastmond Christine McKay Lisbeth Uribe George McKinley Martin Susanna G. Vapnek Karen McMillan Josef Vascovitz Previous Page: Yolanda Villasante Undagoitia Mary B. McRae Charles Gaines Neville Ward Anita McReynolds Numbers and Trees V, Landscape #6, 1989 Ernestine Washington Marilyn Mock Collection of Marc Selwyn Gena Watson Phoebe Morris Courtesy the artist and Susanne Vielmetter Los Lisa Diane Wedgeworth Ernesto Mujica Angeles Projects Doris D. White Eunice H. Murphy Photo: Robert Wedemeyer Summer/FallSummer/Fall 2014 90

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GeorGeorgege D. EverettEverettee HortenseHortense L. PowellPowell AlexisAlexis PeskinePeskine LucLucilleille Eversley Andrea RamseyRamsey HelenHelen Evan RamsaraRamsarann ThTheodoreeodore CC.. FFairair RitaRita I. ReidReid AkilahAkilah RRichardsonichardson Barbara FlemminFlemmingsgs SandraSandra RiversRivers FrankFrank LLeoneon RRobertsoberts EvEvee FrFranceance MargaretMargaret A. Robbins WarrenWarren AA.. Rose MarMarilynilyn GaGailliardilliard VirginiaVirginia RobinsoRobinsonn Carstella M. RutledgeRutledge PPearlearl GGillill MiriamMiriam RRosenosen Buzz SlutzkySlutzky Frank Gimpaya LoisLois SafianSafian Salem TsegayeTsegaye Lucy GodwiGodwinn GloriaGloria J. Scott SharonSharon Williams-MatthewsWilliams-Matthews WilhWilheminaemina GreenGreen MerianMerian T. SSherrodherrod JJulietteuliette HHansenansen Wendy Simmons BrannenBrannen The Studio Museum in Harlem makes every LLovetteovette W.W. HarperHarper Gwendolyn A. SimmonsSimmons efforteffort to to ensure ensure the the accuracy accuracy o fof its its lists lists o off SSandraandra HarpeHarperr Clara Skipwith BurBurgessgess members. If youryour name is not listed as youyou SSusanusan HarriHarrigangan ThomasThomas SmithwickSmithwick prefer or if you believe your name has been OlOliviaivia C. HectorHector Edward L. SnyderSnyder omitted, please let us know by contactingcontacting the Vivian D. HewitHewittt ThomasThomas SoutSouthernhern Development OfficeOffice atat 212.864.4500212.864.4500 x221x221 oror BBonnieonnie HornsteinHornstein Barbara E. Stanley [email protected]@studiomuseum.org. JJamesames HerbertHerbert HowellHowell BarbaraBarbara StennettStennett JJonon HHuttonutton Edward EstyEsty Stowell, Jr.Jr. EEsthersther JacksonJackson TamaraTamara D. TabbTabb FFaithaith R. JJacobsacobs Laura TandyTandy JoaJoann JaJamesmes Charles Tarver Sr. / Black Art OlOlgaga C. JenkinsJenkins BeverlyBeverly TaylorTaylor ElizElizabethabeth JJohnsonohnson GayGay TerrTerryy PatrPatriceice Johnson EileenEileen ThomasThomas HHettieettie JJonesones MurielMuriel F. Thomas LLoisois M. KKahanahan ThelmaThelma ThomasThomas Ernece B. KellKellyy InezInez B. VanableVanable KKlauslaus KKertessertess DavidDavid WWaltersalters Patricia King SylviaSylvia WatersWaters ReReginagina M. KinKingg Winona WatsonWatson BBetheth M. LawrenceLawrence EvaEva WelchWelch SusaSusann LawrenceLawrence JudithJudith WhiWhiteheadtehead SaSandrandra LLeeee CarolCarol WilliamsWilliams JJamesames N. LewisLewis Barbara M. WWilsonilson H. ThThomasomas LinLintt DorisDoris M. WilsonWilson Janice LivinLivingstongston AaronAaron WWoodsoods IIIIII ElEleanoreanor LoweLowe DorisDoris D. WootenWooten J. MMacarena-Avilaacarena-Avila Ruth C. WrightWright DDeloreselores E. MackMack MartinaMartina YamYaminin SusaSusann T. MackenzieMackenzie SSusanusan E. MadiMadigangan StudentStudent FrFrankank B. MarshallMarshall IIIIII Bukola AfolayanAfolayan LaLaineine MasseMasseyy SaSarahrah ArkebauerArkebauer CaCarmenrmen andand HerbertHerbert B. MatthewMatthew PPamelaamela CouCouncilncil SShirleyhirley McCaiMcCainn OlOlgaga DekaloDekalo DiDianneanne H. McDonaldMcDonald JJodieodie DinaDinapolipoli RhRhondaonda J. McLeanMcLean DanDanicaica Dow SSoniaonia MendezMendez AnAndidi DubeDube Erich Meyerhoff TTonyaonya FFosteroster Herman MilliMilligangan Uraline S. HaHagerger JJamesames MortonMorton AlliAllisonson JanaeJanae HamiltonHamilton CC.. MMoultrieoultrie Peter AlanAlan HarperHarper Michael Myers, M.D. GeGenevievenevieve HarrisHarris IIsobelsobel H. NealNeal SuSuzannezanne JohnsonJohnson JJeanneeanne NeddNedd NzinNzinghagha KendallKendall RRonaldonald NNelsonelson KKatherineatherine KuhlKuhl RRobertobert Oba CuCullinsllins Wendy LeLeighigh CurtisCurtis Dr. Ademola OluOlugebefolagebefola Kirsten MaMagwoodgwood Oluyemi OmowalOmowalee Timothy ManMangingin PPaulaul O'NeilO'Neil Stacy MartinezMartinez CClarethalaretha OsboOsbornerne Coralina MeMeyeryer JJamesames T. ParkerParker ShamShamikaika A. MitchellMitchell BarBarbarabara anandd SteStephenphen PearPearlmanlman Anthony MondMondaa MMurieluriel Z. PivPivaloalo Saretta MorganMorgan Giselle KinKingg Porter Layo OlayiwolOlayiwolaa FrienFriendsds 9191

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The Board of Trustees and Director Lambent Foundation Funny or Die Media, LLC Miyoung Lee and Neil Simpkins Charlynn and Warren Goins of The Studio Museum in Harlem Macy's and Bloomingdale's Martin M. Hale, Jr. extend deep gratitude to the MetLife Foundation Alvin D. Hall National Endowment for the Arts Arthur J. Humphrey, Jr. donors who supported the Museum New York State Council on the Arts Stephanie and Tim Ingrassia from January 1, 2013 to The Perelman Family Foundation Inc. T. Warren Jackson / DirecTV & Charles E. Corine V. Pettey Simpson / Windels Marx Lane & Mittendorf, December 31, 2013. Karen M. Proctor LLP Marva Smalls / Viacom Johnson & Johnson $500,000 & above Tishman Speyer Properties L.P. Linda Johnson Rice and Mel Farr The Andrew W. Mellon Foundation Wells Fargo Joy of Giving Something, Inc. Ford Foundation The Winston Foundation Noel Kirnon and Michael Paley The New York City Department of Cultural Dr. and Mrs. Michael L. Lomax Affairs $10,000 to $24,999 The Margaret & Daniel Loeb Third Point Anonymous Foundation $100,000 to $499,999 Douglas Baxter / The Pace Gallery Marian Goodman Gallery Valentino D. Carlotti / Goldman, Sachs & Co. Citigroup Julie Mehretu and Jessica Rankin Council Member Inez E. Dickens, 9th C.D and The City University of New York Cheryl and Phillip Milstein The New York City Council Pippa Cohen Milton and Sally Avery Arts Foundation The Horace W. Goldsmith Foundation The Cowles Charitable Trust New York University Raymond J. McGuire Lisa E. Davis, Esq. / Frankfurt Kurnit Klein & Selz NYC Board of Education Rodney M. Miller, Sr. Dedalus Foundation Rusty O'Kelley Surdna Foundation David Flemister / EmblemHealth Lisa and Richard Perry Target GE Asset Management Karen C. Phillips Ann Tenenbaum & Thomas H. Lee Godfrey R. Gill Janelle Reiring Gladstone Gallery Tracey and Phillip Riese $50,000 to $99,999 halley k. harrisburg and Michael Rosenfeld Jeanne Greenberg Rohatyn and Nicolas S. The Andy Warhol Foundation for the Visual Arts Joseph and Joan Cullman Foundation for the Rohatyn Patricia Blanchet / Ed Bradley Family Arts Jean Shafiroff Foundation Pamela J. Joyner Nancy B. and Andrew Simmons Bloomberg Philanthropies George and Gail Knox Michael S. Smith Booth Ferris Foundation Debra L. Lee / BET Networks Ellen and Jerome Stern Jacqueline Bradley & Clarence Otis, Jr. / Nyssa and Chris Lee Margaret E. Stokes Darden Restaurants Glenn Ligon Nancy and Milton Washington Kathryn C. & Kenneth Chenault / American Lily Auchincloss Foundation Maria Weaver-Watson / Interactive One Express Bernard I. Lumpkin and Carmine D. Boccuzzi Dawanna Williams Joan S. Davidson & Neil S. Barsky May and Samuel Rudin Family Foundation Jason Wright Mitzi & Warren Eisenberg Henry McGee / HBO Zubatkin Owner Representation, LLC The Ralph and Fanny Ellison Charitable Trust Marcus Mitchell and Courtney Lee-Mitchell Joyce and George Wein Foundation Monica Zwirner and Lucy Wallace Eustice / Mz $1,000 to $4,999 News Corp Wallace Anonymous Nancy L. Lane Eileen Harris Norton Shelley Fox Aarons, M.D. Carol Sutton Lewis and William M. Lewis, Jr. Deryck A. Palmer and Mats G. Carlston Debra Tanner Abell, M.D. Morgan Stanley Amy and Joe Perella Charitable Fund Alexander Gray Associates LLC Amelia and Adebayo Ogunlesi Pfizer, Inc. Drs. Answorth and Rae Allen Holly Phillips M.D and Jose Tavarez / Bank of Shaun Caley Regen Peg Alston / Peg Alston Fine Arts America Merrill Lynch Robert Lehman Foundation Ann and Steven Ames Samuel I. Newhouse Foundation Inc. James H. Simmons III / Ares Management LLC Nancy Armstrong Teri and Lloyd Trotter / GenNx360 Capital Marilyn and Jim Simons Charles N. Atkins Partners The Studio in a School Association The Atlantic Philanthropies (USA) Inc. Karol Thwaites Jacqueline Avant $25,000 to $49,999 Teri and Lloyd Trotter / GE Foundation Avon Foundation for Women The Boeing Company Verizon Foundation Corey M. Baylor Con Edison Viacom, Inc. BMO Capital Markets Frank and Nina Cooper / Pepsi-Cola Beverages George Wein Marianne Boesky North Americas Xerox Foundation Linda D. Bradley The Estée Lauder Companies, Inc. Susan and Jonathan Bram Lise and Michael Evans $5,000 to $9,999 Michèle Lallemand Brazil Agnes Gund Anonymous Valerie S. Brown Joyce and Ira Haupt, II Ariel Investments, LLC Alvin and Yolanda Brown Mr. and Mrs. John B. Hess Nicole A. Bernard / Fox Audience Strategy Peggy Byrd / One Solution ING, US / Rhonda Mims Darwin F. Brown Coastal Community Foundation of South Jerome Foundation Melva Bucksbaum and Raymond Learsy Carolina Gwendolyn Knight Lawrence Rebecca and Martin Eisenberg Peggy Cooper Cafritz Marie-Josée and Henry Kravis John H. Friedman Jonathan Caplan and Angus Cook Summer/FallSummer/Fall 2014 92

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CharlitaCharlita CaCardwellrdwell DavidDavid MonnMonn Berdie and Mairtin BradyBrady Jean Carey Bond MorganMorgan Stanley Urban Markets GrouGroupp YolandaYolanda BrownBrown Carver Federal SavingsSavings BankBank MarcMarc MMorialorial ReginaldReginald Browne and Dr. Aliya BrownBrownee PhyllPhyllisis CherebinCherebin Isolde McNicholl MotleyMotley and Joel W. MotleyMotley SpencerSpencer Brownstone Raquel Chevremont MaryanneMaryanne MottMott DebraDebra MartinMartin CChasehase DDaleale CocCochranhran The Movado Group Foundation Helen and William CovingtonCovington Columbia University Ruthard C. Murphy IIII Wendy CromwelCromwelll MaMalaaklaak Compton-RocCompton-Rockk AngelaAngela Mwanza LindaLinda DDaitzaitz Jocelyn Cooley EdwardEdward NahemNahem TanjiTanji DewberryDewberry SauSaundrandra W. aandnd DDonaldonald CoCornwellrnwell NationalNational RRetailetail FFoundationoundation SuzanneSuzanne T. DDonaldsononaldson Laura A. and Mark J. CosgroveCosgrove NewNew YYorkork CouCouncilncil forfor thethe HumanitiesHumanities Drs. Keith DowningDowning and Gabrielle PaPage-Wilsonge-Wilson Judith and Ronald Davenport, SrSr.. Jacqueline and Kevin NickelberryNickelberry Thomas E. DyjaDyja and Suzanne GluckGluck ThThee DavidDavid RRockefellerockefeller FundFund AmberAmber aandnd CCharlesharles PattonPatton MarquitaMarquita and Knut EckerEckertt DDawnawn L. DDavisavis aandnd MMacac LLaFolletteaFollette PaulaPaula Cooper GaGalleryllery AlfredAlfred Engelberg PePeggyggy Cooper Davis and Gordon J. DaviDaviss LauraLaura PPaulsonaulson Galerie LelongLelong Amalia Dayan and Adam LindemanLindemannn Vanessa Y. PerezPerez,, Ph.D.Ph.D. GabrielleGabrielle GloreGlore DDorisoris DukeDuke CharitableCharitable FoundationFoundation Kim PPowellowell JanJan andand StevenSteven GolannGolann JJanineanine DDorsettorsett R & B FederFeder CharitableCharitable FoundationFoundation forfor thethe FrancisFrancis Greenburger Dr. Phillips Center for the PerforminPerformingg Arts BeauxBeaux ArtsArts TiffanyTiffany M.M. Hal Halll JJackack DrDrakeake TracyTracy ReesReesee IngletonIngleton DermatologyDermatology ElizElizabethabeth W. EastonEaston EricaErica andand AntonioAntonio ReidReid Sarah and Derek IrbyIrby Louise EliasofEliasof DoreenDoreen RemenRemen Kim JJohnsonohnson RRitaita M. EwEwinging DeborahDeborah RoRobertsberts LorrieLorrie KingKing and Edbert Morales SSimaima FamilantFamilant Angela Robins JennyJenny Laird SteStevenven GaGanelessneless TamaraTamara HarrisHarris RRobinsonobinson Lehmann MauMaupinpin GallerGalleryy Darrell S. GaGayy / Arent Fox TheThe RonaldRonald & JoJo CaroleCarole LauderLauder FoundationFoundation Ian B. Mac CallumCallum,, Jr. and Lissa Mac Callum EmEmilyily GlasseGlasserr FionaFiona andand EricEric RRudinudin TheThe HonorableHonorable EarleEarle I. MackMack andand CarolCarol MackMack RRobertobert GoberGober andand DonaldDonald MoffetMoffet BarbaraBarbara Scott LiliahnLiliahn MajeedMajeed GoetGoethe-Instituthe-Institut NewNew YorkYork SeavestSeavest Inc.Inc. RobertRobert L. MarcusMarcus ElElaineaine GoldmanGoldman KomalKomal ShahShah MorganMorgan MartiMartinn DDianaiana and WilliamWilliam GrayGray KimberlyKimberly AAyersyers ShariShariffff DianeDiane andand AdamAdam MaxMax Lea K. Green, Esq. / Christie’sChristie’s CindyCindy ShermanSherman Sue MingusMingus Camille Hackney John SSilbermanilberman GingerGinger McKnight-ChaversMcKnight-Chavers JJamesames F. HaddonHaddon MarshaMarsha E. SSimmsimms AliciaAlicia HallHall MoranMoran KathKathyy Halbreich MelissaMelissa aandnd RRobertobert SoSorosros IsobelIsobel H. NealNeal George HaywooHaywoodd Sotheby's DeborahDeborah NeedlemanNeedleman TTomom HemanHeman Suzanne SlesinSlesin and MichaelMichael SteinbergSteinberg MoniqueMonique NelsoNelsonn Steven Henry and Philip Shneidman Michael Ward Stout / The Robert Mapplethorpe JimJim NeuberNeubergerger and Stambler NeubergerNeuberger Karen M. Hopkins, M.DM.D.. FoundationFoundation FoundationFoundation Carole HopsonHopson Sylvia’s / Tren'ness Woods-BlackWoods-Black JaniceJanice CaCarlsonrlson OresmanOresman Joan and George HornHornigig KathleenKathleen M. TaitTait SaundraSaundra ParksParks Thelma and A. C. HudHudginsgins DavidDavid TeTeigeriger Ronald and OphelOpheliaia Person Jack Shainman GallerGalleryy Toby D. Lewis Philanthropic FunFundd A.P. PickensPickens BBarbaraarbara JJakobsonakobson Franklin A. Thomas and Kate WhitneyWhitney PaulPaul andand MelindaMelinda PrPressleressler James Cohan Gallery MickaleneMickalene ThThomasomas DanyaleDanyale A. PricPricee JJuliaulia JJohnsonohnson Brenda and LarrLarryy ThomThompsonpson JonelleJonelle ProcoProcopepe PPetereter andand MariaMaria KKellnerellner ConnieConnie Rogers TiltonTilton Suzanne L. RanRandolphdolph anandd CCharlesharles A. SShorter,horter, Jr.Jr. June Kelly and Charles Storer Time Warner,Warner, Inc.Inc. BeverlyBeverly and RaymondRaymond Ransom, M.D.M.D. Hope KniKnightght and Steven Umlauf AngelaAngela Vallot and Jim BaskerBasker DonvilleDonville andand RashaanRashaan RReideid Koplin Del Rio Gallery Rima Vargas-VetterVargas-Vetter JackJack ShainmanShainman Jayme Koszyn TedTed andand NinaNina WellsWells S.S. MonaMona SSinhainha Elizabeth Szancer Kujawski AngelaAngela WestwaterWestwater AudreyAudrey SmaSmaltzltz CCindiindi LeiveLeive JaniceJanice SavinSavin WilliamsWilliams and ChristopherChristopher J. Kimberly SneadSnead Myrdith Leon WilliamsWilliams SusanSusan M. SosSosnicknick Richard H. LevyLevy and Lorraine GallardGallard JaneJane SutherlandSutherland ChrChristinaistina LewisLewis HalpernHalpern $500$500 to $$999999 Candice Taylor-HorvathTaylor-Horvath LLoidaoida NiNicolascolas LewisLewis AnonymousAnonymous Shirley M. Truman-Smith Susan and Glenn Lowry AlliAllisonson AllenAllen NicolaNicola VVassellassell Shirley Madhère, M.DM.D.. DD AllAllenen Wendy WashingtonWashington The Walker Marchant GrouGroupp AnAndreadrea Rosen GaGalleryllery TianaTiana M. Webb-EvansWebb-Evans andand GukaGuka EvansEvans CrCrystalystal McCrarMcCraryy JJenniferennifer ArArceneauxceneaux ConstanceConstance WhiteWhite RhRhondaonda AdamsAdams MedinaMedina Hope AthertoAthertonn AnitaAnita VolzVolz WienWien Richard and Ronay MenscheMenschell NadNadjaja Bellan-WhitBellan-Whitee FrancisFrancis H. WilliamsWilliams MetroMetropolitanpolitan Museum of ArArtt JJoeonnaoeonna BBellorado-Samuelsellorado-Samuels MarkMark WilliWilliss Laura MichalchyshynMichalchyshyn ValerValerieie BlanksBlanks PaulinePauline WillisWillis Gregory R. MMilleriller and MMichaelichael WWieneriener JJennaenna BBond-Loudenond-Louden FredFred WilWilsonson FrienFriendsds 93

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John Young Vivian D. Hewitt Charles Stone Gladstone E. Hinds Anthony Tait $499 and below Illonka J. Hines Charles Tarver, Sr./Black Art Anonymous Angela Holton Wilbert Tatum Khandi Alexander Laura Hoptman and Verne Dawson Julian Taub Emma Amos Nicole Ifill Beverly Taylor Beverly J. Anderson Erika Irish Brown Florence Taylor Jimmy Arnold Thomas Jaffe Ann Temkin Susan Austin Joan James Jacqueline Tuggle Jennifer Baltimore Olga C. Jenkins Gabrielle and Alexander Uballez Joyce and Earl Benjamin Leonade D. Jones Inez B. Vanable Wayne Benjamin Robert M. Jordan Yelberton Watkins Betsy Berne Patricia R. Johnson Stephanie Weber Christopher Bertholf John R. Keene Margaret N. Weitzmann Monica Bertran Erika M. Kennerly Michele Morris Weston Rosemary Blake Sherri Kent Yolanda White Mahen and Luca Bonetti Klaus Kertess L. H. Whitehead Lisa Bonner Erika Klauer Emil K. Wilbekin Sarah Buttrey Angela Knight-Clemans Sybil Williams Alicia R. Bythewood Lucille Kranz Bobbie Willis Randolph C. Cain Terese Laughrey and Eric Suttman in honor of Robert and Barbara Willner Carla Camacho / Lehmann Maupin Margarett Cooper Hilda L. Wradge Veronica Chambers Beth M. Lawrence Lamont Wray Evelyn Clarke Peter D. Lax Deborah C. Wright Sadie and Roberto Codling Marjorie A. Lewis Mr. and Mrs. Peter J. Cohen René Lumley-Hall In Kind Floyd Coleman J. Macarena-Avila Pillsbury Winthrop Shaw Pittman LLP Nicole Cosby Eve MacSweeney Jamilah Barnes Creekmur Harriette and Edgar Mandeville The Studio Museum in Harlem makes every CRG Gallery Daisy W. Martin effort to ensure the accuracy of its lists of Sophie Crichton Stuart Erica Motley supporters. If your name is not listed as you Valerie Cooper June King Nearon prefer or if you believe that your name has been Monica Azare Davenport Anne Newman and Joe M. Bacal omitted, please let us know by contacting the Tyrone M. Davenport New York Life Insurance Company Development Office at 212.864.4500x221 or Valerie Deas Edris E. Nicholls [email protected]. Carl A. De Brito Nancy Novogrod Ingrid L. De Jongh Bolanle A. Oyesanya Lisa Dennison Erica Papernik Joan Deroko Patricia M. Pates Guy L. deVeaux Jane Penn Brickson E. Diamond Olivia E. and Paul Bruce Perkins Erin Dooley Howardena D. Pindell Sonia Elliot Blondel Pinnock George D. Everette Fannie Porter Rozlyn L. Flood CCH Pounder-Koné Vincent Fremont and Shelly Dunn Fremont Patricia Hayling Price Darlene Gillard-Jones Martin Puryear and Jeanne Gordon Bobette R. Gillette Denise L. Quarles Carol and Arthur Goldberg Kenneth W. Richardson Sunny and Brad Goldberg Virginia Robinson Marguerite D. Greene Pancho Savery Constance Grey Ann and Mel Schaffer Vernon W. Griffith Joyce Pomeroy Schwartz Candace J. Groudine in memory of Michael Elza Rohan Sharpe Butter Sonnia Shields Laura de Gunzburg Calla L. Siegel Vimla Elizabeth Gupta Joshua M. Siegel Robert and Patricia Gwinn Xaviera Simmons Sarah Haga Jonathan B. Simon Shannon Hales Buzz Slutzky Allison Janae Hamilton Judith W. Smith Susan S. Harmon, Esq. Keisha Smith William A. Harper Howard and Sharon Socol Reginald D. Harris Galia Solomonoff Kim Hastreiter Josephine Falco and Jeffrey Steinman Leila T. Heller Erana Stennett Summer/Fall 2014 94 Membership Join today! Info Becoming a member has never been easier.

Glenn Kaino and Tommie Smith Photo: Scott Rudd

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: — Invitations to member shopping days with — Invitations to behind-the-scenes tours and additional discount offers throughout the year talks with art connoisseurs and curators — Free admission or discounted tickets — Four complimentary guest passes for to all Studio Museum educational and family and friends public programs — Special discount at select local Benefactor $1,000 Harlem businesses ($900 is tax-deductible) — Annual recognition in Studio — All the preceding benefits, plus: — A visit and/or tour of a private collection Family/Partner $75 — An invitation to a special gallery tour with (Fully tax-deductible) a Museum curator — All the preceding benefits, plus: — Free admission for two guests when — Free admission to the Studio Museum for accompanied by a Studio Museum member two adults (at the same address) and children under eighteen years of age — Personalized membership cards for two

Supporter $125 (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 Friends 95 Membership Yes! I want to be a member Form of The Studio Museum in Harlem.

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Address General Info Museum Hours 144 W. 125th St. New York, NY 10027 T 212.864.4500 Thursday and Friday, noon–9 pm; (between Malcolm X and Adam C. F 212.864.4800 Saturday, 10 am–6 pm; Powell Jr. boulevards) Sunday, noon–6 pm. Media Contact Admission 212.864.4500 x213 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 x264 (12 and under). For more information on scheduling [email protected] a tour, visit studiomuseum.org Follow us on social media! Membership Info 212.864.4500 x221 [email protected]

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