DOCSLIB.ORG

The Studio Museum in Harlem Magazine Summer/Fall 2014 Studio Magazine Board of Trustees This Issue of Studio Is Underwritten, Editor-In-Chief Raymond J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Studio Museum in Harlem Magazine Summer/Fall 2014 Studio Magazine Board of Trustees This Issue of Studio Is Underwritten, Editor-In-Chief Raymond J The Studio Museum in Harlem 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 New York 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 New York City 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 Los Angeles 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,” The New York Times, 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 Brooklyn, 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.
Load more

Recommended publications
  • TERRY ADKINS Born 1953 Washington, D.C
    TERRY ADKINS Born 1953 Washington, D.C. Died 2014 New York EDUCATION 1979 Master of Fine Arts, University of Kentucky, Lexington, Kentucky 1977 Master of Science, Illinois State University, Normal, Illinois 1975 Bachelor of Science, Fisk University, Nashville, Tennessee SOLO EXHIBITIONS 2018 Terry Adkins: Infinity Is Always Less Than One, Institute of Contemporary Art, Miami Terry Adkins: The Smooth, The Cut, and The Assembled, Lévy Gorvy, New York 2017 Projects 107: Lone Wolf Recital Corps, Museum of Modern Art, New York 2016 Soldier, Shepherd, Prophet, Martyr: Videos from 1998-2013, University Galleries, Illinois State University, Normal, IL 2013 Nenuphar, Salon 94 Bowery and Salon 94 Freemans, New York Recital, Mary & Leigh Block Museum of Art, Northwestern University, Evanston, IL 2012 Recital, Tang Museum, Skidmore College, Saratoga, NY The Principalities, Galerie Zidoun, Luxembourg 2010 Riddle of the Sphinx, Amistad Gallery, Philadelphia 2009 Meteor Stream, American Academy in Rome 2008 Songs of Hearth and Valor, Warehouse Gallery, Syracuse, NY 2007 Belted Bronze, Pageant Soloveev, Philadelphia 2005 Black Beethoven, Wheaton College, Norton, MA; Bronx River Art Center, Bronx, NY 2004 Black Beethoven, Pageant Soloveev, Philadelphia 2003 Towering Steep, Friede-Strauss Galleries, Dartmouth College, Hanover, NH Sanctuary, Eastern State Penitentiary, Philadelphia Darkwater, Arthur Ross Gallery, University of Pennsylvania, Philadelphia Facets, PPOW Gallery, New York 2001 Deeper Still, Samuel P. Harn Museum of Art, Gainesville, FL Songs
    [Show full text]
  • A General Survey of Religious Concepts and Art of North, East, South, and West Africa
    DOCUMENT RESUME ED 369 692 SO 023 792 AUTHOR Stewart, Rohn TITLE A General Survey of Religious Concepts and Art of North, East, South, and West Africa. PUB DATE Jun 92 NOTE llp.; Paper presented at the Annual Meeting of the National Art Education Association (Kansas City, KS, 1990). AVAILABLE FROMRohn Stewart, 3533 Pleasant Avenue South, Minneapolis, MN 55408 ($3). PUB TYPE Reports Descriptive (141) Speeches/Conference Papers (150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Area Studies; *Art; *Art Education; *Cultural Background; Foreign Countries; Higher Education; Interdisciplinary Approach; Multicultural Education; *Religion; *Religious Cultural Groups IDENTIFIERS *Africa ABSTRACT This paper, a summary of a multi-carousel slide presentation, reviews literature on the cultures, religions, and art of African people. Before focusing on West Africa, highlights of the lifestyles, religions, and icons of non-maskmaking cultures of North, West and South African people are presented. Clarification of West African religious concepts of God, spirits, and magic and an examination of the forms and functions of ceremonial headgear (masks, helmets, and headpieces) and religious statues (ancestral figures, reliquaries, shrine figures, spirit statues, and fetishes) are made. An explanation of subject matter, styles, design principles, aesthetic concepts and criteria for criticism are presented in cultural context. Numerous examples illustrated similarities and differences in the world views of West African people and European Americans. The paper
    [Show full text]
  • Unobtainium-Vol-1.Pdf
    Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more.
    [Show full text]
  • Art Power : Tactiques Artistiques Et Politiques De L’Identité En Californie (1966-1990) Emilie Blanc
    Art Power : tactiques artistiques et politiques de l’identité en Californie (1966-1990) Emilie Blanc To cite this version: Emilie Blanc. Art Power : tactiques artistiques et politiques de l’identité en Californie (1966-1990). Art et histoire de l’art. Université Rennes 2, 2017. Français. NNT : 2017REN20040. tel-01677735 HAL Id: tel-01677735 https://tel.archives-ouvertes.fr/tel-01677735 Submitted on 8 Jan 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE / UNIVERSITE RENNES 2 présentée par sous le sceau de l’Université européenne de Bretagne Emilie Blanc pour obtenir le titre de Préparée au sein de l’unité : EA 1279 – Histoire et DOCTEUR DE L’UNIVERSITE RENNES 2 Mention : Histoire et critique des arts critique des arts Ecole doctorale Arts Lettres Langues Thèse soutenue le 15 novembre 2017 Art Power : tactiques devant le jury composé de : Richard CÁNDIDA SMITH artistiques et politiques Professeur, Université de Californie à Berkeley Gildas LE VOGUER de l’identité en Californie Professeur, Université Rennes 2 Caroline ROLLAND-DIAMOND (1966-1990) Professeure, Université Paris Nanterre / rapporteure Evelyne TOUSSAINT Professeure, Université Toulouse - Jean Jaurès / rapporteure Elvan ZABUNYAN Volume 1 Professeure, Université Rennes 2 / Directrice de thèse Giovanna ZAPPERI Professeure, Université François Rabelais - Tours Blanc, Emilie.
    [Show full text]
  • OTHER CAMP: RETHINKING CAMP, the 1990S, and the POLITICS of VISIBILITY
    OTHER CAMP: RETHINKING CAMP, THE 1990s, AND THE POLITICS OF VISIBILITY By Sarah Margaret Panuska A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of English—Doctor of Philosophy 2019 ABSTRACT Other Camp: Rethinking Camp, the 1990s, and the Politics of Visibility By Sarah Margaret Panuska Other Camp pairs 1990s experimental media produced by lesbian, bi, and queer women with queer theory to rethink the boundaries of one of cinema’s most beloved and despised genres, camp. I argue that camp is a creative and political practice that helps communities of women reckon with representational voids. This project shows how primarily-lesbian communities, whether black or white, working in the 1990s employed appropriation and practices of curation in their camp projects to represent their identities and communities, where camp is the effect of juxtaposition, incongruity, and the friction between an object’s original and appropriated contexts. Central to Other Camp are the curation-centered approaches to camp in the art of LGBTQ women in the 1990s. I argue that curation— producing art through an assembly of different objects, texts, or artifacts and letting the resonances and tensions between them foster camp effects—is a practice that not only has roots within experimental approaches camp but deep roots in camp scholarship. Relationality is vital to the work that curation does as an artistic practice. I link the relationality in the practice of camp curation to the relation-based approaches of queer theory, Black Studies, and Decolonial theory. My work cultivates the curational roots at the heart of camp and different theoretical approaches to relationality in order to foreground the emergence of curational camp methodologies and approaches to art as they manifest in the work of Sadie Benning, G.B Jones, Kaucyila Brooke and Jane Cottis, Cheryl Dunye, and Vaginal Davis.
    [Show full text]
  • Dissertation
    DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….………….
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • Videostudio Playback
    VideoStudio Playback Houston Conwill Maren Hassinger Fred Holland Ishmael Houston-Jones Ulysses Jenkins Senga Nengudi Howardena Pindell 10 06 16 Spring 2011 04 –“I am laying on the between the predeter- “No, Like This.” floor. My knees are up. mined codes of language Movements in My left arm is extended and their meaning to the side.” when actually used. Performance, –“Is it open?” By setting live human Video and the –“The palm of my left hand bodies to a technologically is open. Um, it’s not really reproduced voice, Babble Projected Image, open. It’s kind of cupped a addresses the mutable 1980–93 little bit, halfway between boundary between human open and shut.” and machine. While –“Like this?” mechanical manipulation Thomas J. Lax –“No, like this.” is commonly thought to –“Do we have to do this be synthetic and external now?” to original artistic work, –“Like this?” their performance demon- –“Okay.” strates the ways in which –“Okay.” technology determines something thought to This informal, circuitous, be as organic and natural instruction begins a as the human body. vignette in Babble: First Impressions of the White For its conceptual frame- Man (1983), a choreo- work, this exhibition graphic collaboration draws on Babble’s tension between artists Ishmael between spontaneous Houston-Jones and human creativity and Fred Holland. Although technology’s possibilities Houston-Jones is, as he and limitations. Bring- says, laying on the floor ing together work in film with his knees up and and video made primarily his left arm open, his between 1980 and 1986 voice is prerecorded and by seven artists who were removed from his onstage profoundly influenced by body.
    [Show full text]
  • A Study in Scarlet 17
    Press kit A Study in Scarlet 17. 05–22. 07.2018 Press visit, Wednesday 16th May, at 9.30am Grand opening, Wednesday 16th May, from 6pm to 9pm With Ethan Assouline, Beau Geste Press, Lynda Benglis, Kévin Blinderman : masternantes, Pauline Boudry / Renate Lorenz, Jean-Louis Brau & Claude Palmer, Monte Cazazza, Chris & Cosey, COUM Transmissions, Vaginal Davis, Brice Dellsperger, Casey Jane Ellison, Harun Farocki, Karen Finley, Brion Gysin, Hendrik Hegray, Her Noise Archive, Robert Morris, Ebecho Muslimova, Meret Oppenheim, Pedro, Muriel & Esther, Lili Reynaud-Dewar, Christophe de Rohan Chabot, Louise Sartor, Throbbing Gristle, Cosey Fanni Tutti, Amalia Ulman and Les Vagues. Exhibition curator : Gallien Déjean Action Jusqu’à la Balle Crystal, 9e Biennale de Paris, 1975 © Courtesy Cosey Fanni Tutti et Cabinet, Londres Contacts : Isabelle Fabre, Communication Manager > +33 1 76 21 13 26 > [email protected] Lorraine Hussenot, Press Officer > +33 1 48 78 92 20 > [email protected] +33 6 74 53 74 17 Le frac île-de-France- reçoit le soutien du le plateau, paris Conseil régional d’Île-de-France, du ministère 22, rue des Alouettes de la Culture – Direction Régionale des Affaires 75 019 Paris, France Culturelles d’Île-de-France et de la Mairie de Paris. T +33 (0)1 76 21 13 20 Membre du réseau Tram, de Platform, fraciledefrance.com regroupement des FRAC et du Grand Belleville 1 Press kit Contents 1. Press release —A Study in Scarlet /p. 3-4 2. Cosey Fanni Tutti, Art Sex Music —Extracts /p. 5 3. Notices /p. 6-16 4. Images available /p. 17-19 5.
    [Show full text]
  • Whitney Museum Announces 2014 Biennial List
    Whitney Museum Announces 2014 Biennial List by Brian Boucher New York's Whitney Museum of American Art has announced the list of 103 artists to be included in its 2014 biennial (Mar. 7-May 25). The 2014 edition is curated by Stuart Comer, chief curator of media and performance at New York's Museum of Modern Art; Anthony Elms, associate curator at the Institute of Contemporary Art Philadelphia; and Michelle Grabner, an artist and curator who teaches at the School of the Art Institute of Chicago and at Yale University. Each curator will organize one floor of the museum. Whitney Anthony Elms, Stuart Comer, and curators Elisabeth Sussman and Jay Sanders are Michelle Grabner, the 2014 Whitney serving as advisors. In a press release, Comer Biennial curators. Photo Filip Wolak points out that the exhibition includes "many types of cultural producers: editorial collectives, artist- curators, activists, musicians, poets, dancers, filmmakers, painters, sculptors, and photographers." Elms says that the show should "challenge the relationship between the past, the present, and histories yet to be written." Grabner states that the show "features artists who have come to the fore as figures of influence, both inside and outside the geographic and commercial The 2014 biennial will be the last edition held in the Whitney's current Madison centers of the art world." Avenue location before the museum moves to its dramatically larger new facility in the Meatpacking District. The list of selected artists follows: Academy Records and Matt Hanner Terry Adkins Etel Adnan Alma Allen Ei Arakawa and Carissa Rodriguez Uri Aran Robert Ashley and Alex Waterman Michel Auder Lisa Anne Auerbach Julie Ault Darren Bader Kevin Beasley Gretchen Bender Stephen Berens Dawoud Bey Jennifer Bornstein Andrew Bujalski Elijah Burgher Lucien Castaing-Taylor, Véréna Paravel, and Sensory Ethnography Lab Sarah Charlesworth Yve Laris Cohen Critical Practices Inc.
    [Show full text]
  • Terry Adkins Soldier Shepherd Prophet Martyr: Videos from 1998 – 2013
    January 30, 2016 For immediate release TERRY ADKINS SOLDIER SHEPHERD PROPHET MARTYR: VIDEOS FROM 1998 – 2013 Opening reception: Tuesday, February 23, from 5 – 7pm On view: February 24 through April 3, 2016 Field trip program: Tours available February 24 – April 1. Workshops available on March 1 and March 29. Email [email protected] to arrange. Screening: Adkins’s video Synapse (from Black Beethoven) at Milner Library, February 23 – April 3 (third floor lounge) Screening: “Facets: A Recital Compilation by Terry Adkins.” Tuesday, March 15, from 12 – 2pm and 6 – 8pm at University Galleries Soldier Shepherd Prophet Martyr: Videos from 1998 – 2013, the first survey of videos by Terry Adkins (1953 – 2014), will feature twelve videos—some created to be standalone works and others developed for inclusion in his performances and multimedia “recital” installations—as well as documentation of the artist’s 2013 performances at The Studio Museum in Harlem. The exhibition’s title is derived from a phrase repeated throughout Apis Mellifera (1998 – 1999), the earliest video in the exhibition. Adkins combined these four powerful words—which resonate with historical, religious, and political tones—to reference abolitionist John Brown, the focus of the video, but they can also provide a poetic lens through which to view the other videos and the late artist himself, a fearless performer and dedicated educator who often cited his intense belief that “art can be a force for change.” Adkins, who received an M.S. degree in Printmaking from Illinois State University’s School of Art, ingeniously united the improvisation of a jazz musician and the deep research of a conceptual artist in his seamless blending of performance, sound, sculpture, printmaking, photography, and video.
    [Show full text]
  • 33 Participants Selected for Atlanta Contemporary's ATLBNL
    For Immediate Release 33 Participants Selected for Atlanta Contemporary’s ATLBNL Atlanta Contemporary presents – ATLBNL On view: August 27 – December 18, 2016 Public Opening: Saturday, August 27, 2016 from 7 – Midnight (in conjunction with ART PARTY) ATLANTA —July 18 —Atlanta Contemporary Art Center (Atlanta Contemporary) announces the 33 artists participating in the return of the Atlanta Biennial. With a roster of artists at varying points in their careers and with varying artistic practices– ATLBNL brings entirely new voices to the galleries by presenting not only the visual arts, but also book arts, film + video, fiber arts, literature, performance and music + sound. Previous Biennials – regardless of locale, curator, artists, or even the name itself – trumpeted the idea that many exceptional and relevant contemporary artists call the South home. The 2016 Atlanta Biennial further upholds this truth. “This Biennial brings together four curators with distinct points of view and curatorial methodologies,” noted Veronica Kessenich, Executive Director at Atlanta Contemporary. “They found common ground in their combined interest to exhibit individuals and collectives who have never before participated in the Atlanta Biennial. While the participants represent 8 states from across the Southeast, they do not relegate themselves to any specific sense of geography or space rather, together, their work examines the current state of contemporary art and contemporary issues.” Tue–Sat 11am – 5pm Thu open late until 8pm ATLBNL endeavors to champion these artists and their work while Sun 12pm-4pm simultaneously re-contextualizing Atlanta Contemporary’s Mon Closed commitment to our mission to engage the public in the creation, 535 Means St.
    [Show full text]