Analog Supper Club Press Release

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FOR IMMEDIATE RELEASE Recess Presents Elia Alba: The Supper Club July 1, 2013-July 1, 2014 On July 1, 2013, Elia Alba will launch The C. Jones, Juana Valdes, Kalup Linzy, Karina Supper Club on recessanalog.org, the site of Skvirsky, Kenya Robinson, LaToya Ruby Recess’s online residency program. Over the Frazier, Lina Puerta, Lorraine O’Grady, Lyle past year, the artist developed The Supper Club Ashton Harris, Marin Hassinger, Michael Paul in collaboration with Recess. The project brings Britto, Mickalene Thomas, Miguel Luciano, together 50 artists of color over a series of Nayland Blake, Nicolas Dumit Estevez, Nicole private dinners, afternoon teas, whiskey socials Awai, Rachelle Mozman, Rafael Sanchez, and other gatherings that encourage dialog Rajkamal Kahlon, Rashawn Griffin, Sanford across generations, cultures and archetypes. Biggers, Saya Woolfalk, Shaun Leonardo, Alba has been photographing, recording, and Shinique Smith, Simone Leigh, Wanda Ortiz, documenting these private conversations. Xenobia Bailey, and Zachary Fabri (list in Recessanalog.org will serve as a forum to formation). present the critical material discussed amongst the artists. Alba will continually update the site About the Artist: with intimate and unique content chronicling the Elia Alba was born in New York City. She received project’s development. her Bachelor of Arts from Hunter College in 1994 and completed the Whitney Museum Independent Study Program in 2001. Her work has been exhibited at Recessanalog.org will map the engagements Studio Museum in Harlem, El Museo del Barrio, The between participating artists and will also serve RISD Museum, Stedelijk Museum, Amsterdam, as a site for artists to respond to the Science Museum, London, ITAU Cultural conversation as it evolves. As the series of Institute, Sao Paolo, Museuo Vacional, Centro de Supper Club events unfold, Alba will create a Arte Reina Sofia, Madrid, and the 10th Havana portrait of individual participating artists, Biennial. Solo shows include Jersey City granting each player a moniker to define his or Museum, Galeria Overfoto, Italy and Black & White her role within the larger group. Process shots Gallery in New York. Awards include, Studio Museum in Harlem Artist-in-Residence Program (1999), New will appear on recessanalog.org as they are York Foundation for the Arts Grant (Craft 2002 and edited and developed. The artist will ultimately Photography 2008; Pollack-KrasnerFoundation Grant arrange these photographs and content into a (2002) and Joan Mitchell Foundation Grant (2002 and publication. 2008), LMCCWorkspace Program (2009), Flying Horse Editions (2011). Participating artists include: Abigail DeVille, Alejandro Guzman, Alex Rivera, For more information, email [email protected]. Angel Otero, Arnaldo Morales, Brendan Fernandes, Carlos de Leon Sandoval, Chitra Ganesh, Clifford Owens, Coco Fusco, Dahlia Elysad, David Antonio Cruz, Dawit Petros, Deana Lawson, Derrick Adamas, Firelei Baez, Hank Willis Thomas, Heather Hart, Ivan Monforte, Jacolby Satterwhite, Janelle & Lisa Iglesias, Jaret Vadera, Jayson Keeling, Jennie recess 41 grand street new york ny 10013 www.recessactivities.org .

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Awai, Nicole CV (Opens New Window)
https://www.lesleyheller.com/artists/nicole-awai EDUCATION Master of Fine Arts, Multi-media Art, University of South Florida, Tampa, FL (1996) Bachelor of Arts, University of South Florida, Tampa, FL (1991) ACADEMIC APPOINTMENTS & RELATED EXPERIENCE 08/15- Assistant Professor, Painting & Drawing, University of Texas at Austin, Department of Art & Art History, Austin, TX 12/14 Visiting Artist/ Critic, Tyler School of Art, Temple University 9/09-5/15 Critic, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 1/14-5/14 Visiting Assistant Professor, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 9/12-12/12 Visiting Assistant Professor, Cooper Union, School of Art, NY 11/12 Visiting Artist/ Critic, University of Kentucky, College of Fine Arts 04/12 Visiting Artist/ Critic, Parsons, The New School, Art and Design History and Theory, Fine Arts (MFA) 1/11-5/11 Visiting Assistant Professor, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 6/10 Artist/ Instructor, Norfolk Residency Program, Yale School of Art 8/18/08-5/15/09 Visiting Assistant Professor, University of Illinois at Chicago, School of Art and Art History, College of Architecture, Design and the Arts, Chicago, IL 1/08-5/08 Critic, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 9/07 Visiting Artist/ Artist Talk, Parsons, The New School, Art and Design, Fine Art 1/07- 5/08 Visiting Assistant Professor, Pratt Institute, School of Art and Design, Brooklyn, NY 1/07-5/08 Adjunct Instructor, Stern College for Women, NY 8/05-5/15 Adjunct Assistant Professor, York College CUNY, Department of Performing and Fine Arts, Jamaica, Queens, NY 2/02-8/05 Artist/Educator, Whitney Museum of American Art, New York, NY Created and implemented art education programs for students (grades 3-12) based on exhibitions at the museum.
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Spelman College Museum of Fine Art Launches 2017 with a Solo Exhibition by Acclaimed Artist Mickalene Thomas
FOR 350 Spelman Lane Box 1526 IMMEDIATE Atlanta, GA 30314 RELEASE museum.spelman.edu The only museum in the nation emphasizing art by women of the African Diaspora MEDIA CONTACTS AUDREY ARTHUR WYATT PHILLIPS 404-270-5892 404-270-5606 [email protected] [email protected] T: @SpelmanMedia T: @SpelmanMuseum FB: facebook.com/spelmanmuseum January 31, 2017 Spelman College Museum of Fine Art Launches 2017 with a Solo Exhibition by Acclaimed Artist Mickalene Thomas Mickalene Thomas: Mentors, Muses, and Celebrities February 9 – May 20, 2017 ATLANTA (January 31, 2017) – Spelman College Museum of Fine Art is proud to present Mickalene Thomas: Mentors, Muses, and Celebrities, an exhibition featuring new work by acclaimed painter, photographer, sculptor, and filmmaker Mickalene Thomas, as a highlight of its 20th anniversary celebration. This solo exhibition, which is organized by the Aspen Art Museum, features photography, mirrored silkscreen portraits, film, video, and site specific installations. Thomas edits together rich portraits of herself and iconic women from all aspects of culture—performers, comedians, dancers, and other entertainers—at play in her life and in her art. Angelitos Negros, 2016 2-Channel HD Video, total running time: 23:09 Courtesy the artist, Lehmann Maupin, New The exhibition encourages viewers to consider deeply, how York and Hong Kong and Artists Rights Society (ARS), New York personal and public figures have reflected, re-imagined, and altered their own self-image to create a larger narrative of what it means to be a woman in today’s society. The exhibition makes its Southeast debut February 9, 2017, and will be on view at the Museum through May 20, 2017.
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Contemporary Collection
TAKE A LOOK TAKE Mickalene Thomas (American, born 1971) Naomi Looking Forward #2, 2016 Rhinestones, acrylic, enamel and oil on wood panel 84 × 132 in. (213.4 × 335.3 cm) Purchase, acquired through the generosity of the Contemporary and Modern Art Council of the Norton Museum of Art, 2016.245a-b © 2018 Mickalene Thomas / Artists Rights Society (ARS), New York norton.org A CLOSER LOOK contemporary collection Mickalene Thomas Naomi Looking Forward #2, 2016 ABOUT The Artwork The Artist Naomi Looking Forward #2 portrays the supermodel Naomi Mickalene Thomas was born in 1971 in Camden, New Jersey. Campbell reclining on a couch, supporting her raised torso She studied art at the Pratt Institute in Brooklyn, New York, on her left elbow. The pose recalls many paintings of women before earning her Masters of Fine Art degree from Yale from the Renaissance to the present. However, as Naomi University in 2002. During the past decade, Thomas has twists to look to the right, her right hand pulls her left leg up received numerous honors and awards, and her artwork has over her right leg. Curiously, the calves and feet are distinctly been exhibited and collected by museums around the world. paler than Naomi. In fact, they are a photographic detail She lives and works in Brooklyn, New York. of a famous painting in the Louvre Museum in Paris, the Her compelling, lavishly executed paintings and photographs Grand Odalisque by 19th-century French artist Jean Auguste explore gender and race. Through her understanding of Dominique Ingres (pronounced “Ang”). By painting a fully art history, Thomas often juxtaposes classic, European clothed, extremely successful African-American woman in representations of beauty, such as the reclining figure, with the pose of an earlier nude, Thomas appropriates a long- more modern concepts of what it means to be a woman.
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Bma Presents Powerful Photographs Reinterpreting Masterworks of Painting
MEDIA CONTACTS: Anne Brown Sarah Pedroni Jessica Novak 443-573-1870 BMA PRESENTS POWERFUL PHOTOGRAPHS REINTERPRETING MASTERWORKS OF PAINTING BALTIMORE, MD (February 26, 2016)—The Baltimore Museum of Art presents four large-scale, dramatic color photographs that bring new meaning to masterworks of painting in On Paper: Picturing Painting, on view March 30—October 23, 2016. The featured works combine elements of historical paintings with traits particular to photography to create images with a unique and powerful presence. At the end of the 20th century, a number of artists created photographs that seemed to share more attributes with painting than with photography’s conventional roles within the fields of journalism and advertising. “The images in this exhibition take this comparison a step further by reinterpreting masterworks of painting as photographs,” said Kristen Hileman, Senior Curator of Contemporary Art. “In some case fashioned as an homage, in others a critique.” Examples include Rineke Dijkstra’s Hel. Poland, August 12, 1998 (1998), Andres Serrano’s Black Supper (1990, printed 1992), Starn Twins’ Large Blue Film Picasso (1988–89), and Mickalene Thomas’ Le déjeuner sur l’herbe: Le Trois Femmes Noires (2010). These works were influenced respectively by Sandro Botticelli’s The Birth of Venus (c. 1486), Leonardo da Vinci’s The Last Supper (1494–99), Pablo Picasso’s Deux femmes nues assises (1921), and Édouard Manet’s Le dejeuner sur l’herbe (1863). The exhibition is curated by Senior Curator of Contemporary Art Kristen Hileman. Image Credit: Mickalene Thomas. Le déjeuner sur l’herbe: Les Trois Femmes Noires. 2010. The Baltimore Museum of Art: Collectors Circle Fund for Art by African Americans, and Roger M.
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Art of Mickalene Thomas Lesson Guide Use These Slide by Slide
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Hyperallergic February 13, 2019 GAGOSIAN Portraits that Feel Like Chance Encounters and Hazy Recollections Nathaniel Quinn’s first museum solo show features work which suggests that reality might best be recognized by its disjunctions rather than by single-point perspective. Debra Brehmer Nathaniel Mary Quinn, “Bring Yo’ Big Teeth Ass Here!” (2017) (all images courtesy the artist and Rhona Hoffman gallery) Nathaniel Mary Quinn is one of the best portrait painters working today and the competition is steep. Think of Amy Sherald, Elizabeth Peyton, Kehinde Wiley, Nicole Eisenman, Allison Schulnik, Mickalene Thomas, Jeff Sonhouse, Toyin Ojih Odutola, Chris Ofili, Njideka Akunyili Crosby and Lynette Yiadom- Boakye to name a few. It could be argued that these artists are not exclusively portrait artists but artists who work with the figure. The line blurs. If identity, memory, and personality enter the pictorial conversation, however, then the work tips toward portraiture — meaning it addresses notions of likeness in relation to a real or metaphorical being. No longer bound by functionality or finesse, contemporary artists are revisiting and revitalizing the portrait as a signifier of presence via a reservoir of constructed, culturally influenced identities. The outsize number of black artists now working in the portrait genre awakens the art world with vital new means of representation. It makes sense that artists who have been kept on the margins of the mainstream art world for centuries might emerge with the idea of visibility front and center. Without a definitive canonical art history of Black self-representation, there are fewer conventions for the work to adhere to.
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1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World.
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Working Practice: Mickalene Thomas
WORKING PRACTICE: MICKALENE THOMAS by Carol Kino It's a humid fall afternoon in theMickalene Brooklyn studio of THOMAS, known for her rhinestone-studded portraits of African- American odalisques. The opening of her show at the Brooklyn Museum of Art (through January 20, 2013) is less than three weeks away, yet Thomas and her team are still busy making work. The huge industrial space is abuzz, as one bleary-eyed assistant sands and primes wood pan- els in a tarp-covered space in the back, while others apply paint to pieces in progress in the front. Interior: Blue Couch with Green Owl, 2012, by Mickalene Thomas, the subject of two museum shows and exhibitions at her New York gallery, Lehmann Maupin. Unless otherwise noted, all images courtesy of the artist, Lehmann Maupin Gallery New York and Suzanne Vielmetter Los Angeles Projects. All photographs © Christopher Burke Studio nly Thomas, wearing a paint-smeared back to painting in a different way,” Thomas pink shirt, seems fresh and focused says. Then she removes the tape and starts — and so full of energy that she can’t exulting. “It gives the figure more space O stop herself from painting while she behind her head,” she says. “I’m so glad I did talks. While showing me around, she sud- it! I’ve been thinking of doing it all day.” denly goes up to a half-finished painting of a naked woman and casually tapes off a por- So why has she used oil sticks to make tion of the surface behind the figure’s head.
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Eight Highlights from Miami Art Week
Eight Highlights From Miami Art Week A tribute to Miami’s queer culture, meditations on climate change — and more not to be missed at this year’s constellation of art and design fairs. By Osman Can Yerebakan Published Dec. 4, 2019 Miami Art Week is the most densely packed event on the art world calendar. At the center of the week’s festivities each year is Art Basel Miami Beach, which celebrates its 18th edition this month with a roster of 269 international galleries. Satellite fairs include NADA, Untitled, Design Miami, Pinta and Pulse, and, of course, there are the city’s private and public museums, such as Rubell Family Collection, the Bass and Pérez Art Museum Miami (PAMM), which will open their most anticipated shows of the year. With so much to see, there’s always a risk of missing something. Here are eight highlights to put on your list. Fred Wilson’s “Sala Longhi” (2011).Credit...© Fred Wilson, courtesy of Pace Gallery Portia Munson’s “The Garden” (1996).Credit...Courtesy of P.P.O.W. The Main Fair Expands Beyond Its Booths New to Art Basel Miami Beach this year is Meridians, a vast installation space that will expand the fair’s reach by taking over the convention center’s new 60,374- square-foot ballroom. On view there will be large-scale sculpture, painting, installation, film and performance work organized by the curator Magalí Arriola, who is committed to bringing various disciplines together under one roof. Pace Gallery joins the party with “Sala Longhi,” an installation of the American artist Fred Wilson’s 27 Murano glass paintings — from which ornate chandeliers protrude — originally commissioned for the U.S.
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Destabilizing the Sign: the Collage Work of Ellen Gallagher, Wangechi Mutu, and Mickalene Thomas”
“Destabilizing the Sign: The Collage Work of Ellen Gallagher, Wangechi Mutu, and Mickalene Thomas” A Thesis submitted to the Art History Faculty of the College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Masters of Arts in Art History Committee Members: Dr. Kimberly Paice (chair) Dr. Morgan Thomas Dr. Susan Aberth April 2013 by: Kara Swami B.A. May 2011, Bard College ABSTRACT This study focuses on the collage work of three living female artists of the African diaspora: Ellen Gallagher (b. 1965), Wangechi Mutu (b. 1972), and Mickalene Thomas (b. 1971). As artists dealing with themes of race and identity, the collage medium provides a site where Gallagher, Mutu, and Thomas communicate ideas about black visibility and representation in our postmodern society. Key in the study is theorizing the semiotic implications in their work, and how these artists employ cultural signs as indicators of identity that are mutable. Ellen Gallagher builds many of her collages on found magazine pages advertising wigs for black women in particular. She defaces the content of these pages by applying abstracted body parts, such as floating eyes and engorged lips, borrowed from black minstrel imagery. Through a process of abstraction and repetition, Gallagher exposes the arbitrariness of the sign—a theory posed by Ferdinand de Sausurre’s semiotic principles—and thereby destabilizes supposed fixity of racial imagery. Wangechi Mutu juxtaposes fragmented images from media sources to construct hybridized figures that are at once beautiful and grotesque. Mutu’s hybrid figures and juxtaposition of disparate images reveal the versatility of the sign and question essentialism.
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Powered by Julie Mehretu Lot 1
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Nka Journal of Contemporary African Art GLYPHS: ACTS OF INSCRIPTION Social Activism and the Politics of the Archive Brett M. Van Hoesen he phrase “art and social activism,” surpris- ingly not yet a category in the Art Genome T Project, has gained considerable currency over the past several years, implying that artists of the current age have begun to self-consciously re- assess the role that visual arts can play in evincing social change.1 In reality this relationship between art and social action has been strong for many decades. Today’s seemingly renewed awareness of art’s power to instigate social transformation pro- vided the starting point for the exhibition Glyphs: Acts of Inscription. Hosted by the Pitzer College Art Galleries in Claremont, California, and co-curated by Renée Mussai, curator and head of archive at Autograph ABP in London, and Ruti Talmor, assis- tant professor of media studies at Pitzer College, this compelling show ran from September 19 to December 5, 2013, and included work by nine inter- national artists from Africa, Europe, and the United States, including John Akomfrah, Cheryl Dunye, Rotimi Fani-Kayode, Lyle Ashton Harris, Mwangi Hutter, Zanele Muholi, Andrew Putter, Mickalene Thomas, and Carrie Mae Weems. As the title of the exhibition implies, the curators aimed to interro- gate how “identities are constituted through acts of inscription—real or imagined—into the visual archives that constitute history, popular iconog- raphies, and artistic canons” and to further probe the “consequences of such acts on the poetic and political dimensions of representation, difference, and visibility.”2 Journal of Contemporary African Art • 35 • Fall 2014 74 • Nka DOI 10.1215/10757163-2828020 © 2014 by Nka Publications Published by Duke University Press Nka Journal of Contemporary African Art Zanele Muholi, images from series Faces and Phases, 2006–14.
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