/
Summer 2006
I]ZHijY^dBjhZjb^c=VgaZbBV\Vo^cZ / Summer 2006
>CI:GC6I>DC6A >HHJ: ;gdbi]Z9^gZXidg HB=7dVgYd[ today’s most compelling artists by Kareen Dillon, Sam Durant IgjhiZZh of African descent, we take you and Jayson Keeling and send it Raymond J. McGuire around the world, from Cuba to back from wherever your travels Chairman Trinidad to Dakar to England to may take you. Carol Sutton Lewis Haiti, and of course back uptown Vice-Chair to Harlem! Reginald Van Lee Treasurer I]ZHijY^dBjhZjb^c=VgaZbBV\Vo^cZ / Summer 2006 Gayle Perkins Atkins Kathryn C. Chenault Paula R. Collins Gordon J. Davis Anne B. Ehrenkranz Susan Fales-Hill This moment also marks Dr. Henry Louis Gates Jr. %'$l]Vi¼hjeFj^YEgdFjd$CVY^cZGdW^chdc$7ZndcYH^\]i$=VgaZb several transistions at the Sandra Grymes Studio Museum. Our esteemed Joyce Haupt EdhiXVgYh&'$jeXdb^c\Zm]^W^i^dch6[g^XV8db^Xh$HiVc9dj\aVh Arthur J. Humphrey Jr. I have never been a fan of President and former Director George L. Knox &)$ZahZl]ZgZ@Z]^cYZL^aZn$8]V`V^V7dd`Zg$@Zggn?VbZhBVgh]Vaa organized sports. Not really. Lowery Stokes Sims ends Nancy L. Lane I sometimes watch the U.S. open her tenure and will assume Dr. Michael L. Lomax $7aVX`HinaZCdl$8]g^hDÄa^$9^heViX]/LVh]^c\idc!9#8#'%$8dkZgZY/ or occasionally check in on the Tracy Maitland Olympics, but I have never been Rodney M. Miller ;V]VbjEZXdj''$[ZVijgZ=VkVcV!8jWV'+$[ZVijgZAZha^Z=Zl^ii an NBA playoffs kind of girl. Recent biennials in Havana and Eileen Harris Norton 6ci]dcn?dhZe]('$>che^gZYWn6gi 02 01 QUID PRO QUO#>hXgViX]ndjgWVX`!ndjhXgViX]b^cZ#I^i"[dg"iVi#6[Vkdg[dg V[Vkdg#HdbZi]^c\[dghdbZi]^c\# 7VgiZg^hi]ZdaYZhi[dgbd[XjggZcXn!VcY[VkdghVgZhi^aaXdbbdc social exchange and the quotidian negotiation of everyday life. bdY^deZgVcY^idYVn# For some public officials, funds or favors Literal elements in the work, such as jungle gyms, body given quid pro quo may constitute a breach of public trust or an lotion and blue jeans, are not only abstracted, but also converted 01 / 8a^[[dgYDlZch unethical circumvention of the democratic process for special and reincarnated into new objects with altered forms, functions “Studio Visits: Studio Museum in Harlem (Joan Jonas)” interests. But in truth quid pro quo is a function of society, and processes. Through ideas associated with child’s play, social 2006 a mechanism for acquiring materials and services, a calculation anxiety and artist-audience tension, the works also address figured into the GNP and a way of life. larger issues of governance, control and power in a world of mili- 02 / GVh]Vlc GVh]Vlc 7dgc&.-%!Adh6c\ZaZh!86$A^kZhVcYldg`h 7dgc&.,&!7Vai^bdgZ!B9$A^kZhVcYldg`h L]Vi\VY\ZiXdjaYndjcdia^kZl^i]dji4I can 7dgc&.+-!Edgid[HeV^c!Ig^c^YVYVcY ^cCZlNdg`!CN$:YjXVi^dc/'%%*B;6! ^cAdc\>haVcY8^in!CN$:YjXVi^dc/ live without gadgets. I can’t live without love, IdWV\d$A^kZhVcYldg`h^c7gdd`anc!CN$ NVaZJc^kZgh^in!CZl=VkZc!8I$'%%'7;6! '%%%B;6!BVhdc L]Vi^hi]Zbdhi^ciZgZhi^c\Zm]^W^i^dcndj¼kZ L]Vi¼hcZmi4More. hZZcgZXZcian4Frequency (2006), of course. Frequensia (2006), por supuesto. -Answered on April 28, 2006 Photo: Ray A. Llanos %+$l]Vi¼hje HijY^d$Summer 2006 %,$l]Vi¼hje HijY^d$Summer 2006 CVY^cZGdW^chdc/ VaaZh\gVj July 19–October 22, 2006 CVY^cZGdW^chdc alles grau in grau malen, 2005 Courtesy the artist and Grand Arts, Kansas City, MO I]ZWdd`d[GZkZaVi^dc!i]ZÄcVaWdd`d[i]ZCZlIZhiVbZci!d[[Zgh will be saved at the end of time.2 Echo effects and air horns, com- Vcdb^cdjh!bZcVX^c\e^XijgZd[i]Z[jijgZ#>iWZ\^chl^i]?d]c¼h monly found in Jamaican dance music, are reinterpreted as egde]ZXnd[i]ZHZXdcY8db^c\d[i]ZAdgY#:bZg\^c\Zi]ZgZVaan a kind of “doom dub” in this work. Each of these tracks derives [gdbi]ZXadjYh!]daY^c\^c]^hg^\]i]VcYhZkZc\daYZchiVgh[dg from a different vernacular for the end of time. i]ZhZkZcX]jgX]Zhd[6h^V!AdgY Robinson’s new work, alles grau in grau malen (2005), offers 1/ “Houses of Joy” is a colloquial expression/term used to describe large sound sys- a soundtrack for the end of time. It is a large-scale sound tems composed of an amalgamation of stacked speakers. These systems are popular in public spaces in urban areas of Jamaica. painting measuring over 11 by 45 feet. Fit onto one wall, it is 2/ Haile Selassie (1892-1975), descendant of King Solomon and the Queen of Sheba, accompanied by fog emitted from low-lying fog machines, is regarded as the Messiah of the African race by followers of the Rastafarian movement. which obscures the rigor of the white cube. The built-in audio The word “Rastafarian” comes from Selassie’s pre-coronation name, Ras Tafari. player components play a mix of popular dramatic sound- 3/ John Shepard, “Music as Cultural Text,” The Routledge Companion to Music tracks taken from Hollywood films and Jamaican dance music. (London: Routledge, 1993), 148. The pounding and chanting tracks come from the climactic scenes in Rosemary’s Baby (1968), The Omen (1976) and The Matrix I]ZegZhZciVi^dcd[Nadine Robinson: alles grauViI]ZHijY^dBjhZjb^c=VgaZb^h bVYZedhh^WaZ^ceVgiWn9ZjihX]Z7Vc`VcYC^XdaVh;g^Zh#alles grau in grau malen (1999). These manufactured movie versions of synchopathic lVhXgZViZYdci]ZdXXVh^dcd[Nadine Robinson: Conclusion of the System of Things sounds are mixed with Catholic funerary chants. Special effects '%%* Vi DjgGZÅZXi^dc 7ZndcYH^\]i By Expanding the Walls participants July 19–October 22, 2006 9Vccn6aWVVcYBVm^cZLdc\ 05 Photo: Ronny Quevedo Participating in Expanding the Walls has changed how we view museums. We discovered that there is much more to museums than artwork hanging in quiet galleries−we were able to contribute to operation of the Studio Museum. Inside and outside the galleries there was a world of activities, work- shops, projects and, above all, countless engagements with new people of all generations. With Expanding the Walls, we grew through exposure to new people and artwork. We had the opportunity not only to see contemporary art, but also to meet the artists and speak to them about their work, which helped us develop 01 06 our own artistic practices as photographers. We were able to create dialogues with various audiences about the artwork in the Museum by leading tours for our peers, families and senior citizens. The height of the program for us was organizing our group exhibition, which placed our photography alongside the work of James VanDerZee. Our images offered new observa- tions that reflect cultural conventions, personal imagery, representations of identity and family tradition. We contem- plated themes with which we could relate, themes present in our own lives. These images were our outlet to express who we are and how we want to be seen by others, revealing our definition of community. Danny and Maxine participated in Expanding the Walls for two seasons. This fall they will begin college and continue their arts education. 07 02 03 04 01 / @VgZZc?#9^aadc 03 / 7g^iiVcnGZncV 05 / L^ab^c\idc hijYZcih¼^cY^k^YjVa^ciZgegZiVi^dchd[i]ZedgigV^i#6XdbW^cVi^dcd[^bV\ZhWn[djgiZZc 02 / 9Vccn6aWV 04 / BVm^cZLdc\ 06 / 9ZWgV ZmeadgZhi]Z\ZcgZd[edgigV^ijgZVcY^ih^cÅjZcXZhdceZgXZei^dcVcYgZegZhZciVi^dc# Expanding the Walls: Making Connections Between Photography, History and Community^hhjeedgiZYWni]ZEZiZg?VnH]Vge;djcYVi^dcVcYi]Z:Vi]dc=VaaBZbdg^Va;jcY# &%$l]Vi¼hje HijY^d$Summer 2006 &&$jeXdb^c\Zm]^W^i^dch HijY^d$Summer 2006 =VgaZbEdhiXVgYh HjbbZg'%%+ July 19–October 22, 2006 01 02 GZegZhZciZY!gZkZgZYVcYgZXd\c^oZYWneZdeaZVgdjcYi]ZldgaY!=VgaZb^hVXdci^cjVaan ZmeVcY^c\cZmjhd[WaVX`XjaijgZ!]^hidgnVcY^Xdcd\gVe]n#KZcZgVWaZaVcYbVg`h! hjX]Vhi]Z6Wnhh^c^Vc7Vei^hi8]jgX]!6edaadI]ZViZg!=diZaI]ZgZhV!6jYjWdc7Vaagddb VcY&'*i]HigZZi!gZbV^cedejaVgZbWaZbhd[^bedgiVci]^hidg^XbdbZcihVcYbddYh# I]ZHijY^dBjhZjb¼hdc\d^c\hZg^Zh!Harlem Postcards!^ck^iZhXdciZbedgVgnVgi^hihd[ Y^kZghZWVX`\gdjcYhidgZÅZXidc=VgaZbVhVh^iZ[dgVgi^hi^XXdciZbeaVi^dcVcY egdYjXi^dc#>chiVaaZY^ci]ZBjhZjbadWWnVcYVkV^aVWaZidk^h^idgh!Harlem Postcards egZhZci^ci^bViZk^ZlhVcY[gZh]eZgheZXi^kZhdci]^h[VbdjhcZ^\]Wdg]ddY# HVb9jgVci @VgZZc9^aadc ?Vnhdc@ZZa^c\ 7dgc&.+&!HZViiaZ!L6 Expanding the WallseVgi^X^eVci!7dgc&..& 7dgc&.++!7gdd`anc!CN A^kZhVcYldg`h^cAdh6c\ZaZh!86 B^aaZcc^jb=^\]HX]dda!CZlNdg`!CN A^kZhVcYldg`h^c7gdd`anc!CN I was interested in seeing what the address of the Studio Museum, This picture was taken in Mount Morris Park. My intention was to I noticed it right away, the quirky combination of internal fortitude 144 W. 125th St. (or Martin Luther King Jr. Blvd.), would show how a community can be portrayed through the games and an ever-so-slight dollop of youthful vaingloriousness. reveal in Los Angeles. Unlike in Harlem, in Los Angeles Martin it plays. In my mind, Harlem is known for kids, teenagers and adults Mr. Sass seemed like the ruler of a small universe, yet within Luther King Jr. Boulevard and 125th Street are two diff- who play basketball, baseball, chess and cards. And Mount a much larger community. I also began to wonder how many erent streets−theoretically the address could point to two different Morris Park gives them the public space to play. good friends, lovers, situations, indignities, triumphs, tragedies, locations. I visited the two places where street number would disparities, styles and neighbors have come and gone−in and out appear. On West Martin Luther King Jr. Boulevard there is no 144; I photographed basketball because I think it is played the most. of his life and fashion−over the years, and how, through it all, an the house numbers jump from 142 to 146. Although 125th Simply, the point of the game is to get the ball in the hoop and stop individual can truly parallel and exemplify a community for over Street exists in Los Angeles, the section of it where 144 would the other team from doing the same. When the players throw eighty years ... and still feel like a king. be does not.Instead, there is an unnamed, unnumbered alley the ball, to the hoop or to one another, it is, at least briefly, out of between 124th and 126th Streets. I took a photograph looking reach. The players watch it fly, hoping, wondering and waiting, and 03 east down the alley from where 144 would be if it existed. this picture captures that moment. What angle was it thrown from? Will it go in? Artist Xaviera Simmons gave me the courage 01 / HVb9jgVci 02 / @VgZZc9^aadc 03 / ?Vnhdc@ZZa^c\ 144 W. 125th Street Waiting Isaiah Sass, The Riverton, to go up to the gentlemen on the court and ask them if I could Los Angeles, CA 2006 138th Street photograph their game, so I could capture this moment in time. 2006 2006 &'$jeXdb^c\Zm]^W^i^dch HijY^d$Summer 2006 &($ HijY^d$Summer 2006 HiVc9dj\aVh/>cXdchdaVWaZBZbdg^Zh 6[g^XV8db^Xh November 15, 2006–March 18, 2007 November 15, 2006–March 18, 2007 01 Bjh^Z6h\bZYdb(Eritrea) 01–04/ HiVc9dj\aVh Untitled Inconsolable Memories, 2005, Film stills; courtesy David Zwirner, New York I]ZHijY^dBjhZjb^c=VgaZb!^cXdc_jcXi^dcl^i]6[g^XVZBZY^iZggVcZd 7dad\cV!>iVan ! l^aaegZhZcii]ZÄghiZm]^W^i^dcd[6[g^XVcXdb^XVgi^ci]ZJc^iZYHiViZh# 02 03 04 6gi^hih^ci]ZZm]^W^i^dc^cXajYZ/ Africa e Mediterraneo, a nonprofit cooperative, was created in Romão Segunda Angola / Simon Mbumbo Cameroon / Francis 1997 to foster intercultural education between Italy and Africa, Taptue Chrisany Cameroon / Mendozza Y Caramba Ivory and developed the first serious contemporary investigation Coast / Amanvi Ivory Coast / Titi Faustin-eyoum Nganguè Ivory I]^hZm]^W^i^dc[ZVijgZhVÄabVcYÄ[iZZce]did\gVe]hWn8VcVY^VcVgi^hiHiVc9dj\aVh# of comic art in Africa today. With narrative, engaging humor, social Coast / Gbalezere Thierry Ivory Coast / Musie Asgmedom awareness, history and myth, African comic art has achieved Eritrea / Tuf Mulokwa Kenya / Anthony Mwangi Kenya / Didier Providing an entrée to the film Inconsolable Memories (2005), the of societal upheaval, Douglas shifts the narrative forward two a wide range of recognition as both an art form and a valuable Randriamanantena Madagascar / Tounkara Massiré Mali / Adèrito photographs depict buildings and spaces in and around Havana, decades to the Mariel Boatlift of 1980. (Castro’s temporary lifting medium for cross-cultural communication. The Studio Museum in Wetela Mozambique / Kola Fayemi Nigeria / Fatunla Tayo Nigeria Cuba, built before the 1959 revolution and later “repurposed.” of emigration restrictions resulted in a mass exodus, with some Harlem will present a selection of recent work in support of / Olufemi Arowolo Nigeria / Mfumu’eto Democratic Republic Douglas highlights the evolutionary needs of contemporary Cuba 125,000 Cubans leaving for the United States). In Douglas’s film, this vital art form, which is omnipresent on the African continent. of the Congo / Pat Masioni Democratic Republic of the Congo and the ways in which the current regime has reused and recycled Sergio is given the opportunity to leave Cuba following his release / Alain Mata, Sapi Gampez Democratic Republic of the Congo architecture to reflect changing beliefs and actively change beliefs, from jail but chooses not to. Several people close to him have left / Fifi Mukuna, C.n. Edimo Democratic Republic of the Congo / functions and society. in previous years, leaving him in a fractured city. Albert Tshitshi Democratic Republic of the Congo / Asimba Bathy Democratic Republic of the Congo / Esale Bokungu Democratic The film Inconsolable Memories is based on a film directed by Republic of the Congo / Didier Kassaï Central African Republic / Tomás Gutiérrez Alea called Memories of Underdevelopment Jean Claude Ngumirerwanda / T. T. Fons Senegal / Conrad Botes (1968). Alea’s film focuses on a black Cuban man named Sergio South Africa / Kannemeyer Joe Dog South Africa / Zapiro South I]^hZm]^W^i^dc^hXdegdYjXZYWni]ZBdgg^hVcY=ZaZc7Za`^c6gi 04 03 7aVX`HinaZCdl@ Museum of the City @Zggn?VbZhBVgh]Vaa/6adc\i]ZLVn of New York / NY / September 8, 2006– @ Modern Art Oxford / Oxford, UK / February 19, 2007 / www.mcny.org July 25–October 22, 2006 / Organized by author/historian Michael Henry Adams and fashion www.modernartoxford.org.uk designer Michael McCollom for the Museum of the City of New York, Black Style Now explores African-American style and 01 I hope you all had the chance to see Kerry James Marshall’s exhibi- highlights the hip-hop revolution and its transformative impact tion at the Studio Museum, organized by the Museum of Contempo- on fashion and design. The exhibition will be a groundbreaking @Z]^cYZL^aZn/8dajbWjh@ rary Art, Chicago. This new exhibition brings Marshall’s vision to the exploration of the contributions of African Americans to Columbus Museum of Art / Columbus, OH / United Kingdom. One of the most closely watched American artists contemporary fashion, focusing on such iconic designers and of his generation, Marshall’s work is characterized by politically- style setters as Tracy Reese, Stephen Burrows and B. Michael. September 9, 2006–January 7, 2007 / charged references to the black-American experience. This exhibi- 02 tion presents a focused survey of his paintings since the 1980s to www.columbusmuseum.org today and reveals his continuing relevance to a younger generation of artists and audiences. The exhibition is curated by Deborah Smith Kehinde Wiley has created an important project around the ;dgZ[gdci/8]V`V^V7dd`Zg@ and organized by Camden Arts Centre in association with BALTIC representation of black male imagery. He continues to investi- National Museum of Women in the Arts / Centre for Contemporary Art, The New Art Gallery Walsall and Mod- gate historic painting and the politics of representation. For this ern Art Oxford. The exhibition is touring to all three venues. exhibition at the Columbus Museum of Art, Wiley will create a new Washington, DC / May 26–September cycle of paintings based on Old Master works from the Museum’s permanent collection. Models discovered by the artist on the 4, 2006/ www.nmwa.org streets of Columbus dress in contemporary urban fashion as they Chakaia Booker was an Artist-in-Residence at the Studio Museum mimic poses from these historic works. The sacred and secular in 1996 and it is wonderful to see her work is now being presented Here’s some must-see themes of the Renaissance and Baroque references give new in this survey. In this large one-gallery installation, Chakaia Booker meaning to embedded codes of gesture and dress, past and pres- continues her sculptural exploration of the African-American exhibitions that I’m not ent, while provoking a reconsideration of lingering stereotypes experience, feminism and the work ethic in America. In her “post- about masculinity, race and class in our society today. A video of 01 / @Z]^cYZL^aZn 02 / 8]V`V^V7dd`Zg industrial” objects made from automobile tires, Booker develops going to miss! Portrait of Pablillos de Valladolid, Phobic Digressions the artist’s process of creating this unique project for Columbus Jester of Phillip IV, II 2006 her own version of environmental consciousness and rehabilitation. will accompany the exhibition, to be installed in a recreation of an 2006 Courtesy Marlborough At the same time, her works comment upon the industrial machine Gallery, New York opulent Baroque salon. and what it makes of men and women and their relationships−“the 03 / @Zggn?VbZhBVgh]Vaa Vignette IV 04 / 9^V]Vcc8Vggdaa^cCd ensuing conditions of unmet needs and desires,” as she calls it. 2005 Hig^c\h Ultimately, her sculptures are barb-tongued images in which formal Collection of the artist 1962 Courtesy Jack Shainman Gallery, Courtesy the Museum of innovations dovetail with force exercised and force absorbed. New York the City of New York, Photo: Friedman-Abeles &+$l]Vi¼hjeZahZl]ZgZ/VgiWZndcYhb] HijY^d$Summer 2006 &,$ZahZl]ZgZ/VgiWZndcYhb]l]Vi¼hje HijY^d$Summer 2006 Don’t miss! 01 02 8]VcXZ:cXdjciZgh/I]Z;dgbVi^dc I]Z7ajZG^YZg:miZcYZYGZb^m@ d[i]ZYZBZc^ah¼6[g^XVc8daaZXi^dc Kestner Gesellschaft / Hannover, Germany/ 03 04 @ The Menil Collection / Houston, TX / June 23–August 20, 2006 / :c\ja[ZYWn@Vig^cV/E]did\gVe]h =VgaZb/I]ZK^h^dcd[Bdg\VcVcY May 26–September 10, 2006 / www.kestner.org 7Z[dgZVcY6[iZgi]ZHidgb@ BVgk^cHb^i]@ Hampton University www.menil.org In the spring of 2005 we had the great pleasure of presenting The Nathan Cummings Foundation / Museum / Hampton, VA / Chris Ofili’s Afro Muses 1995—2005. In this exhibition of his new New York, NY / June 15–September September 22– December 9, 2006 / One of my absolute favorite museum spaces in the world is the work, Chris presents his meditation on the blues. In The Blue Rider, Menil Collection. I am eager to see this new installation, Ofili makes reference to the German Expressionist, “Der Blaue 22, 2006 / www.nathancummings.org www.hamptonu.edu/museum Chance Encounters: The Formation of the de Menils’ African Reiter,” with its synthesis of the arts−painting, music, theatre, high Collection, organized by Christina Van Dyke. Beginning in art and folk art. The artist’s new home of Trinidad and Tobago is This exhibition project, curated by Deborah Willis, PhD, and Hank Organized by our neighbors, the Schomburg Center for Research the 1950s and accelerating in the 1960s and 1970s, John and also referenced in the coloration and tones of the works, which Willis Thomas, examines and interprets the experience of in Black Culture, Harlem: The Vision of Morgan and Marvin Dominique de Menil assembled an important collection of are painted in nocturnal, dark oceanic blues, tropical moonlight Katrina on the Gulf Coast. Featuring more than eighty photo- Smith surveys the lives, art and work of Harlem’s premiere twin nearly one thousand works of African art, only a small part of and phosphorescent silver. Ofili paints a mystical Garden of graphs, this thematic exhibition will explore the devastation photographers. Featuring photographs taken by Morgan which has been on display since the museum opened in Eden where we encounter women and men, coiling snakes and of cities, as well as life before and after the storm. The focus of the and Marvin Smith, this exhibition serves as a reminder of what 1987. Chance Encounters will explore the genesis of the collec- exotic vegetation. However, the paradisial illusion is broken by show is to fulfill the promise made by everyone almost immediately these photographers viewed as the best Harlem had to offer tion, exhibit many African objects never previously on view, the confrontation with the profane, carnivalesque elements of the after the event, which was not to let the impact of this horrific from the 1930s through the 1950s. Artwork by Romare Bearden and put these works in dialogue with other parts of the collection large-scale sculptures inspired by the “Caganer”−a nativity figure experience be forgotten. The exhibition will invite viewers to recall and collected by Marvin Smith will also be part of the exhibition. to evoke the humanist framework within which this collection from Catalan folk art. their own experiences of watching the events unfold on television, was conceived. and will attempt to counter the complacency that has already set in the aftermath of this ongoing tragedy and “re-member” images of cities. 01 / BVa^!7VcY^V\VgV:hXVgebZci 02 / 8]g^hDÄa^ 03 /8VgaVL>aa^Vbh 04 / Bdg\VcVcYBVgk^cHb^i] attributed to the Dogon people, Jenne Charmant Three We Were Here Harlem’s First Three Telegram Messengers style, Male Figure, The Menil Collection, 2005 2006 1939 Houston, gift of J. J. Klejman Collection of The Studio Museum in Courtesy the artist and Courtesty Hampton University Museum, VA Photo: Hickey-Robertson, Houston, TX Harlem; gift of Eileen Harris Norton, Charles Quice Fine Art Santa Monica 06.2.1 Photography &-$l]Vi¼hjeZahZl]ZgZ/VgiWZndcYhb] HijY^d$Summer 2006 &.$ZahZl]ZgZ/VgiWZndcYhb]l]Vi¼hje HijY^d$Summer 2006 HdbZd[i]ZWZhid[i]ZgZhi/ 9^heViX]/98Alive and Kicking @VajeA^con 8daaZXi^c\6[g^XVc6bZg^XVc6gi/6Zhi]Zi^Xh!BZi]dYh All My Churen, 2003 (video still) VcYBVg`ZieaVXZ$8dc[ZgZcXZ/DXidWZg'-!'%%+ Courtesy the artist and Taxter & Spengemann :m]^W^i^dc/DXidWZg'.!'%%+¸?VcjVgn,!'%%,$I]Z L^aa^Vb=#?d]chdc (1901-1970) >ccVcY8dc[ZgZcXZ8ZciZg!Jc^kZgh^ind[BVgnaVcY BnXZcVZVc, written and Training for War, c.1942 Jc^kZgh^in8daaZ\Z(*%&Jc^kZgh^in7akY#!6YZae]^!B9$ Image courtesy of Michael Rosenfeld Gallery directed by Carl Hancock Rux / LLC, New York, NY (%&#(&)#'+&*$lll#Yg^h`ZaaXZciZg#jbY#ZYj BAM Harvey Theater / Brooklyn, NY / October 10, 12—14, 2006 The David C. Driskell Center, in collaboration with the L^aa^VbHXdii 7:30 p.m. / www.bam.org/ William and Tracy, 2002 University of Maryland University College, and the Collectors events/theater.aspx Courtesy White Columns, Club of Washington, DC, Inc., will host this conference on New York / Creative Growth, Oakland, CA collecting and valuation. The conference will take place in Courtesy of the Brooklyn Academy of Music conjunction with the opening of the exhibition Holding our I was delighted to encounter the work of William Scott, Own: Selections from the Collectors Club of Washington, a Bay Area artist, at White Columns a few months ago. He is DC, Inc. a contemporary visionary who has created a funny and IdYVn!LVh]^c\idc!98!^hZmeZg^ZcX^c\VgZcV^hhVcXZ#6gZXZci touching world in his own image. I< gZVaZhiViZWddbgZ^ck^\dgViZYi]ZdcXZYZXVn^c\Ydlc" idlci]VihjggdjcYhi]ZHb^i]hdc^VcVcYdi]ZgbV_dgbjhZjbh# Edd`^Z¼h 8dkZgZY/ Fahamu Pecou 6iaVciV"WVhZYVgi^hi;V]VbjEZXdj^hi]Z h]^iViaZVhii]Vi¼hl]Vi]^hldg`hVnh#L^i] hZa["VhhjgZY!jcVedad\Zi^X[Zgkdg!EZXdj eV^cih]^bhZa[dcidi]ZXdkZghd[hdbZd[ idYVn¼haZVY^c\VgibV\Vo^cZh#IdhdbZ! ]^hYZiZgb^cVi^dcVcYVeegdVX]bVnhZZb Vggd\Vci!VcYiddi]Zgh]^ha^[ZVhVXdkZgWdn bVnhZZbVXdbbZciVgndci]Z¹XdkZgV\Zº d[WaVX`Vgi^hih# LZ`cZld[]^hldg`!WjilZlZgZeVg" i^XjaVganYZa^\]iZYVcYVbjhZYl]Zc]Z VYYZYjhid]^heVci]Zdcd[Veegdeg^Vi^dc# Ali Evans, Editor-in-chief, Studio Museum 01 04 06 10 07 01 / So Fresh, So Clean 05 / Sexy Beast II: I Cant B Ur Lovrrr 2005 2006 02 / Surviving Basquiat 06 /Big Tings A’Gwon 2005 2006 02 03 05 03 / And it Ain’t Even February (Damn) 07 / Rethinking Andy Warhol 2005 2006 04 / Black People Paint in June 2006 ''$[ZVijgZ HijY^d$Summer 2006 '($ HijY^d$Summer 2006 connect with American collaborators−but like the Shirin Neshat (United States) installation of Zarín (2005) at Fototeca de Cuba, the works and discussions here seem redundant for a New =6K6C6, York curator. Leisurely walk along the Malecón, the avenue that clings to the dramatic seawall along the northern shore of Havana. I see Stan Douglas’s 8J76 cinematic Cuba images everywhere; a camera pans across the skyline, crashing white waves March 25–April 2, 2006 interrupt blue sky. Sergio and his friend, in black and white, speak in staccato dialogue and cruise down the Malecón in the old convertible, a IZmiVcY>bV\ZhWn scene from Inconsolable Memories. Cigarillos, Christine Y. Kim, Associate Curator, Studio Museum rust, chalk, dust, music ... a plaza of facades, of exquisite architecture, all historic but ranging in condition from dilapidated, dangerous and inhabited by wild dogs, to completely restored to full color, glory and colonial perfection. Life on top of life, history beside history, decade after decade, reused and rebuilt in stacking-up-style construction. 01 04 Interesting presentation by Tania Bruguera on A^`Zbdhi^ciZgcVi^dcVaW^Zcc^Vahd[XdciZbed" her work in relation to Ana Mendieta, the body gVgnVgi!i]Z7^ZcVaYZAV=VWVcV^hVX^in"l^YZ and performance from the seventies through the Zm]^W^i^dci]Vi[ZVijgZhldg`h^cVaabZY^V! present day. [gdbeV^ci^c\VcYhXjaeijgZideZg[dgbVcXZVcY k^YZd#I]ZVgi^h]jc\^cbjhZjbhVcY\VaaZg" Dinner in a paladar, typical for dinners served in local families’ homes, where I meet some Cubans ^Zh!VhlZaaVh^cjcXdckZci^dcVaheVXZhhjX]Vh interested in discussing life, art and music in X]jgX]VWWZnhVcYZbeinadih!VcYgVc\Zh Cuba, followed by Cocktails at Hotel Nacional’s [gdbb^Y"XZcijgnVgiidcZlh^iZ"heZX^ÄXldg`h Salon 1900 Buena Vista Social Club. VcYejWa^Xegd_ZXih#7jii]Z7^ZcVaYZAV =VWVcV^hcdifj^iZa^`Z^ihh^Wa^c\h^cKZc^XZ! 96N(: Visit to the Instituto Superior de Arte (ISA), Cuba’s national art school based on >hiVcWja!dg Visit off-site and unofficial exhibitions back in Attend art party and group show including “black” Habana Vieja. The most interesting one I find installation made of black garbage bags and is La Huella Múltiple 1996–2006: Futuro, co- Cuban Coca-Cola by Joël Andrianomearisoa curated by artists Abel Barroso, Ibrahim Miranda (Madagascar/France) at Apertura in el Pabellón and Sandra Ramos. It is installed at the Convento Cuba, followed by a wonderful little dinner with de San Francisco de Asís Claustros, on the top Studio Museum patron Peggy Cooper Cafritz at floor of the eighteenth-century convent, and the home of Cuban art historian Cristina Vives accessible only by a small door guarded by and her family. an elderly woman. A collective of seven young 18 artists, called Makina, presents a performance- 96N+: I travel furiously to Recorrido por installation 3’30”, which explores the sensory Alamar, where there is a series of installations, transference of transistor radio noises and performances and happenings, including graffiti etching on metal boards. Barroso’s own wood- by artists CoCo 144, Mico and Kez 5, and carved constructions of cranes, aircraft and Proyectivos Colectivos OMNI Zona Franca and machines with woodchips, entitled The Cold War Cubabrasil, but the events are postponed from Has Ended, Let’s Enjoy Globalization, embraces 11 10 a.m. to noon to 2 p.m. and I have to leave craft and irony. before it ever gets started. Bummer. 16 19 96N*: Studio visits with Raul Cordero, Alexandre Mad rush to see the remainder of the instal- Arrechea (formerly of Los Carpinteros) and lations, with one pleasant surprise: a sensitive Ibrahim Miranda, and visits to other artist exhibition of drawings by French architect 09 recommendations from Lowery Stokes Sims, Jean Nouvel at Centro Hispano Americano de of and discussions with Afro-Cuban artists René Holly Block and Sofia Hernandez. Cultura on the Malecón. Peña and Elio “El Macho” Rodriguez, as well as Alex Hernandez Dueñas. I set up visits with their By this point in the trip, I am trying to see as much I am full of thoughts, some contradictory and 12 20 peers and other young artists not affiliated with art and meet with as many artists as possible, confused and others clear, while looking the Fundación Ludwig de Cuba or art schools. and I do this with rehearsed geographic strategy. at art against the backdrop of bloody anti-Bush I go from meeting with Barthélémy Toguo billboards and multiple monuments to Fidel I begin to understand some of the dynamics of (Cameroon/France) at a two-person gallery and Che. Beauty and poverty are inter- government-approved artists, support, exposure, exhibition, to a series of studio visits with young twined, misunderstanding and hypocrisy are activities and exhibitions, and for the sake of Afro-Cuban artists such as El Macho, Andres implicit and perception is key. Thoughts for further discovery, I forego the viewing of Sandra Montalvon and Alexis Esquivel. None are part of exhibitions and projects emerge. This place Ramos’s work at Espacio Aglutinador and a Los the biennial. We spend the afternoon discussing will change and when it does, it will do so with Carpinteros exhibition at Galeria Habana, both of the literal elements in their works on paper, such 13 17 21 extraordinary speed. which I return to later in the week. Instead, I find a as race negotiations under Cuban politics, the young student who agrees to drive me around for differences between exhibiting work in Europe Traditional Cuban dinner hosted by Peggy the afternoon. We take the tunnel to the sixteenth- and the United States, the allure of using tourist Cooper Cafritz with friends and artists. She century fortress guarding the entrance to Havana iconography and the humor of black faces in generously invites a number of the Afro-Cuban Bay, Parque Histórico Militar Morro-Cabaña, imagery including Spanish bullfights, Cuban artists with whom I have been in discussion and constructed by the Spanish military. baseball heroes and dolls in boats adrift from would like to meet in person. It is a wonderful last Cuban shores on unrelenting open seas at night. night with good food, compelling conversation, The installations are in the La Cabaña section, But what strikes me most is the beauty of various and many toasts.HVajY the former prison, and there I meet Meschac found paper media, such as torn wallpaper and Gaba (Benin/Netherlands), Pascale Marthine paper with child-like crayon markings. 14 Tayou (Cameroon/Belgium) and others while they are installing their work. Meschac is showing 09 / Fidel Castro’s monument to Peggy Cooper Cafritz and the braided wig sculptures that were featured in Cuban victims of Meschac Gaba at el Pabellón U.S. sponsored violence Cuba Tresses (2005) at The Studio Museum in Harlem. It’s wonderful to see them in this setting. The 10 / Andres Montalvan in his 17 / Detail of drawing by Samuel Fosso transvestite photographs never studio Alexandre Arrechea arrive. The cell is an empty cavern with a wood 11 / Person in doorway in 18 / Lunch at the Fundación bar jammed into the door, locking it shut. Vedado Ludwig de Cuba with Lily Wei, Tumelo Mosaka, Sofia 12 / Barthélémy Toguo in front of Hernandez and René Peña 96N): I forego the inauguration of the biennial his photographs 15 19 / Myself with Peggy at Plaza Vieja and the Centro Wilfredo Lam 13 / Makina Cooper Cafritz opening and instead return to La Cabaña to view 14 / Pascale Marthine Tayou 20 /Cristina Vives, Figueroa the remainder of the installations. Meanwhile, with his site-specific installation and Ibrahim Miranda Meschac and Pascale have invited some of at La Cabaña their African artist peers to lunch. Ananias Leki 21 / Lunch with Elise Atagana, 15 / Abel Barrolo sculpture in Mohamadou Ndoye Dou, Dago (Ivory Coast), Mohamadou Ndoye Douts La Huella Meschac Gaba and Michèle (Senegal), Michèle Magema (Congo/France) Magema 16 / Joël Andrianomearisoa, and independent curator Elise Atangana (France) 22 / View of Habana Vieja meet me there. 10 22 '+$[ZVijgZ HijY^d$Summer 2006 ',$l]Vi¼hje HijY^d$Summer 2006 2DA@=UIUB=PDAN?=IA>=?GBNKIPDAOA=>NKGA=J@D=J@OKIA 'O=SDEIS=HGEJC=?NKOOPDAO=R=JJ=D =J@GJAS=PKJ?AEPS=ODEI &EOOKQHBQHOPNE@A PDACN=?AKBDEOD=P PDAOANEBOKBDEOJ=IAQPPANEJCEJIUIKQPD 'JDEO>=?DAHKNONKKIEJ#H1K?KNNKPD=PUA=N &ALH=UA@DEOPN=?GOPDNKQCD=LH=OPE?OLA=GAN>KT 2DA?KEHSKQH@N=PPHA=J@PDA?KJASKQH@DKL QPUKQJCSKIAJBNKIPDA?K?KJQPCNKRAO 1PEHH?=IAPKDA=NDEOPN=RAHHANOP=HAO + = GA'P.H=E J KB 2DA1SAAP!KJ@Q?PKNO KB&EO+UOPANU .DKPKCN=LDU>U*AOHEA&ASEPP5KN@O>U JPDKJU(KOALD 'JPDA$=HH5EJPANEOOQAKB1PQ@EK SA@A>QPA@PDEOJASBA=PQNASDE?D L=ENO?KJPAILKN=NUREOQ=H=NPEOPOSEPD?KJPAILKN=NUSNEPANO'JPDEO PDAOA?KJ@ EJOP=HHIAJP &KQOPKJ>=OA@LDKPKCN=LDAN*AOHEA&ASEPPLNKRE@A@RAKBDANEI=CAOPK *KJ@KJ>=OA@SNEPAN JPDKJU(KOALD SDKNAOLKJ@A@SEPDDEOSKN@O NA?AERA@ "OUIPOZ+PTFQIEO=LKAP IQOE?E=J=J@ KNJEJ1P H>=JO ,7 -FTMJF)FXJUU HA?PQNAN&AS=O>KNJEJ2NEJE@=@=J@D=OHERA@ DAN+$ BNKI7=HA3JERANOEPUEJ=J@DAN EJPDA3JEPA@)EJC@KIOEJ?A&AEOPDA $ BNKI2DA!KKLAN3JEKJBKNPDA @R=J?AIAJP =QPDKNKBPSKLKAPNU?KHHA?PEKJO KB1?EAJ?A=J@ NPEJ1DAS=O=L=NP "AO=J=@K =J@2AN=C=PKJ 'J DA E?EL=JP=PPDA1GKSDAC=J1?DKKHKB.=EJPEJC S=OKJAKBBPUSNEPANOOAHA?PA@>UPDA NPO =J@1?QHLPQNAEJ1DAD=OATDE>EPA@ !KQJ?EHKB#JCH=J@BKNPDADEOPKNE?LDKPK =PPDA NKJT+QOAQIKBPDA NPO 2DA1PQ@EK %NA=P"=UEJNA?KCJEPEKJKBDEO?KJPNE>QPEKJ +QOAQIEJ&=NHAI ,7 1?QHLPQNA!AJPAN ,7 PK?KJPAILKN=NU NEPEODHEPAN=PQNA JPDKJU 0QOD NPO%=HHANU ,7 .NKFA?P0KS&KQOAO D=OLANBKNIA@EJPANJ=PEKJ=HHU=J@S=OLKAPEJ &KQOPKJ 26 =J@PDA5=@OSKNPD PDAJAQI NAOE@AJ?A=P!=HEBKNJE=1P=PA3JERANOEPU *KO &=NPBKN@ !21DADAH@DANNOPOKHK JCAHAO EJ&AD=O=HOKLANBKNIA@=PPDA LNKFA?P=P* 6 02 *KO JCAHAO ! 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Puree fruit and strain through a chinois. Add water and season with salt. ;dgi]ZXdXdcjiejgZZ/ &%djcXZhndjc\XdXdcji_j^XZl^i]ejae '$(Xjehj\Vg ;dgi]Ze^X`ZYbZadcVcYh]Vaadih/ ?j^XZd[]Va[Va^bZ -djcXZheZZaZYVcYbVcYda^cZ"ha^XZYh]Vaadih -djcXZheZZaZYVcYbZY^jb"Y^XZYXVciVadjeZ Puree all in a blender until very smooth. -djcXZhhj\Vg -djcXZhHlVidlg^XZk^cZ\Vg )X^ccVbdchi^X`h ;dgi]ZYg^c`/ )hiVgVc^hZedYh &djcXZ[gZh]hfjZZoZYdgVc\Z_j^XZ &djcXZe^cZVeeaZ"\^c\ZgejgZZ Bring sugar, vinegar and spices to a boil pour half of solution over shallots and half &djcXZXdXdcjiejgZZ over cantaloupe. Let cool at room temperature. HeaVh]d[XVaVbVch^hngje HeaVh]d[XgbZYZbjgZ &#*djcXZZ^\]i"nZVg"daY7VgWVcXdjgi=V^i^Vcgjb HeaVh]d[hdYV IdhZgkZ/ 8jXjbWZgY^XZYhbVaa I]V^X]^a^!ha^XZYi]^c ;dgi]Z\Vgc^h]/ <^c\ZgWgjcd^hZ 9ZbZgVgVhj\Vg B^ciVcYX^aVcigd!X]deeZY Ha^XZhd[dgVc\Z!e^cZVeeaZ!a^bZ L]daZb^ciaZVkZh In a cold medium bowl, scatter cucumber and both pickles.Sprinkle with 1 teaspoon ginger and 1 to 2 slices chili. Garnish generously with cilantro and mint. Rub a slice of lime around the rim of a highball glass. Dip the glass rim into Pour 5 ounces of soup and drizzle olive oil to serve. Demerara sugar. Combine all drink ingredients with some ice in a shaker. Shake vigourously and strain over fresh ice cubes in the sugar-rimmed glass. Add a splash “During the summer we all long to be by the beach, enjoying the of soda. Garnish with a skewer of the fruit slices and mint leaves. Serve. sun, eating light, easy foods and sipping on fruity, refreshing drinks. Here are two of my favorites. Fresh fruit is plentiful “Coming from Haitian ancestry, I have preferred Barbancourt during the summer, so look for ripe melons for the soup and rum, a Haitian rum with hints of spice and tropical fruit, for quite be sure to serve it really cold. It is a delicious dish that is a little some time. Be careful, though, because it packs a wallop! sweet, a little tart, crunchy, spiced and has a little heat from a This drink tempers that strength with plenty of fruit juice, and bit of chili.” the crystallized ginger gives it a little kick, while the coconut puree rounds it out. Calamansi puree, young coconut juice with pulp, crystallized ginger and Demerara sugar can all be found at Asian food shops, and it is worth getting it all for this drink. Hope you enjoy! “ ¹;ddY#8j^h^cZ#@ZZe^ih^beaZ#@ZZe^i[gZh]#>a^`ZidjhZ^c\gZY^ZcihVii]Z^geg^bZVcY`ZZe ÅVkdghXaZVc#7VaVcXZ^hValVnh^bedgiVci#HVkdgn!hlZZi!VX^YVcY]ZViVgZi]ZWVhZÅVkdg egdÄaZh>a^`Zidldg`l^i]#>i^hValVnh[jcidWdggdl^c\gZY^Zcih[gdbY^[[ZgZciXjaijgZh!idd# A^`ZVgi^hihl^i]i]Z^gldg`!>ZmegZhhbnhZa[i]gdj\][ddY#7Z^c\lZaa"gdjcYZYVaadlhi]Z XgZVi^dcd[bjai^XjaijgVaY^h]Zh!Wji>YdWZa^ZkZ^c[dXjh!hd[ddYXVcWZZmX^i^c\idi]ZeVa" ViZWjiZVhnidZc_dnVcYjcYZghiVcY#º Greg Gourdet is the executive chef at Restaurant 66, Jean-Georges Vongerichten’s Chinese-inspired restaurant in New York City (Tribeca). He started his culinary career at Jean-Georges’s four-star flagship restaurant, Jean-Georges, in the Trump International Hotel. A first-generation New Yorker of Haitian descent, born in Brooklyn and raised in Queens, Gourdet trained at the Culinary Institute of America in Hyde Park, NY. Photos: Shimon and Tammar Rothstein of Culinary Brain Storms E]didhHiZkZ;gZ^]dc ()$dkZg]ZVgY HijY^d$Summer 2006 (*$X]ZX`dji HijY^d$Summer 2006 @Zggn?VbZhBVgh]Vaa 9Vldaj?VWVg^6cYZghdc @VgVLVa`Zg 6gk^ZHb^i] =dlVgYZcVE^cYZaa 8]VgaZh=jciaZnCZahdc From where they stood...(from Split Personality, 2006. Untitled, 2001. Minstral’s Daughter, 2006. Video Drawings, Mutropolis (collaboration the Rhythm Mastr project), Courtesy the artist and Collection of Rachel and Courtesy the artist and 1973-75. with Kevin Sipp)Still from 2006. Art League Houston Jean-Pierre Lehmann Beppu Wiarda Gallery, Courtesy the artist DVD, 2005. Courtesy the artist Courtesy Sikkema Jenkins Portland, OR and G.R. N’Namdi Courtesy of Charles Guice & Co., NY Gallery, Chelsea, NY Fine Art Photography, Berkeley, CA >bV\^cZi]^hndj¼gZÄkZnZVghdaYVcYndj¼kZ_jhilVa`ZY^cidi]ZEnergy/Experimentation HZaZXiZYWnGVh]^YV7jbWgVn!:m]^W^i^dc8ddgY^cVidg!HijY^dBjhZjb Zm]^W^i^dc[dgi]ZÄghii^bZ#6hndjadd`Vii]ZeV^ci^c\hVcYhXjaeijgZhl^i]Wg^\]iXdadgh >[ndja^`Z### X]ZX`dji VcYYncVb^Xh]VeZh!hdbZdcZVh`hndjl]VindjhZZdgl]Vindji]^c`VWdjii]ZVgi" @Zggn?VbZhBVgh]VaaBorn 1955, Birmingham, Al 9Vldaj?VWVg^6cYZghdcBorn 1973, Houston, TX ldg`#L]VildjaYndjhVn48]ZX`djiV[Zld[i]Z^ckZci^kZVcYXgZVi^kZdWhZgkVi^dchd[ Lives and works in Chicago, IL Lives and works in Houston, Texas ¹ºhdbZd[djgndjc\Zhik^h^idghYjg^c\VgZXZciFamily Funegd\gVb#@^YhgZVaanYdhVn i]ZYVgcYZhii]^c\h Overheard was prepared by Shanta Scott, Museum Educator/Internship Coordinator. Quotes recorded by Expanding the Walls participants Catherine Grullon, Maxine Wong and Annatou Batchi. DcL^aa^VbI#L^aa^Vbh¼hTrane &.+. / “It’s _Voon"ineZVgi, swiggly, forming a tune.” I]Zd!V\Z- “Painting is ^bV\^cVi^dc.” 6cYZg!V\Z, “The dark colors remind me of a ÅjiZ.” >[ndja^`Z### X]ZX`dji CVi]^fjZ!V\Z&% @VgVLVa`ZgBorn 1969, Stockton, CA 6gk^ZHb^i]Born 1938, Houston, TX Lives and works in New York, NY Lives and works in Portland, OR L^aa^VbI#L^aa^Vbh Trane, 1969. “The WajZ looks like a snake.” Collection of The Studio Museum in ?Vhdc!V\Z* Harlem; gift of Charles Cowles, New York 81.2.2 “LZYdc¼iidjX] ‘cause it will fall.” 6Va^V]!V\Z( Dc6aAdk^c\¼hUntitled X#&.,* / “Looks like Y^[[ZgZciXdadggV^c.” 7g^VccV!V\Z. “[It looks like a] WVY\Z from the army.” 9^bVc^!V\Z, “Both [Untitled and Trane] overlap with >[ndja^`Z### X]ZX`dji 6aAdk^c\ Untitled, 1975. Collection of Alicia Loving-Cortes and =dlVgYZcVE^cYZaaBorn 1943, Philadelphia, PA 8]VgaZh=jciaZnCZahdcBorn 1970, Texarkana, TX Anne Bethel, New York i]^X`VcYi]^c lines.” Lives and works in New York, NY Lives and works in Atlanta, GA Photo: Marc Bernier 8]VgaZh!V\Z. DcHVb<^aa^Vb¼hGram &.,( / “Looks like V eZghdc^ci]ZgZ and he’s trying to get up on a horse.” 9^bVc^!V\Z, “It looks like the end of the Y^cdhVjgh.” I]Zd!V\Z- HVb<^aa^Vb Gram 1973. Collection of The Detroit Institute of Arts; gift of Patricia A. Fedor and Christopher T. Sortwell, 1986.66 “[It looks like] trying tohZZi]Z[jijgZ.” Photo: © 2006 The Detroit Insitute of Arts 8]Zg^h]!V\Z- (+$Vgi^hiVWgdVY HijY^d$Summer 2006 (,$egdÄaZl]Vi¼hje HijY^d$Summer 2006 6gi^hi6WgdVY/ C^XdaZIVY\Zaa Che Lovelace Illustrator 02 01 / Shot, 2006, Courtesy the artist 02 / 8]ZAdkZaVXZ in his studio, 2006, Trinidad. 03 / Helping Devil, 2006. Courtesy the artist Photos: Alex Smailes 01 Che Lovelace’s paintbrush leaves vivid impressions: freedom, and being are sometimes reflected in how he applies pigment, energy, mystery and emotion. His unfettered, confident brushwork Lovelace paints the Carnival’s energy and spirit in the most literal enlivens deep maroons, blues and grays in his current series of sense−an extremely personal set of gestures. paintings, the Blue Devils. The large-scale canvases are homages to, and explorations of, the eponymous fire-breathing, trouble- Lovelace suggests that the viewer has the power to choose what making pirates of the subconscious found in Carnival in Lovelace’s he or she sees, and perhaps the responsibility to acknowledge native Trinidad. Emerging from the hills on Carnival Monday, that, when looking at art, a decision is being made. Playing with the blue devils (so called because their bodies are covered in “the duality and interplay between what we know is there but we ultramarine pigment) travel in bands. They scare the people they don’t allow ourselves to examine more closely,” Lovelace’s work encounter, but without speaking or harming anyone. Lovelace highlights the provocative and the shadow-side, harnessing both depicts them in brilliant blues and in various positions of private figurative and abstract imagery to address the complex politics of repose and mischievous action, revealing their ambiguously place. With a method both understated and vigorous, Lovelace animal-human nature. While he readily asserts that his objective engages the viewer on a primal and poignant, not just intellectual, Photo: Erica Sidor is not to document Trinidad−“a photojournalist or documentary level. He seems to know and value this. Again and again in our maker would do a better job of that,” he says−his homeland and conversation he says, “My paintings are about emotion more than Nicole Tadgell, children’s book Cloth. Tadgell’s imagination, illustrations for children−or its traditions pervade his work, especially the Blue Devil series. they are about trying to describe a place. They are rooted in my illustrator, was only thirteen along with the author’s text, embellished picture-stories He connects these rituals and traditions to a personal dialogue inner world.” when she got her first paying work together to create the from her own youth. Tadgell involving his emotions and imagination, engaging the devils’ gig. Taking note of the teen’s personality of each character. found merging beautifully drawn theatrical nature to explore and interpret what is happening in his HVkVaVCdaVc!EjWa^XGZaVi^dch8ddgY^cVidgVcY6hh^hiVci:Y^idg!HijY^dBjhZjb knack for drawing, Tadgell’s art She often asks herself, “What pictures and coming-of-age own life. teacher paid her twenty dollars would be fun to draw?” and stories utterly refreshing and to replicate an oil painting “Whom does this character fascinating−not only the feel of Lovelace left Trinidad, where he was born and raised, at the age that resembled the teacher’s remind me of?” Creating pencil on paper, but also how of twenty-one to attend the Regional School of Plastic Arts in son. Tadgell’s art teachers award-winning illustrations is pictures make a written story Martinique, and has been an artist for over fifteen years. His work, were unfailingly encouraging, an intimate process to Tadgell, come to life. which connects a range of materials, from paint to hair to flowers frequently loaning her supplies whose characters are often to mirrors, is influenced by equally varied subjects, including the and letting her do her thing. It loosely based on her family. In Nicole Tadgell is currently exuberant theatrics of Carnival, the private realm of his emotions, was obvious to all of them that A Day With Daddy, for example, at work on Five Loaves and and the array of issues that surface from the meeting of the Old she had been drawing−and Tadgell’s little brother was the Two Fishes, a faith-based World and the New World. doing it exceptionally well− inspiration and model for the children’s book. Though she since she could hold a pencil. young father character. has worked on adult-themed Lovelace has been attending Carnival since he was a small For Tadgell, drawing has always books, her favorite illustrations boy and it shows in his work. The interplay among different had an immediacy and liveliness Family history influences her are on the pages of children’s sectors of society−the French Creole, the working class, the that she appreciates. work most. Tadgell pulls from books, particularly Fatuma’s aristocracy−produced in him a lasting enthrallment and a the emotions and memories she New Cloth. “I love looking at wellspring of inspiration. Watching a band of blue devils running In 2003, Tadgell−along with felt as a kid and incorporates the pictures and reading the down the street and the imaginative power behind such fantastic author Leslie Bulion−was them into her drawings. She stories,” she says. displays reawakens Lovelace’s passion for paint itself and what he awarded the Children’s Africana is very fond of her childhood, C^XdaZHZVaZn^hV[gZZaVcXZlg^iZgVcY Turn the page and describes as its “seductive powers.” Aware that his states of mind 03 Book Award for Fatuma’s New which ultimately led her to ZY^idga^k^c\^c7gdd`anc!CN# add some color to Nicole’s work! (-$l]Vi¼hjeVYYXdadg HijY^d$Summer 2006 (.$ZYjXVi^dcVcYejWa^Xegd\gVbhl]Vi¼hje HijY^d$Summer 2006 '%%+C^XdaZIVY\Zaa >ci]Z 01 03 Dakar Biennial Text by Rashida Bumbray, Exhibition Coordinator, Studio Museum Photography by Sandra D. Jackson-Dumont 01 / 7g^\]iJ\dX]j`lj:`Z (Nigeria) Ild]jcYgZY[ZZi[gdbi]Z\ViZhd[i]Z=diZa I]^hBVn!l]ZcHVcYgV9#?VX`hdc"9jbdci Acid Rain (detail), 2005 CdkdiZa9V`Vg!i]Zbddca^\]iVcYhigZZia^\]ih VcY>igVkZaZYid9V`Vg[dg9V`¼6gi'%%+!i]Z 02 / L^aa^VbEdeZ#A and others XdbW^cZYidXgZViZVcjcjhjVaanWg^\]i ,i]7^Zcc^Vad[8dciZbedgVgn6[g^XVc6gi!Vc attending Dak’Art watch the street i]gdldkZgi]ZhigZZilg^iZgVcY]^hYdbV^c/ jcYZgXjggZcid[jg\ZcXnlVhZk^YZci#=ZVYZY writer i]ZXdgcZg#8dkZgZY^cVYgZhhXdchigjXiZY WnNVXdjWV@dcVi[gdbi]Z>kdgn8dVhi!V 03 / HZcVbD`jYoZij (diaspora) [gdbeaVhi^XWV\hVcYVnZaadl]ZVYlgVe! XdaaZ\Zd[XjgVidgh[gdb6[g^XV!:jgdeZVcY Capitalism and Schizophrenia (detail), 2006 ]ZY^Yc¼i]VkZbjX]i^bZ#=Zhed`ZVh i]ZJc^iZYHiViZhhZaZXiZYbdgZi]VcdcZ ]ZlgdiZ!l^i]djihiVcY^c\jehigV^\]idg ]jcYgZYVgi^hih[gdbVXgdhhi]ZÄkZgZ\^dch eVjh^c\!bdk^c\idVkd^YeVhh^c\XVghVcY d[i]ZXdci^cZci!l^i]i]ZY^VhedgVVhVh^mi] h]^[i^c\VgdjcYjhfj^X`anidlg^iZbZhhV\Zh gZ\^dc#6bn=dgh]VX`dg\Vc^oZYi]ZY^VhedgV dci]ZhigZZil^i]]^hdlcX]Va`"a^`ZeV^ci Xdci^c\Zci!l]^X]^cXajYZY?VX`7Zc\"I]^! ZkdXVi^kZd[Z[jc!i]Zg^ijVaX]Va`jhZY[dg Adj^h8VbZgdc!HZcVbD`jYoZid!L^aa^Vb hVXgZYYgVl^c\hVcYkZkZh #=ZaZXijgZYjh EdeZ#A!@dg^CZl`^g`VcY@Z^i]E^eZg#7di] VhlZhiddYbZhbZg^oZY#¹NdjhaZZeVii]Z ZbZg\^c\VcYb^Y"XVgZZgVgi^hihgZegZhZciZY CdkdiZa!>haZZe]ZgZ#D@4CdºI]Zjc^[dgb i]gZZ\ZcZgVi^dchldg`^c\^cVaabZY^V! a^cZhd[iZmihZZbZYidZbZg\ZdcZWndcZ! ^cXajY^c\eV^ci^c\!YgVl^c\!e]did\gVe]n! gZkZVa^c\Y^gZXi^dchVcYegdkZgWh!l]^X]> Äab!k^YZd!hXjaeijgZ!^chiVaaVi^dcVcY e^X`ZYjei]Vc`hidbn]^\]hX]dda;gZcX] YZh^\c#>chiVaaZY^c[djgbV^cWj^aY^c\hVcY VcYhcViX]Zhd[Ldad[>aZVgcZYdkZgi]ZeVhi i]gdj\]djii]ZX^inVii]Z9V`¼6giD[[h^iZh! 02 i]gZZYVnh# i]Zldg`hlZgZcdihZeVgViZYWngZ\^dcdg )'$[ZVijgZ HijY^d$Summer 2006 01 04 07 11 02 05 08 12 01 / Mame Samba Lo 08 / The Senegalese Diouf (Senegal), one of National Guard at the the photographers who offi cial opening and worked with William awards ceremony for Pope.L (diaspora) and Dak’Art 2006 his assistant Lydia Grey to produce the work 09 / The slave castle at The Whole Entire World, Gorée Island, built by which strives, (2006) the Dutch in 1776 during the Transatlantic 02 / Louis Cameron Slave Trade (diaspora) (SMH Artist- In-Residence 2002-03) 10 / Senegalese in front of his works traditional dance installed at the IFAN and drum company gallery for Dak’Art performing at the opening party for Dak’Art 03 / Galerie Nationale d’Art (The National 11 / Sandra Jackson- Gallery of Art), one of Dumont and a jewelry the main exhibition sites merchant at beach 03 06 09 10 for Dak’Art market on Gorée Island Photo: Wilbur Colom 04 / Emmanuel Eni (Nigeria) 12 / Rashida Bumbray \Zdeda^i^XVaXg^iZg^V#8dchZfjZcian!i]ZnlZgZeZgb^iiZYid 8]VaaZc\^c\i]Z]Z\Zbdcnd[VldgaYk^Zli]ViXdccZXih BVg^Z Jg\ZcXnZbZg\ZY[gdbldg`hWdi]Wn6[g^XVcVcYY^VhedgV d[Zmead^i^cXajYZ¹)&.ºhXVbZbV^ahhjeedhZYanhZci[gdb HX]gdi] HVaV& 0HVcYgV;gZYZg^X^VcY6cYgZVBVgX]Zh^c^ 05 / Marianne Spraggins, Vgi^hih#I]Z^gh^iZ"heZX^ÄX^in^c9V`VgegZhZciZY6[g^XVcVcY Xdggjei6[g^XVcd[ÄX^Vah#=ZgegZhZciVi^dcd[VXijVaWjh^cZhh 6[g^XVZBZY^iZggVcZd 0BVgX9VWcZn¼h[Vb^an0VcY Sandra D. Jackson- ^ciZgcVi^dcVaVjY^ZcXZhl^i]higViZ\^ZhidcZ\di^ViZi]Z^g XdcigVXih!Y^VgnZcig^ZhVcYWZadc\^c\hd[i]ZXdcVgi^hi^h 6jWgZnVcYHZcVbD`jYoZid# Dumont, Wilbur Colom, Rashida Bumbray and Y^[ÄXjai]^hidg^XVaigji]h^ci]^hbdbZcid[hdX^VaVcYcVijgVa V]jbdgdjh^ckZhi^\Vi^dcd[VhhjbZY^YZci^inVcYeda^i^XVa Debra Frasier-Howe at XViVhigde]Z#7g^\]iJ\dX]j`lj:`Z¼h C^\Zg^V [VhX^cVi^dc ^chiVW^a^in# the “Door of No Return,” at the slave castle on l^i]¹lViZg!lViZg!lViZgºVYYgZhhZhi]ZXdcXZeijVaVcY Jh^c\l]ViC\j\^lVI]^dc\¼dXVaah¹ZcVXibZcihd[edlZg Gorée Island egVXi^XVaVWhZcXZd[VYZfjViZXaZVclViZg[dgYdbZhi^X VcYi]Zeda^i^Xhd[eZg[dgbVcXZheVXZ!ºi]Z9V`VgW^Zcc^Va Photo: Carol Thompson jhZ^cC^\Zg^V#;dgi]Z^chiVaaVi^dcAcid Rain '%%*"%+ !]Z VhhjbZYi]ZX]VaaZc\Zd[egZhZci^c\6[g^XVcVgi^hihidVc 06 / Dilomprizulike \Vi]ZgZYeaVhi^XYg^c`^c\lViZghVX]Ziha^iiZgZYVgdjcY 6[g^XVcVjY^ZcXZ#Ldg`hhjX]Vh:`Z¼hVcYD`jYoZid¼h! (Nigeria) i]ZX^in!ÄaaZYZVX]l^i]]^hdlcidm^XXdX`iV^ad[lViZgVcY Vbdc\cjbZgdjhdi]Zgh¼!heZV`idi]Zbjai^eaZlVnhd[ The Face of the City 1 (detail), 2005 WaVX`^h]^cYjhig^VaX]Zb^XVah!VcYhigjc\i]ZbidVigZZ^cVc ^ckZhi^\Vi^c\WaVX`a^[ZVcYheVXZ!VcYigji]VcYbni]dci]Z Sculptural assemblage/ VaiZgcVi^c\eViiZgc#JedcVeegdVX]^c\i]Zldg`!>lVhhigjX` kVhi!XdbeaZmXdci^cZciVcYl^i]^c^ihY^VhedgV# installation. ÄghiWn^ihh]ZZgWZVjin!VcYi]Zcl^i]XadhZg^ckZhi^\Vi^dc!Wn HVcYgVVcY>ZmiZcYheZX^Vai]Vc`hid9ZWdgV]DWVa^aVcY 07 / Dakar street scene i]Z^gdcnd[^ihXg^i^fjZd[^cYjhig^Va^oVi^dc# C\dcZ;Vaa GZh6gi^h 0EVjaV8daZbVcVcYDjhbVcZVcY ))$ZYjXVi^dcVcYejWa^Xegd\gVbh HijY^d$Summer 2006 Farewell, With Love EjWa^XEgd\gVbh?jan¸DXidWZg'%%+ K^iVa:megZhh^dch^c6bZg^XVc Dear friends and colleagues, 6YjaiEgd\gVbh dents outside of the school ;Vb^anEgd\gVbh 6gi/ Burnt Sugar, The Arkestra environment. These programs Chamber offer students the opportunity to Writing this letter is an emotional task for me, as it and stretching boundaries to redefine the role that art, culture The Studio Museum in Harlem Thursday, August 31, 7:30pm meet and converse with promi- Are you looking for something marks the end of my formal tenure as Director of Education and museums play in everyday lives. I am thrilled that going has a long tradition of pre- nent visual artists, express their fun to do with your kids and Public Programs at The Studio Museum in Harlem. to SAM will be an easy transition from this wonderful place. I senting programs that address ideas through discussions, instead of watching Saturday HZc^dgHd^gZZ prevalent issues in contem- facilitate tours and hands-on morning cartoons? Bring It has been my complete pleasure to develop and imple- am looking forward to continuing to work with artists, educa- Thursday, August 3, 7pm porary art by artists of African workshops, and develop impor- the family to the Studio Museum ment a vision for education and public programs at such an tors and other cultural producers to envision projects that are at descent. Through the Depart- tant communication and critical and experience art in new and extraordinary institution. Since August 2000 we have been once engaging, critical, experimental and reflective of the world Please RSVP by July 27th to ment of Education and Public 212.864.4500 x264 if you plan to attend. thinking skills. exciting ways! able to change the face of museums in New York City and the we live in. Programs, we offer a range of programs that engage a Idjgh[dgHZc^dgh Family programs are designed for families field at large. This institution is truly a “site for the dynamic As I have said time and time again, I am sad about leaving :meVcY^c\i]ZLVaah/7ZndcY with children ages 4-10 years old. Family exchange of ideas about art and society.” an institution that I have come to adore, but I could not be more diverse cross-section of artists Saturday, August 5, 2pm H^\]i:m]^W^i^dcDeZc^c\VcY programs are FREE. Pre-registration is of various disciplines, writers, Saturday, September 2, 2pm required. This transformative practice of redefining museums and excited about this next adventure. My hope is that the future IZZc8ZaZWgVi^dc scholars and critics who share Saturday, October 2, 2pm Thursday, July 20, 6–9pm complicating blackness has become our trademark. will afford us many opportunities to cross paths. In the mean- diverse perspectives with our ;Vb^an;jcE^XijgZI]^h Through the programs and exhibitions, the Museum’s mis- time, if you find yourself on the “left coast,” please drop in and audiences. Jeidlc;g^YVnhBjh^X!8dX`iV^ah =VcYhDc/K^YZd Saturday, August 5 10am–12pm sion and vision have been made both more accessible and see what’s happening. I’ll be in Seattle, but ... if you look hard 8jaijgZl^i]=dd[Zgh¼=djhZ Tuesday–Thursday, Project: Create your own studio portrait more complex. Legendary artists such as Benny Andrews enough ... you’ll always find a piece of me in New York City. Please call 212.864.4500 x264 for more Friday, July 21, 7–11pm July 25–27, 10am–3pm information, tickets sales and program Hoofers’ House 7–8:30pm 6gi^h9Za^X^djh and the late Kathryn Dunham, Ossie Davis, August Wilson Again, please accept my many thanks for making education registration. (rain date: Friday, July 28, 2006) =VcYhDc/8dchigjXi^dc Saturday, September 2 and Gordon Parks have graced our galleries in this time—a and public programs so central to the Studio Museum. 10am–12pm 6gX]^iZXijgVaLVa`^c\Idjgh DJ: Reborn Tuesday–Thursday, few for the first time and many as committed patrons. The Saturday, August 26, 11am August 15—17, 10am–3pm Project: Jelly Bean Sculptures younger artists, who stand to help explode what art can be, Sending you my very best wishes, with love, (rain date: Sept. 2) Friday, August 25, 7–11pm have easily fit in with the Studio Museum’s historical frame- Hoofers’ House 7–8:30 pm ;VWg^XVi^dcHiVi^dc Saturday, September 23, 11am Saturday, October 7 work. Someday, someone brave will write about it. Sandra D. Jackson-Dumont (rain date: Sept. 30) (rain date: Friday, September 1, 2006) :YjXVidgEgd\gVbh DJ: Rich Medina: Jump & Funk 10am–12pm From our performances to our model school colla-bora- Project: Cardboard Constructions tions to the celebrated Expanding the Walls (ETW) intergen- I]Z6gi^hihKd^XZ The Studio Museum in Harlem 6gi^hih"^c"GZh^YZcXZ'%%*"'%%+ Friday, September 15, 7–11pm 8dbbjc^in6gi?Vb/ erational program, the footprint of our programs spreads GVh]Vlc )+$hijY^dhdjcY HijY^d$Summer 2006 ),$ HijY^d$Summer 2006 02 03 9?hVcYijgciVWa^hihdcWdi]h^YZhd[i]Z6iaVci^XheZV`i]Z hVbZbjh^XVaaVc\jV\Z]^e"]deWji^cY^[[ZgZciY^VaZXih# StudioSound: THE BLACK ATLANTIC PROJECT!egZhZciZY WnI]ZHijY^dBjhZjb^c=VgaZbVcYi]Z7g^i^h]8djcX^a JH6!^hVc^ccdkVi^kZ!XdaaVWdgVi^kZhdc^XVgiegd_ZXii]Vi ZmeadgZhWaVX`XjaijgZVcYbjh^XVXgdhhildXdci^cZcih# I]gdj\]VdcZ"d["V"`^cYigVch"6iaVci^Xbjh^XVaY^Vad\jZ! 04 05 bjh^X^VchVcYegdYjXZgh^ci]ZJc^iZYHiViZhVcY7g^iV^c idd`ijgch^ciZgegZi^c\VcYgZb^m^c\Vcdg^\^cVaXdbedh^" i^dc!eVhh^c\i]ZgZhjaih[gdbVgi^hiidVgi^hia^`ZV]^e"]de X]V^caZiiZg#:VX]Vgi^hi¼hb^mVcYi]ZÄcVaigVX`!^c[jhZYl^i] WZVih[gdbWdi]h^YZhd[i]ZEdcY!l^aaWZegZhZciZYVheVgi d[I]ZHijY^dBjhZjb^c=VgaZb¼hadWWnbjh^X^chiVaaVi^dc! StudioSound# ¹ THE BLACK ATLANTIC PROJECT^hXdcXZgcZYl^i]Xdbbj" 01 06 07 08 09 c^XVi^dci]gdj\]bjh^XVcYVX]VcXZ[dgV\gdjed[ZXaZXi^X egdYjXZghidldg`id\Zi]ZgdcVXdbbdcbjh^XVai]ZbZ!º ¹iZaZe]dcZ!º7gdlceVhhZY]^hcZle^ZXZVcYVcZlVjY^d Modernity and Double-Consciousness!l]^X]i]Zdg^oZh Images provided by the following: hVnh8]Vga^Z9Vg`!i]ZAdcYdc"WVhZYhdjcYVgi^hi!9?VcY aZiiZgidkdXVa^hiCZihVn^^c7g^hida#I]ZZkZg"X]Vc\^c\igVX` i]Vii]ZWaVX`ZmeZg^ZcXZXVcWZigVXZYWVX`idi]Zh]VgZY lg^iZgl]dXjgViZYi]Zegd_ZXiVcYXdbedhZYi]Z^c^i^Va i]ZcbVYZ^ihlVnid9?@^c\7g^ii^cE]^aVYZae]^V!bjh^X^Vc ]^hidgnd[i]ZhaVkZigVYZ!igVchXZcY^c\\Zd\gVe]n! 01, 04 / 9_^c_^7gdlc igVX`!Naima’s Theme![dg]^hcZlWdgcYVj\]iZg# BVgi^c>kZhdc Vahd`cdlcVh6i_Voo ^c9ZgWn!6bZg^XVc cVi^dcVa^in!XjaijgZVcY\ZcYZg#7nZmeadg^c\Vgi^hi^X^ccdkV" 02 / 6i_Voo egdYjXZgVcYB8B^`ZAVYY!VcY^ccdkVi^kZ7g^i"]deVcY i^dcVcYZmX]Vc\Zi]gdj\]VXdckZghVi^dcWZilZZc ¹>i¼hhjeedhZYid^che^gZVcYegdkd`ZXdckZghVi^dch###>Ydc¼i hdjaegdYjXZgIdcn8VbeWZaa Vahd`cdlcVh9dW^Z ^c Xdbbjc^i^ZhdcWdi]h^YZhd[i]Z6iaVci^X!THE BLACK 03 / 9dW^Z i]^c`i]Vibjh^XZm^hihl^i]djii]ZhdX^VaXdchZfjZcXZhVcY AdcYdc!WZ[dgZgZijgc^c\id9Vg`[dgVÄcVagZb^m# ATLANTIC PROJECT]^\]a^\]ihXdciZbedgVgnbjh^X¼h 05 / 8]Vga^Z9Vg` ^cÅjZcXZh#º gdaZ^cYZZeZgXdckZghVi^dchVWdji^YZci^inVcYi]Z[Zgi^aZ I]gdj\]i]ZZkdaji^dcd[THE BLACK ATLANTIC PROJECT! h]VgZY]Zg^iV\Zhd[7g^i^h]VcY6bZg^XVc^YZVhd[ 06—09 / CZihVn^ 9Vg`hZciNaima’s Theme!Vadc\l^i]VeZghdcVa¹VjY^daZi" Vh^beaZXdbedh^i^dc]dcdg^c\VX]^aY¼hW^gi]WZXVbZV ¹WaVX`cZhh#º6cYVai]dj\]]^e"]delVhWdgc^ci]Z7gdcm! iZg!ºid9_^c_^7gdlc!Vbjh^X^VcVcY9?WVhZY^cB^Vb^![dg XdbbZciVgndcXjaijgVaa^c`hVXgdhhi]Z6iaVci^X#I]Zegd_ZXi ^i]VhV\adWVaegZhZcXZi]VibV`Zh^ii]ZeZg[ZXibZY^jb gZb^m^c\VcYgZ^ciZgegZiVi^dc#>cVc^che^gZY\VbZd[hdc^X eVnh]dbV\Zid9g#EVja<^agdn¼hWdd`!The Black Atlantic: [dgVcVgi^hi^XY^hXjhh^dcd[¹WaVX`6iaVci^XºXjaijgZ# )-$hijY^dhdjcY HijY^d$Summer 2006 ).$hijY^dhdjcY HijY^d$Summer 2006 02 03 04 05 07 08 JC8=6>C:9B:AD9>:H (that black atlantic jawn) by Greg Tate 9ZeZcY^c\dcndjgVc\aZd[dWhZgkVi^dc!i]Zcdi^dcd[V]^e"]de across the whole body of this digitized, disembodied message X]V^caZiiZgl^aahZZbhZa["Zk^YZci!dkZgYjZ!dggZYjcYVci# mechanism. In the process, Netsayi draws out the most =^e"]de^hVagZVYnVYV^hn"X]V^cdeZgVi^dc^cl]^X]igjc`adVYhd[ obvious (if least visible) bit of thick connective tissue between WaVX`6iaVci^X]^hidg^Zh]VkZWZZc[Zgg^ZYWVX`VcY[dgi] black folk on the US and UK sides of the Atlantic, namely VcYidVcY[gdVXgdhhheVXZ!i^bZ!VcYb^cYh!hdhdbZb^\]iVh`! the trade in human cargo that created our rich diaspora of ¹l]na^iZgVa^oZi]ZegdXZhh4ºNZiegZX^hZanWZXVjhZbdkZbZci miseries and marvels. ]Vhd[aViZWZXdbZhdgVgZ^ci]^hdcXZbdhiYncVb^Xd[ XdciZbedgVgnVgi[dgbh!i]^h^hVWhdajiZani]Zg^\]ii^bZ[dgV Hip-hop was making the world smaller and more inclusive long ]ZVkn"]^ii^c\XgZld[jcYZg\gdjcYbdkZghVcYh]V`Zghidhejg before globalization and the Internet became the bywords dcZVcdi]ZgidlVgYgZÅZXi^kZVXi^dc#HdbZd[i]ZVgi^hihVgZ of modern life alongside capitalism and state-sponsored terror. `cdlcidi]dhZd[jhl]dadd`aZ[i[dgdjg]^e"]de[jijg^ob# What hip-hop, and its genius stepchild Jean-Michel Basquiat, seemed to have figured out before the rest of us was that I met Charlie Dark, Mike Ladd, and Djinji Brown back in the early in the near future, any and all information, and especially black 06 nineties when they were all up-and-coming poet/MC/producers Atlantic information, would bundle itself into a beast in its ¹>Ydc¼ii]^c`ndjgZVa^oZi]ZedlZgd[]^e"]dejci^andjigVkZa Images provided by and already becoming forces to be reckoned with. Dobie own right. It would—turn, right before our eyes, into an aggres- djid[6bZg^XV!ºhVnh9Vg`#¹>i¼h###V]j\Z\adWVa[dgXZ#º the following: I met by chance once in London’s Camden Market a decade sive form of currency capable of shaking, rattling, and rolling THE BLACK ATLANTIC PROJECTl^aaWZ^chiVaaZY_jhid[[ 01, 03 / B^`ZAVYY ago, and I subsequently came to respect the funk and whole empires, ancient and new world alike. What couldn’t be i]ZVig^jbd[I]ZHijY^dBjhZjb^c=VgaZbVheVgid[i]Z intellect of his work on a friend’s project. King Britt has been predicted, perhaps, was that the critical, outlaw status 02, 04 / 9dW^Z BjhZjb¼hStudioSoundegd_ZXi#K^h^idghidi]ZBjhZjbl^aa racking up serious credits as a star DJ/remixer/scene-builder of hip-hop culture would, like Basquiat’s work, be swept up by ]ZVgi]ZÄcVa8]Vga^Z9Vg`gZb^mVcYhVbeaZi]ZXdaaZXi^kZ 05 / CZihVn^ for years. That they could all find time to participate in this the info-oligarchy, too. For this reason, a project such as ldg`ViZVX]hiV\Zd[^ihYZkZadebZcii]gdj\]hdjcY"^hd" 06 / @^c\7g^ii project says much about the casual and informal way hip-hop THE BLACK ATLANTIC PROJECT is invaluable for the way it aVi^c\]ZVYe]dcZh#I]gdj\]i]ZeZghdcVa!gZÅZXi^kZVjY^d technology and ethos allow collaboration and friendship to returns intimacy, playfulness, camaraderie, trans-Atlantic Afro- aZiiZghXdbedhZYWnZVX]eVgi^X^eVci!BjhZjbk^h^idghl^aa 07, 08 / CZihVn^ flow—careering is the last consideration. The same attitude lives centric politics, and sardonic self-revelation to the contemporary VahdgZXZ^kZV\j^YZYidjgd[Vjc^fjZXdaaVWdgVi^kZVgildg` in the off-hand humor they drop into their virtual conversations hip-hop landscape. Vh^ilVhbVYZ#K^h^idghl^aaVahdVWaZidk^YZdiVeZi]Z^g with each other, especially in Mike Ladd’s case, and the ^begZhh^dchVcYXdbbZcihVWdjii]Zegd_ZXi# concept’s fractured creative process itself. Music and culture journalist Greg Tate’s books include Fly Boy 6cZkZg"Zkdak^c\hdjcY^chiVaaVi^dcViI]ZHijY^dBjhZjb What keeps the project from turning into a geek-tech boys’- in the Buttermilk; Everything But the Burden: What White ^c=VgaZb!StudioSound^ck^iZhbjh^X^Vch!egdYjXZghVcY night-out of engineering and sampling derring-do is the People Are Taking From Black Culture and Midnight Lightning: THE BLACK ATLANTIC PROJECT^hdg\Vc^oZYWni]Z7g^i^h]8djcX^aJH6 bjh^XVa^ccdkVidghidXgZViZdg^\^cVaXdbedh^i^dch^che^gZY VcYegZhZciZYWnI]ZHijY^dBjhZjb^c=VgaZbVheVgid[HijY^dHdjcY# presence and prescience of its lone female artist, Netsayi. Jimi Hendrix and the Black Experience. He is a culture critique Wni]ZVgiVcYVgi^hihdck^Zl# HeZX^Vai]Vc`hid6cYgZlB^hh^c\]Vb# Zimbabwean by birth and now Bristol-based, she also functions for The Village Voice and contributes regularly to national as THE BLACK ATLANTIC PROJECT’s unabashed social publications such as Rolling Stone, VIBE and The New York I]^hXdbb^hh^dcZYegd_ZXilVhdg\Vc^oZYWn:m]^W^i^dc conscience and, via guitar and kalimba, its clarifying, acoustic Times. In addition, he is a co-founder of the Black Rock Coalition soul-bringer. She also drags the bloody Middle Passage and leader of the critically acclaimed band Burnt Sugar. He lives 8ddgY^cVidg!GVh]^YV7jbWgVn!VcYEGbVcV\ZgVcY:Y^idg" THE BLACK ATLANTIC PROJECTad\dlVhXdcXZ^kZYVcY\ZcZgdjhan ^c"8]^Z[!6a^:kVch# YdcViZYWnBVe!CN8# into the room and ensures that those clanking chains resonate in New York City. ]gab/ HijY^d$Summer 2006 WZVji^[ja eZdeaZ Nothing says more about the character of a community as it evolves in this world than the faces of its people−at a specific time, in a specific place. We invited artist ?Vnhdc@ZZa^c\ to turn his lens to contemporary Harlem to capture the essence of this ever-changing neighborhood. As you see, and as you already know if you live here, the people in Harlem are beautiful. 6a^:kVch!:Y^idg"^c"X]^Z[!HijY^dBjhZjb hrlm is a series of Harlem-specific, site-responsive exhibitions and projects that investigate and observe the breadth of this community through the work of contemporary artists. hrlm: beautiful people is the first section of a three-part feature, hrlm: beautiful people, places & things. The hrlm word mark was conceived and generously donated by 2x4, New York. 01 02 Dcdeedh^iZeV\Z$@naZBVg`/ Strivers Row, 139th St. %'$6cYgZl=V^cZhVcY7g^iiVcnAZkZhidcZ/W. 125th St. %&$7dWW^id 01 03 05 07 02 04 06 08 %&$@VnaV=^X`bjc/Mount Morris Park, 120th St. %($9VWcZnBdci\dbZgn!Vhjgk^k^c\bZbWZgd[i]ZIjh`ZZ\ZZ6^gbZc/136th St. %*$;gZcX]^Z /125th St. & Lexington Ave. %,$7gdi]ZgGdcVaY/ W. 125th St. %'$7d7dGVh/136th St. %)$H]VgVc=VcXdX` /Mona Hair Center, 125th St. & Lenox Ave. %+$8]Zg^Z7ngY/125th St. & 5th Ave. %-$7gjXZAZZ/W. 125th St. & Saint Nicholas Ave. *)$]VgaZb/l]ZgZlZ¼gZVi HijY^d$Summer 2006 **$]VgaZb/l]ZgZlZ¼gZVi HijY^d$Summer 2006 BdgZ"^c"hidgZ Sistahs of Harlem Left /8VgbZcLZWWZg Photo: Udo Spreitzenbarth. Right/8Vgb^VBVgh]Vaa Photo: David Schinman 01 03 Images from T-Shirt Makeovers published by Glitterati, Incorporated In a well-kept brownstone on the tree-lined streets of Sugar screens, the written word meets the pinstripe and a soaring Hill, Sistahs of Harlem has set up shop. White walls surround guitar solo meets the detailed embellishments of a denim jacket. racks of colorful clothing; tables topped with scissors, paper, Past collections include the visionary Les Femmes du Monde, pencils and fabric; and shelf upon shelf of research. Carmen the prescient Rastafarian Street Punk, Sisterhood of Wings’ Webber and Carmia Marshall, the savvy couturiers behind aria to the female firsts in flight and this spring’s Cosmopolitan Sistahs of Harlem, have mastered the art of the mélange. Goddess, a modern ode to femininity-of-color. This summer, Since 2001 their eclectic and elegant creations have graced Sistahs of Harlem publishes its first book, T-Shirt Makeovers, the streets of New York City and beyond, with women’s wear a how-to that puts a Sistahs spin on a sportswear classic. that ranges from military-chic miniskirts to Grecian-inspired With their customary blend of vintage and couture, Webber and dresses, and from ornamented hats to t-shirts with ruffled, knit Marshall reveal the step-by-step secrets that transform sleeves. Inspired by the fusion of cultures and tastes in New t-shirts into halters, peasant blouses, tube tops and camisoles York’s global community, Sistahs of Harlem pieces are cute, with a twist. conscious and ladylike, and pay homage to groundbreaking Telling the stories of women of color through fashion, Webber African Americans such as Bessie Coleman, Zora Neale and Marshall merge the political with the simply beautiful, Hurston, Jimi Hendrix, Assata Shakur, James Baldwin and proving that fashion can be as intelligent as it is stylish. Sistahs Billie Holiday. of Harlem continues to affirm and build upon the legacy of Because they are dedicated to creating what Webber calls adornment that is so rich in this neighborhood—no doubt “clothing with reference,” Marshall and Webber don’t simply Harlem’s spot on the fashion map is in good hands. 02 04 blend the colors and patterns of different aesthetics in search of a new trend. Instead, they quote diverse ideologies, moods %&$HZ[`Zi8^g^`dk^X/Sam’s Pizza, Lexington & 116th St. %($?jVc^iVAVcod/East Harlem, 100th St. and movements, mixing media in the broadest sense: the %'$EVn7VX`/103rd St. & Columbus Ave. %)$?ja^jh7gdlc/James Varrick Community Center, 136th St. intellectual avant-garde meets the sumptuousness of silk HVkVaVCdaVc!EjWa^XGZaVi^dch8ddgY^cVidgVcY6hh^hiVci:Y^idg!HijY^dBjhZjb *+$[ZVijgZ HijY^d$Summer 2006 *,$ HijY^d$Spring 2006 The Schomburg Center for Research in Black Culture Corner of Adam Clayton Powell Jr. Blvd. Countee Cullen Branch, The New York Public Library and 131st St. Hotel Theresa “The steps from the hill lead down into Harlem ...” Langston Hughes, Theme for English B Born in Harlem and raised here until the age of ten, I still have a love affair with its people and places. Every opportunity I get, I travel to the literary pages that depict its unique character and the landmarks that exhibit its infectious charm. As I traverse the past and present of Harlem, I am often reminded of and struck by the long-standing, rich literary heritage, which is interwoven with still-standing edifices. Countee Cullen Branch, The New York Public Library, 104 W. 136th St., was a childhood favorite because of its Saturday Story Hour. I lived for the end of the school week and the short 6A^iZgVgnLVa`I]gdj\] Text by Cynthia Jones / Images by Petrushka Bazin Top: The Studio Museum in Harlem 20 E. 127th St., Former home of Langston Hughes Below: 580 St. Nicholas Ave. =VgaZb walk from the Lincoln Houses to sit on the Broadway and Riverside Drive, where Ralph Ellison is buried. Walker’s The Dark Tower, 108 –110 W. 136th St., and Wallace floor in a circle and “ooh” and “aah” As you continue downtown, you’ll reach Ralph Ellison Island, Thurman’s 267 House on 136th St., were just two of in ecstatic amazement as the librarian which begins at 153rd St. and ends at 149th. But be sure to many literary salons. Names such as James Weldon Johnson, read stories. stop and see Elizabeth Catlett’s sculpture of Ralph Ellison at Alain Locke, Claude McKay and Jean Toomer also come When I first entered this world, my parents 150th Street—he’ll be walking, too! to mind. Stroll over to the foliage-covered 1869 row-house took me to a small apartment on Sylvan Sojourner Truth renounced her name, “Isabella,” in an residence of Langston Hughes, poet laureate of Harlem, at Terrace, Sugar Hill. Little did I know that 1829 church service at Mother A.M.E. Zion Church, 20 E. 127th St., which he purchased the year I was born. 580 St. Nicholas Ave. was a well-publi- 146 W. 137th St. Marcus Garvey’s Liberty Hall ( home of the Hughes was actively involved in changing the literary cized address for up-and-coming literary Universal Negro Improvement Association), 138 W. 138th St., landscape with Zora Neale Hurston, Aaron Douglas, Wallace figures; it was a meeting place provided near Abyssinian Baptist Church (the pulpit of Adam Clayton Thurman and Richard Bruce Nugent, to mention a few. by Regina Andrews, librarian at the Harlem Powell Jr.) is now an apartment building. Malcolm X’s office Harlem’s legacy of supporting its literary geniuses continues Branch of The New York Public Library, space in the Hotel Theresa is now a complex of offices within to this day. Maya Angelou and Grace Edwards both credit and Ethel Ray Nance, secretary of Oppor- the Theresa Towers, 125th St. and 7th Ave., which have the Harlem Writers Guild, founded by John Henrik Clarke, tunity, journal of the National Urban League. been renamed Martin Luther King Jr. Boulevard and Adam Rosa Guy, John Oliver Killens, and Walter Christmas, The New York Urban League office is now at Clayton Powell Jr. Boulevard, respectively. for their success. Perhaps we should end our trek at The 204 W. 136th St. Another building of note, We walk on and arrive at the YMCA, Harlem Branch, 181 Studio Museum in Harlem, 144 W. 125th St., a meeting place 409 Edgecombe Ave., housed W.E.B. DuBois W. 135th St., and the Schomburg Center for Research in for artists and authors alike. In fact, Gordon Parks show- and Walter White. This residence is charac- Black Culture, 515 Malcolm X Blvd., bibliophile Arturo Alfonso cased a collection of his poems there, shortly before his death, terized in Grace Edwards’ The Viaduct: Schomburg’s inspiration. Besides the great stores at The as part of the Books + Authors public program. During “The building had been so full of celebrities; Studio Museum in Harlem and the Schomburg, book lovers the Harlem Book Fair on July 22, 2006 be sure to take the it had come to be known as the ‘White House can purchase copies of our literary legacy at the historical opportunity to explore our rich heritage —I always invite of Harlem.’” Liberation Bookstore, often engaged in a battle to remain open, my friends to walk the length of 135th Street and the rest of We often laud DuBois in connection with The 132nd St. and Malcolm X Blvd., Hue-Man Bookstore and Cafe, Harlem, surrounded by its many literary landmarks. Crisis, the NAACP publication, but Jessie 2319 Frederick Douglass Blvd. between 124th and 125th St.’s, Fauset was its editor. and Jumel Terrace Books, 420 W. 160th St. A nice walk south will take you past Harlem houses many gathering places where our authors Cynthia Jones is an educator at Eugenio Maria de Hostos Community College / CUNY Trinity Church Cemetery, 155th St. between have been stirred to put their thoughts to paper. A’Lelia and a volunteer at The Studio Museum in Harlem. *-$]VgaZb/l]ZgZlZ¼gZVi HijY^d$Summer 2006 *.$h]de HijY^d$Spring 2006 Staff Picks: 6h`VBjhZjb &+HZXi^dcLVaa;gVbZ >c`7adX`LVaa=dd`h HbVaa7gVhhHjcWjghi8adX` Bjai^LgVe6ajb^cjb7gVXZaZi 6kZcijg^cZl$;gZh]LViZg 7n/Ild¼h8dbeVcn 7n/Ild¼h8dbeVcn 7n/L^c\VgY 7n/DbdB^h]V EZVga8]d`Zg Item# 1935 Item# 158 Item# 3905 Item# 3706 7n/DbdB^h]V Price: $80.00 Price: $10.00 Price: $70.00 Price: $50.00 Item# 594 Member: $68.00 Member: $8.50 Member: $59.50 Member: $42.50 Price: $75.00 Member: $71.25 BjhZjbHidgZ=djgh Camaradas, 2241 First Ave. at 115th St. Artwork at Camaradas 8]g^hDÄa^from Afro Muses, Wednesday–Friday, 12–6pm / Saturday, 10am–6pm / Sunday, 12–6pm Photos: Andres Carrion 1995—2005 (detail). Courtesy the artist The Museum Store is closed on Monday, Tuesday and major holidays. +%$YZkZadebZcicZlh HijY^d$Summer 2006 +&$ HijY^d$Summer 2006 8dciZbedgVgn;g^ZcYhHeg^c\7ZcZÄi Thursday, May 4, 2006 L]ViVc^\]iI]ZHeg^c\7ZcZÄiViigVXiZYVXgdlYd[bdgZi]Vc)*%[g^ZcYh VcYhjeedgiZghidi]ZBVc]ViiVc]dihediEVX]VidXdccZXi!YVcXZVcY XZaZWgViZ#I]ZZkZc^c\gV^hZYbdgZi]Vc,%!%%%[dgi]ZBjhZjb¼hZYjXVi^dc VcYejWa^Xegd\gVbh!i]Z8dciZbedgVgn;g^ZcYh¼WZhi[jcYgV^h^c\Z[[dgiidYViZ# We were pleased to have underwriting host IgVchaVi^dcBVg`Zi^c\ Bernard; Sharon L. Bryant; Leonard and Marsha Burnett; Susan and producer-level sponsors BZgg^aaAncX], =j\]Zh=jWWVgYGZZY E. Chapman; Marisha Clinton; Jocelyn Cooper; Sara Daniels; and 6ci]dcn;gZbedc\"7dVYj!B9, lend their support to this year’s Stephen Dickson; Adrienne N. Edwards; Kianga M. Ellis; Charles event. 7dbWVnHVee]^gZ generously joined us as the event’s liquor F. Etuk; Lisa N. Farrow; Charisse K. Ford; Anthony Frempong- sponsor and host of the VIP lounge. Boadu, MD and Gwendolyn Pehrson; Djena N. Graves; David Alan Grier; Angie Hancock; LaMarr Jones; Tina Kim; Shaun Massiah, The 2006 Contemporary Friends Steering Committee− co-chaired DMD; DeWayne A. Powell and Carsten Otto; Shari Sheffield and by Lea K. Green and Ruthard C. Murphy−included John H. Tiana Webb-Evans. Austin Jr.; Dana Bethune; Allison Braithwaite; Sharon L. Bryant; Stephanie E. Bryant; Lybra Clemons; Garfield Clunie, MD; Dale Generous donations and in-kind contributions were also made Dobson; Adrienne N. Edwards; Erika N. Faust, DDS; Djena N. by Altoids, Bill Jones Epicure Delights, Bombay Sapphire, Graves; Marla Guess; Jacqueline Hayot; Todd Hutcheson; Leon Euro RCSG Latino, Itayi Motsi, Katrina Parris Flowers, L’Oreal, P. Kirkland; Kelli Lane; Neil Martin; Idris Mignott; Adepeju Oduye; Metromint Water, Pomegranate and Society Coffee Lounge. Shari Sheffield, Esq. and Robert A. Smith. Special thanks go to Itayi Motsi and Bombay Sapphire for hosting the pre-benefit kickoff party and generating early excitement The 2006 Host Committee included Andrew Alexis, MD, and for the event. Photos:Hannah Thomson Ama Alexis, MD; Answorth Allen, MD, and Rae Wright, MD; Corey Baylor and Racquel Chevremont Baylor; Jemina R. +'$Ydcdgh HijY^d$Summer 2006 NZh>lVciidWZVbZbWZgd[ I]ZHijY^dBjhZjb^c=VgaZb# '%%*·'%%+9dcdgh ?d^cjh 1 year renewal gift I]ZHijY^dBjhZjb^c=VgaZbi]Vc`hi]Z[daadl^c\Ydcdgh[dgi]Z^g\ZcZgdjh hjeedgid[djgZm]^W^i^dch!ZYjXVi^dcVcYejWa^Xegd\gVbhVcYdeZgVi^dch NAME OF MEMBERSHIP HOLDER Yjg^c\i]ZeVhinZVg# dca^cZ NAME OF ADDITIONAL MEMBER (FAMILY/ PARTNER LEVEL MEMBERS AND ABOVE) ADDRESS *%%!%%%VcYVWdkZ ')!...id&%!%%% .!...id*!%%% $4,999 to $1,000 (continued) I]ZBZbWZgh]^e9ZeVgibZci^h CITY STATE ZIP The New York City Department Joyce Wein Memorial Fund Eathon Hall Memorial Fund Mr. E. Thomas Williams and of Cultural Affairs Citigroup Foundation Nancy L. Lane Mrs. Audlyn H. Williams YZa^\]iZYidaZindj`cdli]Vi WORK PHONE HOME PHONE The Greenwall Foundation Dr. Michael L. Lomax Evelyn AJ Hall 1952 Charitable I]ZHijY^dBjhZjb^c=VgaZb¼h EMAIL ADDRESS )..!...id&%%!%%% LEF Foundation Corey M. Baylor and Racquel Trust Estate of Irene Wheeler Chevremont Baylor David Alan Grier lZWh^iZcdl^cXajYZhi]ZVW^a^in The Peter Jay Sharp Foundation Please do not make my name, address and other information Barker Welfare Foundation The van Ameringen Gregory R. Miller New York State Council on the available to third-party providers. Toby D. Lewis id_d^ci]ZBjhZjbdggZcZl Arts Corine Pettey Foundation Walter R. Morris-Hale The Carnegie Corporation of Helena Rubinstein Foundation American Express Company ndjgbZbWZgh]^el^i]VXgZY^i Anonymous New York The Center for Arts Education Pippa Cohen Rochelle Ohrstrom XVgYdca^cZ#Jh^c\ndjg6bZg^XVc HeZX^VaBZbWZgh]^e Sandra Grymes and Susan K. Freedman ADDRESS Gordon J. Davis and Peggy John Levy in honor of Cooper Davis Nina Collins CITY STATE ZIP Deutsche Bank Marvin Z. Marguiles Judia Black Marsha E. Simms WORK PHONE HOME PHONE Patricia Blanchet Marti Stevens Gail Knox Jason Wright CARD NUMBER EXP. DATE Rodney M. Miller, Sr. Karen A. Phillips SIGNATURE 9^Yndj`cdlndjXVc_d^cdca^cZVi lll#hijY^dbjhZjb#dg\$bZbWZgh]^e4 I]Vc`ndj[dgndjghjeedgiVcYlZaXdbZidI]ZHijY^d BjhZjb^c=VgaZbThe Studio Museum in Harlem offers the best way to explore black culture and the latest trends in contemporary art! I]Z:hiViZd[CVcZiiZ7ZVgYZcbVYZV\ZcZgdjhYdcVi^dcidI]ZHijY^dBjhZjb^c=VgaZb^ci]ZÄhXVanZVg'%%)·'%%*# LZbVYZV\g^ZkdjhZggdg^c[V^a^c\idgZXd\c^oZi]^h^bedgiVciXdcig^Wji^dc^cStudio#Djgh^cXZgZhiVedad\^Zhidi]Z:hiViZ d[CVcZiiZ7ZVgYZcVcYVaai]dhZl]dhZa^kZhh]ZidjX]ZY# ;gdbi]Z9^gZXidg Residence, Rashawn Griffin, will be leaving to become the Madison Ave • Special invitations to Benefactors • Discount tickets to Contemporary Cosmos Deputy Director for Education Malcolm behind-the-scenes tour of SMH Friends Spring Benefit. Communications, Inc. exhibitions led by the show’s curator. • Guided gallery tours. and Public Programs at the And• One of course, complimentary I came catalogue home • An exclusive program of activities Seattle Art Museum. We will Studio is published three times a year by The Studio Museum to Harlem,from a major where SMH World exhibition. Cup and special events. miss her voice and vision hereAdam Clayton Powell Jr. Blvd • Behind-the-scenes tours of SMH in Harlem, 144 W. 125th St., fever• Two was complimentary in full swing! tickets I didn’t to an at SMH and wish her well in her New York, NY 10027. Copy- exhibitions. haveeducation to go far or to public experience program. my new role in Seattle!Frederick Douglass Blvd right © 2006 Studio Magazine. • Free admission for two guests All material is120 compiled ST from >cY^k^YjVa'%% newfoundwhen accompanied passion. by a member. sources believed to be reliable, Karyn($175 Olivier tax-deductible) and Clifford Owens. As always, see you around and but published without respon- HijYZcidgHZc^dg +*dgdkZg '% sibility for errors or omissions. In the spirit of our mission to This8djeaZ$EVgicZg(%% group of artists will astound definitely8dggZXi^dch uptown, (Fully tax-deductible) Studio assumes no responsibil- ($250 tax-deductible) In the Table of Contents of the Spring 2006 issue, we misspelled Maren presentA copy artists of valid locally, student nationally or senior ID you with their fresh ideas and Hassinger’s name. Ms. Hassinger created the ityColoring for unsolicited Page manuscriptsfor the issue, or and we (For two people at the same photographs. All rights, includ- andmust internationally, be submitted this with issuemember - intriguing visions. And those of deeply regret our error. address) ing translation into other lang- of Studioship application celebrates of renewal. our global you who are visiting us from near uages, reserved by the pub- groove.• Free admissionWith news for aboutone. the andBViX]^c\<^[ih far, we hope you will take Thelma Golden lisher. Nothing in this publication • 15% discount on all museum store Do you work for a company that may be reproduced without the creative endeavors of some of one of our Harlem Postcards Director and Chief Curator purchases. has a matching gift program? If permission of the publisher. Please email comments to • Members-only discount so, you can increase your gift to [email protected]. Operationshopping of The Studio days. Museum in Harlem is ford L.The Alexander, Studio Altria Museum Group Inc., in TheHarlem Cowles by (Gifts of $5,000 and above. List complete as of supported• Members with public discount funds provided on select by the New Charitable Trust, Credit Suisse First Boston, New 7/1/2006) York City Department of Cultural Affairs and the York Stocksimply Exchange requesting Foundation, a matching The New Yorkgift New Yorkeducation State Council and on public the Arts, programs. a state agency. Timesprogram Company Foundation,form from Pfizer, your Inc., employer. Tiffany & The StudioStudio Museum is published in Harlem is three proud timesto a year by The Studio Museum in Harlem, Major• Invitationsfunding is also to provided opening by The reception Peter Jay Company, Johnson & Johnson Family of Companies be a cultural144 W.arts 125thpartner ofSt., WNYC, New NewYork, York NY 10027. Copyright © 2006 Studio Magazine. Sharpof Foundation exhibitions. and The Carnegie Corporation Matching Gift Program, H. van Ameringen Founda- Public Radio.All material is compiled from sources believed to be reliable, but For gifts of stock or other contribu- Thelma’s photo: of New York with additional support from David tion, American Express Company, Gordon J. Davis published without responsibility for errors or omissions. Studio assumes tions, please call the Development Timothy Greenfield-Sanders Zwirner, Estate of Irene Wheeler, The Horace W. and Peggy Cooper Davis, Federated Department no responsibility for unsolicited manuscripts or photographs. All rights, Office at 212.864.4500 x 223. including translation into other languages, are reserved by the publisher. Goldsmith Foundation, The Scherman Founda- Stores, Oliver Kamm, Pierre and Maria-Gaetana Cover image: Rashawn Griffin Nothing in this publication may be reproduced without the permission tion, Rob Speyer, Norman and Rosita Winston Matisse Foundation, Jennifer McSweeney and Sculptures and Landscapes 1-16, Foundation, Gifts in memory of Joyce Wein, LEF Peter Reuss, The Moody’s Foundation, of the publisher. Untitled #8 for William Earl Kofmehl III Foundation, Inc., Corine Pettey, Estate of Bobby Morgan Stanley Foundation and Jide Zeitlin. Photo: Mickey Mathis/Cosmos 9VldjY7Zn!Ziarra, 2006 Courtesy the artist and Rhona Hoffman Gallery Short, Gifts in honor of William M. Lewis, Jr., Clif- Communications / Summer 2006 I]ZHijY^dBjhZjb^c=VgaZbBV\Vo^cZ / Summer 2006 >CI:GC6I>DC6A >HHJ: