The Studio Museum in Harlem Magazine / Spring 2007 from the Director SMH Board of to the Museum Can Also Pick up Trustees the Gift, a Mix CD Created by Raymond J

Home , Benny Andrews, Kenneth Chenault, Laylah Ali, Lorna Simpson, Nancy Elizabeth Prophet, Peggy Cooper Cafritz

The Studio Museum in Harlem Magazine / Spring 2007 From the Director SMH Board of to the museum can also pick up Trustees The Gift, a mix CD created by Raymond J. McGuire Paul D. Miller (a.k.a. DJ Spooky) Chairman as the new incarnation of Carol Sutton Lewis StudioSound. Vice-Chair Reginald Van Lee Treasurer The Studio Museum in Harlem Magazine / Spring 2007 This issue of Studio is jam- Gayle Perkins Atkins This spring we are pleased to packed with features about art, Kathryn C. Chenault introduce the paintings of Henry artists and the Harlem com- Gordon J. Davis Taylor in Sis and Bra, the artist’s munity. Following our previous Anne B. Ehrenkranz fi rst solo museum exhibition. features hrlm: beautiful people Susan Fales-Hill Dr. Henry Louis Gates Jr. Also on view is the fi lm installa- and hrlm: beautiful places, Eric Sandra Grymes Henderson trains his camera on Joyce Haupt unique and beautiful objects in Arthur J. Humphrey Jr. The Studio Museum in Harlem Harlem in the latest installment in George L. Knox has existed in several spaces this series, hrlm: beautiful things. Nancy L. Lane since its founding in the late Dr. Michael L. Lomax Tracy Maitland 02 / what’s up Philosophy of Time Travel / Sis and Bra / Duet /Harlem 1960s. Many of you have wit- I want to thank the supporters of Rodney M. Miller 12 nessed our transformation over all our spring exhibitions and pro- Eileen Harris Norton Postcards / upcoming exhibitions David Adjaye / Expanding the Walls the past ten years as our sculp- grams. The presentation of Phi- Corine Pettey / Artists-in-Residence 14 / elsewhere Comic Abstraction / Karyn Olivier / ture court, lobby and galleries losophy of Time Travel would not David A. Ross have been renovated and rede- have been possible without the Charles A. Shorter Jr. Hale Woodruff, Nancy Elizabeth Prophet and the Academy / Uncomfortable signed. This spring the Museum generous support of the Peggy Ann Tenenbaum John T. Thompson Truths / María Magdalena Campos-Pons / WACK! /Street Level / Global will experience another trans- tion Duet (2000) by 2006 Joyce Cooper Cafritz Foundation of Michael Winston formation, one imagined and Alexander Wein Artist Prize win- The Community Foundation for Karen A. Phillips Feminisms / Laylah Ali / Black Light/White Noise / Tate08 Series / Crossing created by an exciting group of ner Lorna Simpson. This project the National Capital Region, the ex-offi cio the Line 18 / artist commission Sanford Biggers 20 / feature Benny Andrews: young artists from Los Angeles. is presented in conjunction with Creative Capital Foundation and Hon. Kate D. Levin Edgar Arceneaux, Vincent Galen her fi rst mid-career retrospective, the Canada Council for the Arts. ex-offi cio A Reminiscence 23 / 3Q’s Barthélémy Toguo 24 / education and public Johnson, Olga Koumoundouros, on view at the Whitney Museum I also want to thank Bloomberg Studio programs 28 / checkout 29 / profi le R. Gregory Christie 30 / coloring page Rodney McMillian and Matthew of American Art through for their generous support of

Sloly have developed Philosophy May 6, 2007. Studio magazine. Of course, Ali Evans 32 / feature hrlm: beautiful things 38 / SMH travel 40 / playlist 41 / studio visit of Time Travel, an exhibition that none of our work is possible Editor-in-chief Kianja Strobert 42 / feature Revisualizing the Black Arts Movement responds to our current space without the generous support of Lea K. Green and the Museum’s history. On the Studio Museum’s Board of Managing Editor 44 /staff picks 45 / StudioSound Paul D. Miller 46 / development news Gala page 3 of this issue the artists Trustees and our individual and Tiffany Hu corporate members. Assistant Editor 2006 48 / benefi t 49 /shop! 50 / donors Samir S. Patel Copy editor Original Design Concept See you around and defi nitely 2x4, New York uptown... Art Direction and Design Map, New York Jonathan Calm, Xavier Cha, Tou- Printing hami Ennadre and Berni Searle Cosmos speak with the exhibition’s cura- set their sights on the neighbor- Communications, Inc. tor, Christine Y. Kim, about the hood for the latest installment of Thelma Golden ideas behind this project. Harlem Postcards, and visitors Director and Chief Curator Studio is published three times a year by The Studio Museum in Harlem, 144 W. 125th St., New York, NY 10027. Copy- right © 2007 Studio Magazine. All material is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. Studio assumes no responsibility for unsolicited manuscripts or This issue of Studio is underwritten in part, with support from Bloomberg photographs. All rights, including translation into other languages, reserved by the publisher. Nothing in this publication may be reproduced without the Operation of The Studio Museum in Harlem is The Scherman Foundation, Inc., Tishman Speyer, permission of the publisher. supported with public funds provided by The New The Norman and Rosita Winston Foundation, Inc., Please email comments to York City Department of Cultural Affairs, Council Estate of Bobby Short, LEF Foundation, Gifts in [email protected]. Member Inez E. Dickens, 9th C.D., Speaker Chris- Honor of William M. Lewis, Jr., American Express tine Quinn and the New York City Council. Major Company, The Cowles Charitable Trust, Goldman, funding is also provided by The Peter Jay Sharp Sachs & Co., Corine Pettey, Altria Group Inc., Gayle Thelma’s photo: Foundation, Carnegie Corporation of New York P. Atkins, Peggy Cooper Cafritz, Credit Suisse Timothy Greenfi eld-Sanders and the New York State Council on the Arts, a state First Boston, Pfi zer, Inc., Michael L. Lomax, Sandra agency, with additional support from Kathryn C. Grymes, Johnson & Johnson Family of Companies Cover image: Chenault, Raymond J. McGuire, Reginald Van Lee, Matching Gifts Program, Gordon J. & Peggy Coo- Philosophy of Time Travel artists The New York Times Company Foundation, Estate per Davis, Oliver Kamm, Pierre and Maria-Gaetana CAD Drawing of Irene Wheeler; Anne & Joel Ehrenkranz, The Hor- Matisse Foundation, The Moody’s Foundation, H. 2006 ace W. Goldsmith Foundation, JP Morgan Chase, van Ameringen Foundation and Jide J. Zeitlin. Courtesy the artists Gary Simmons, boom, 1996–2003. Courtesy Museum of Modern Art, New York 02 / what’s up Studio / Spring 2007 03 / Studio / Spring 2007 What if history had a mind of its own, moving from the past, through the present and into the future? A team of fi ve artists is exploring this idea with a large-scale installation, Philosophy of Time Travel, opening April 11, 2007, at The Studio Museum in Harlem. The installation evokes the work of modernist sculptor Constantin Brancusi (1876-1957), forcefully and dynamically pushing his massive 1938 work, Endless Column, through the Studio Museum’s gallery space. The result is a fi ctional world in which history comes to life, crashes through the exhibition space and traverses through histories of art and museums.

“Philosophy of Time Travel harnesses Brancusi’s seminal, classic modernist work to challenge the contemporary, as if the sculpture grew beyond its bounds and appeared, by magic or some cryptic science, in the Studio Museum,” says 02 Christine Y. Kim, Associate Curator at the Museum. “By being installed here, at a culturally speciﬁ c art institution, its commentaries on the nature of history and time are also vari- ously applied to the histories and structures of Harlem and African Americans.”

Brancusi’s Endless Column, an outdoor sculpture in Târgu Jiu, Romania, is a 100–foot tall series of cast-iron rhombus shapes, resembling a stylized version of a traditional Roma- nian funerary pillar. In angling the vertical modules through the Studio Museum’s galleries−four of them penetrate through from ﬂ oor to ceiling—the artists also recall the imagined ﬂ ight of Brancusi’s classic Bird in Space series, one of 03 modernism’s great evocations of movement and grace. The installation brings the outside in, the past into the future, and the still into sinuous movement, shattering the walls of 03 the museum space and the present alike.

Excerpt from Philosophy of Time Travel roundtable discussion with Edgar Arceneaux, Vincent Galen Johnson, Olga Koumoundouros, Rodney McMillian and Matthew Sloly. Moderated by Christine Y. Kim, January 13, 2007

Christine Y. Kim What are elements that each or all of you bringing together? When and how did you start thinking about the idea for this project? What is it about this project that necessitates such a variety of perspectives?

Olga Koumoundouros I came in during the initial concept. In 2004, Rodney and I were focused in our art practice on issues of power and domination within the sociopolitical realm, as well as 04 American history. Actually, our work still has these concerns. Edgar brought us together to begin a dialogue with The Studio Museum in Harlem. This led us to begin acknowledging the relationship between this ethnically speciﬁ c museum and the art-historical canon. Clearly, the representation and distribution of African-American art is still problematic, but how would we discuss this? Together we came up with the earliest proposal of the Egyptian pyramid coming down at a forceful angle through the ceiling of the SMH gallery crushing a Greek Doric column. It was a battle of symbols in the 01–04 / Philosophy of Time Travel artists Sketches Western cultural foundation, i.e. Greek column versus the inﬂ uential, 2006 however under-recognized African pyramid. We thought about ref- Courtesy the artists erencing the text, Black Athena: The Afro-Asiatic Roots of Classical 01 Civilization, by Martin Bernal, which decentralizes master narratives 04 / what’s up Studio / Spring 2007 05 / Studio / Spring 2007

by positing that the origination of Western thought and power is in correlation to their relationships to power. We liked the idea of us- it was here that Ra met Donnie Darko. The pyramid met Brancusi Donnie Darko reference was merely a working title for the project, located in Afro-Asiatic roots. This means much of the cultural innova- ing Greek symbols of power — signs that have been exported all over through a paradigmatic linkage found in Donnie Darko. The major like “Longhorn” [Longhorn was Microsoft’s internal codename for tion was falsely ascribed to early Greeks, and points to nineteenth the world — to be demolished by the mighty Egyptian pyramids. We catalyst in the fi lm’s narrative is a jet turbine engine from a large pas- the code base that became Windows Vista]. We had all seen the century agendas of colonial domination behind the repression of this talked about how Greek architecture came out of Egyptian infl uence senger plane that falls and crashes through the roof a house in an movie, it had a time travel angle and there was this obscure book, a history. I am sensitive to my position as a white artist of Greek origins yet this is never or rarely acknowledged. Olga was thinking predomi- upper-middle-class neighborhood. It is a mystery as to how it hap- fi ctional book, which the main protagonist read but which the viewer working collaboratively with four artists of African descent. Edgar nantly about the pyramid, and I was interested in Doric columns. pened, because there was no airplane reported to have crashed or was not privy to. Now, serendipitously, that spiral motif that Edgar added to the discussion of power distribution between histories by lost an engine, yet there it was, causing massive destruction from the mentioned turned out to be why we couldn’t shed the reference, bringing Modernism, via Constantin Brancusi’s (1876–1957) End- OK Another thing I want to address is this structure’s relationship sky. Later in the fi lm, it is revealed that the turbine engine had fallen propagating back to the Endless Column. This project assembles less Column (1938), into the project. This complicated the narra- to violence. It is critically important to me that we are not assaulting from an airliner caught in a storm created by a massive wormhole, an idea of some kind of crash. The crash itself was really a vague tive construction by making the discussion less linear and less of a SMH, but rather discussing violence within various histories. For ex- which is attempting to collapse the present and future. The turbine is gestalt. The stuff about the Egyptian pyramid fell away quite rapidly binary. Africa’s under-recognized instrumental role in the creation of ample, what are these patriarchal colonial histories, with the brutali- the rhomboid in fl ight. Somehow, Sun Ra’s Afrofuturist ideas about as we began to interrogate the originating gestalt. The crash is of a modernist form, actually modernism itself, and the consolidation of ties they bring, doing here now? How do we depict to the viewer the blacks in outer space propelled by music seemed a natural funk ex- monument into a museum. Normally museums are meant to accom- Euro-American power, now fi gures in, not just a simple depiction of enormity of this forceful rupture in time and history in a way that they tension of our interrogation. We were in a free fl owing space of ideas modate monuments and other such artifacts, but in this case, the overturning positions. Now SMH, a contemporary Afrocentric insti- may still be able to sift through the debris to contemplate the multiple deeply infl uenced by the moment. accidental crash meant that the artifact did not enter in the correct tution and symbol of a cultural force decentralizing notions of estab- conceptual relationships that are occurring in the space? manner and so its signifi cance strained the categorical positions of lished art-world institutions, is an instrument to further the rupture in Matthew Sloly At that time, I remember there was discussion about museum and artwork. consciousness, not just a venue for the discussion. To me, it started as a sign of Egypt and of Afro-asiatic power. An Egyptology, Afrocentric myths and alternative and science-fi ctional added thought was its relationship to pan-Africanism, which has a histories with relation to the Endless Column. We were asking ques- Philosophy of Time Travel is made possible in part by a grant from Rodney McMillian We started simply by making drawings to build connection to the street culture of 125th Street. tions like: Should the beads be interpreted as two elongated pyra- the Peggy Cooper Cafritz Foundation of The Community Foundation a big pyramid coming out of the Studio Museum ceiling, crushing mids with truncated tips stacked base-to-base, and conversely tip- for the National Capital Region, with additional support from Cre- columns. As I remember it, we thought about having a giant pyramid Edgar Arceneaux We started questioning why the pyramid should to-tip? We had engaged in this line of associative thinking, initially, ative Capital Foundation and Canada Council for the Arts. that fi lled almost every inch of room in the gallery space. It would fi t so neatly within the space of the Museum. Why couldn’t it pen- because we had intended to fabricate artifacts and artworks made be propped on Doric columns that would be in varying states of etrate the walls? Our idea started to grow; the tip of the pyramid was by a fi ctional black artist who was a blend of an Afrocentric mystic, being crushed by the weight of the pyramid. This led to a discussion breaking through the ceiling. There is no linear way to retell how the Egyptophile and idiosyncratic late-1960s conceptual artist. In the of what the ontological meaning of crushing the column was. This conversation unfolded to bring in both Sun Ra and Donnie Darko narrative, this fi ctional artist was someone who had been forgot-

was particularly interesting given the context of the project at The (2001). Olga mentioned Sun Ra and it stuck with me. Coinciden- ten, then rediscovered by SMH, and given a retrospective. On the 01–05/ Philosophy of Time Travel artists Studio Museum in Harlem. In my conversations with Olga, and in our tally, he was mentioned to me in a few previous conversations. Why opening night, his [the ﬁ ctional artist’s] show was demolished by the CAD Drawing 2006 individual practices, we were interrogating forms and their histories do some subjects ﬂ oat around in the noosphere? I don’t know, but crash of the Endless Column. On the other hand, for me at least, the Courtesy the artists

01 03

02 04 05 06 / what’s up Studio / Spring 2007 07 / Studio / Spring 2007 Sis and Bra Henry Taylor April 11 — July 1, 2007

Taylor’s biography is as unusual and varied as his work. Born and (2005), and family members such as his son Noah − and the ca- raised in southern California, he has been drawing and painting sual moments of their lives with a sense of dynamism and grace. since he was a teenager. He studied journalism and then worked full- In Homage to a Brother (2007), a portrait of Sean Bell, an African- time as a psychiatric technician from 1984 to 1994 while continuing American man shot and killed by plainclothes New York Police de- to paint on his own. In 1995 he completed his BA at the California tectives on the eve of his wedding, Taylor obliquely references the Institute the Arts at age 37. Out of these atypical circumstances, economic and racial disparities in the United States. Taylor’s work and perhaps because of them, Taylor has created a unique style and embraces both the personal and the political, and shows the ways imagery that speaks to his own experiences and surroundings. Sis in which the political becomes personal. and Bra is his ﬁ rst solo presentation at a major museum.

01 01/ Henry Taylor 04/ Henry Taylor 01 Taylor paints on a wide array of materials, from cardboard and Fatty Barbecue 2006 2006 cigarette boxes to linen and canvas. A perceptive portraitist, he Collection of David Hoberman, Courtesy the artist and Sister, catches nuances of expression and mood and instills his subjects Burbank Los Angeles Henry Taylor: Sis and Bra Featuring nine of Henry Taylor’s recent fi gurative paintings, presents the work of this vibrant — including his former hospital patients as in the case of Tasered 02/ Henry Taylor 05/ Henry Taylor emerging artist, who holds a refreshing and distinctive perspective on American cultural landscapes. Perpetually observ- Homage to a Brother Tasered 2007 2005 ing the world around him, Taylor sees subjects worthy of painting in “just about everything.” His idiosyncratic eye roams Courtesy the artist and Sister, Courtesy the artist and Sister, the California landscape, fi nding inspiration in everyday family activities and occasions, newspaper articles, art books and Los Angeles Los Angeles current events. Straddling the divide between a so-called “outsider art” aesthetic and formal art-school dialectics, Taylor’s 03/ Henry Taylor Sis and Bra work is focused on the world and people he knows or feels an affi nity toward. His paintings are intimate and familial but still 2004 fi rmly situated within contemporary American painting. Private Collection, Boston 08 / what’s up Studio / Spring 2007 09 / Studio / Spring 2007 Duet Lorna Simpson April 11 — July 1, 2007

02 03 For nearly three decades, Lorna Simpson has been cele- effective communication and rewrites the autonomy of the subjects brated as an artist, photographer and fi lmmaker. She is per- on the screen into a communal identity. haps best known for her work that asserts the female form as a site for discourse on racialized and gendered modes As the inaugural recipient of The Studio Museum in Harlem’s Joyce of visual representation. From small pictures and intimate Alexander Wein Artist Prize for innovation, promise and creativity, gestures to multimedia meditations and installations, Simp- Lorna Simpson has proven herself as an artist committed to expos- son’s works remain unrivaled in their courage to challenge ing the social invisibility of the black female by highlighting both the and critique traditional modes of addressing identity through impulse to self-express and the immense diffi culty in fi nding the ideal art. Her photo-based works, while staying true to classic pho- language for that expression. This installation of Duet runs concur- tography’s valorization of pose, gesture and composition, rently with Simpson’s fi rst mid-career retrospective, on view at the rework subjectivity by introducing text to either mask, dis- Whitney Museum of American Art from March 1 to May 6, 2007, member or recontextualize a subject. In works such as She and traveling to the Kalamazoo Institute of Arts in Michigan and the (1992), the female form is beheaded by the word “Female,” Gibbes Museum in Charleston, South Carolina, later this year. which comes to replace a tangible subject identity with a hy- percontextualized representation. This active deviance from portraiture’s claim that the face is the window to the soul is a defi ning element in Simpson’s work, which introduces gray into the black-and-white binaries of absence and presence, loss and possession, and the desired and the undesirable.

Duet is the cinematic expression of the themes of isolationism, es- capism and self-effacement addressed in Simpson’s earlier photo- 01–03/ Lorna Simpson Duet (ﬁ lm stills) graphic works. In the installation, two images are projected onto a 2000 single screen, and the border between the two images becomes an Courtesy the artist imaginative site for visual and contextual exchange. Scenes of two girls playing a duet on the piano interact with scenes of two women conversing about memory. As the video progresses, subjects dis- 01 appear into the “no space” gluing the two images together. Kellie Jones, Associate Professor of Art History at Columbia University, asserts that Duet “moves to create a larger dialogue with the language of ﬁ lm by using a split screen, allowing two distinct scenes to play before our eyes and in our heads at the same time.” The aural and visual simultaneity of the installation challenges traditional notions of 10 / what’s up Studio / Spring 2007 11 / Studio / Spring 2007 Harlem Postcards Spring 2007

Represented, revered and recognized by people around the world, Harlem is a continuously expanding nexus of black culture, history and iconography. Venerable landmarks, such as the Abyssinian Baptist Church, Apollo Theater, Hotel Theresa, Audubon Ballroom and 125th Street, remain popular emblems of important historic moments and moods. The Studio Museum’s ongoing series, Harlem Postcards, invites contemporary artists of diverse backgrounds to reﬂ ect on Harlem as a site for artistic contemplation and production. Installed in the Museum lobby and available to visitors, Harlem Postcards presents intimate views and fresh perspectives on 03 this famous neighborhood.

Berni Searle Jonathan Calm Touhami Ennadre Xavier Cha Born 1964, Cape Town, South Africa Born 1971, Brooklyn, NY Born 1953, Casablanca, Morocco Born 1980, Los Angeles, CA Lives and works in New York, NY, and Lives and works in New York, NY Lives and works in Paris, France Lives and works in New York, NY Cape Town, South Africa This photograph, Wagner Runoff #1, is the fi rst in a series called At the Lenox Lounge, at this very moment, the heartbeat of Harlem front in back Taken from the top of an open-air tourist bus that passed by the wake Runoffs. echoed in everyone’s heart. The echoes took form in music and dance, sense in front of James Brown at the Apollo Theater in Harlem on the December generating a spirit and energy that united us all. 28 2006, DSC00123.JPG is a snapshot of an event I encountered It refl ects personal ruminations on my childhood memories of home by chance, refl ecting my own transient position in relation to what I in an urban housing complex. Like memory itself, each photograph saw. Barricades, police and masses of people could signal a very is a refl ection, in this case a pool of standing water on a playground. different set of circumstances depending on your experiences and The stillness of the water becomes a mirror in which I see not just the where you’re coming from. On the other hand, the long queues of building but also a portrait of my early self. The blue sky matches my people paying their last respects to James Brown are reminiscent youthful optimism to explore life beyond the complex. Together the 01/ Berni Searle 03/ Touhami Ennadre of the snake-like formations of people who stood for hours to vote playground, water, building and sky capture a point of origin where DSC00123.JPG Lenox Lounge in the fi rst South African democratic elections in 1994. Each event I am touched by the idealism of my youth and my adult ambivalence 2007 2004 attests to the determination of people to have their sentiments and when I reconsider that place and time. 02/ Jonathan Calm 04/ Xavier Cha Wagner Runoff #1 Sense in Front voices heard. 2007 2007 12 / upcoming exhibitions Studio / Spring 2007 13 / Studio / Spring 2007 David Adjaye: Making Public Buildings Artists-in-Residence July 18 – October 28, 2007 July 18 – October 28, 2007

Taking one step backward to leap forward, inhaling deeply in order to exhale completely or realizing a work of art by leaving it alone overnight — it is all part of the process for the Studio Museum’s Artists-in-Residence in the sixth month of their year-long residency. Busy in their studios on the third ﬂ oor of the Museum, Titus Kaphar, Wardell Milan and Demetrius Oliver approach this mid-point with vigor and vitality. While it may feel risky to experiment with new ideas, imagery and forms just four months before the opening of a museum exhibition, it is not uncommon for the seasoned artist to develop some of their most progressive ideas and realize their most extraordinary works during this period.

Known for his raw graphite-and-charcoal drawings of wrestlers and boxers, Wardell Milan has been experimenting with grounding his fi gures in three-dimensional spaces through mixed media. Some of 04 the domestic environments and perspectival, textured planes are reminiscent of Roy Lichtenstein’s Interior/Exterior compositions, as well as Mickalene Thomas’ juxtapositions of sexuality, eroticism 01 02 and domesticity in rhinestone-on-panel paintings. Engaged in The Studio Museum in Harlem is proud to present David Adjaye: around the world; and writings by artists and architects who have mechanical history, scientifi c discovery and the body, Demetrius Making Public Buildings. One of Britain’s leading contemporary impacted his work. Focused on learning, community, contemporary Oliver has developed new work about constellations, refl ection architects, Adjaye is known for his innovative buildings and their art and housing, Making Public Buildings reveals Adjaye’s interest and movement. The photographs included in the 2005 exhibition equal emphasis on the experience and function of architecture. in rethinking social space and redefi ning the urban landscape. Frequency at the Studio Museum now seem, in part, like linguistic Making Public Buildings focuses on his engagement with public schemata compared with his more recent work in sculpture, sound space and the built environment, and follows the evolution of ten This exhibition is presented in collaboration with Whitechapel Art and installation, in which he incorporates maps, charts, lights, major buildings from design to production to completion. The ex- Gallery, London; Netherlands Architecture Institute, Maastricht; the mirrors and clothing. Approaching the act of “setting something hibition includes architectural models, drawings and fi lms of the Museum of Contemporary Art, Denver; and Arario Gallery, Beijing. free” literally, Titus Kaphar has found new ways to present the cut buildings, which include the 2005 Venice Biennale pavilion and canvas. Adhering to the fi gurative and historic modes in which he the Nobel Peace Center in Oslo; photographs of Adjaye’s travels has worked since 2004, Kaphar has developed his play on presence and absence into a conversation about potential and kinetic energy of bodies and objects in encyclopedic classifi cation. Expanding the Walls: Making Connections Between 05 History, Photography and Community July 18 – October 28, 2007

Every year The Studio Museum in Harlem seeks out New York City high school students to participate in Expanding the Walls: Making

Connections Between Photography, History and Community. This 01/ Adjaye/Associates 04/ Titus Kaphar year 13 students were selected to be part of this intergenerational Ideas Store Chrisp Street, London Conversation Between Paintings I 2005–2006 2006–2007 program that uses the work of renowned Harlem photographer Courtesy Whitechapel Gallery, London Courtesy the artist James VanDerZee as a catalyst for discussions about community, 02/ Adjaye/Associates 05/ Wardell Milan identity, history and culture. The participants explore many func- Canopy, Noble Peace Centre Battle Royal 2 2005–2006 2006–2007 tions of the Museum by partaking in discussions on community, Courtesy Whitechapel Gallery, London Courtesy the artist learning 35 mm photography, meeting contemporary artists and 03/ Expanding the Walls Class of 2007 06/ Demetrius Oliver Museum staff, and engaging audiences by leading tours of the Untitled (from the Series Almanac) Museum’s exhibitions for the public. 2006–2007 Courtesy the artist

06 14 / elsewhere: art beyond smh Studio / Spring 2007 15 / Studio / Spring 2007 Completely Biased, Entirely Opinionated Hot Picks By Thelma Golden

01 04 05 07 Comic Abstraction: Image Breaking, Hale Woodruff, Nancy Elizabeth Uncomfortable Truths: the shadow Image Making @ The Museum of Prophet and the Academy @ of slave trading on contemporary art Modern Art / New York, NY / Spelman College Museum of Fine Art / and design @ Victoria and Albert March 4–June 11, 2007 / www.moma.org Atlanta, GA / January 18 – May 12, 2007 / Museum / London, UK / February

If Africa Comics got you excited about comic art, be sure to check out www.spelman.edu/museum 20 – June 17, 2007 / www.vam.ac.uk this exhibition exploring the intersection of comic imagery and abstrac- On a recent trip to Atlanta, I was thrilled to visit this exhibition of two In recognition of the 200th anniversary of the outlawing of the Brit- tion. Comic Abstraction features artists Gary Simmons, Ellen Galla- pioneering African-American artists and learn more about their strong ish slave trade, the V&A has organized an exhibition of new and gher and former Studio Museum Artist-in-Residence Julie Mehretu. leadership in arts education in the Southeast. Hale Woodruff, Nancy recent works by European, American and African artists address- Elizabeth Prophet and the Academy highlights the accomplishments ing the legacies of slavery and imperialism. Specially commissioned of the two artists who taught at the Atlanta University Center in the works by Beninise artists Romuald Hazoumé and Julien Sinzogan 01/ Gary Simmons 05/ Nancy Elizabeth Prophet 1930s and 1940s. The show includes recently conserved Woodruff and British artists Keith Piper and Yinka Shonibare MBE will be boom Head of a Cossack 02 1996–2003 1939 paintings on view for the ﬁ rst time in their new condition, as well as displayed in a series of interventions within the museum’s galleries, Courtesy The Museum of Modern Art, Courtesy the Howe / Lightbody Family all nine known existing sculptures by Prophet, the ﬁ rst African-Ameri- drawing attention to the contentious history of the V&A’s collection. New York Karyn Olivier — A Closer Look @ 06/ El Anatsui can woman to graduate from the prestigious Rhode Island School Works by Fred Wilson (United States), Tapfuma Gutsa (Zimbabwe), 02/ Karyn Olivier Akua’s Surviving Children Laumeier Sculpture Park / St. Louis, MO / of Design. El Anatsui (Ghana), Anissa-Jane (United Kingdom) and others will Bike 1996 2005 Courtesy October Gallery, London February 9 – May 13, 2007 / also surprise visitors throughout the museum. Courtesy the artist and Dunn and Brown Contemporary, Dallas 07/ Fred Wilson Regina Atra www.laumeier.org Here are some must-see 03/ Hale Woodruff 2006 Africa and the Bull Courtesy Pace Wildenstein, New York ca. 1950 Former Studio Museum Artist-in-Residence Karyn Olivier (2005–2006) exhibitions that I’m not Collection of The Studio Musuem in Harlem will exhibit her surreal, nostalgic sculptures— several created during her going to miss! 04/ Nancy Elizabeth Prophet residency at the Museum — in the Laumeier’s museum space. Congolais 1931 Courtesy Whitney Museum of American Art, New York 16 / elsewhere: art beyond smh Studio / Spring 2007 17 / Studio / Spring 2007

Checkout it

01 María Magdalena Campos-Pons: Everything is Separated by Water @ Indianapolis Museum of Art / Indianapolis, 03 Street Level: Mark Bradford, William 04 06 IN / February 25 – June 3, 2007 / Laylah Ali: Drawings from the Typol- Crossing the Line: African-American Cordova and Robin Rhode @ Nasher www.ima-art.org ogy Series @ Pennsylvania Academy of Artists in the Jacqueline Bradley and Museum of Art at Duke University / the Fine Arts / Philadelphia, PA / Clarence Otis, Jr. Collection @ The fi rst full-scale survey of the acclaimed Afro-Cuban artist’s work, Durham, NC / March 29 – July 29, 2007 / Everything is Separated by Water presents 34 paintings, sculptures, March 3 – May 27 2007 / www.pafa.org Cornell Fine Arts Museum at Rollins nasher.duke.edu installations and large-format Polaroid photographs, created since College / Winter Park, Fl / January María Magdalena Campos-Pons left Cuba in 1990. Campos-Pons’ Laylah Ali’s darkly whimsical Greenhead gouaches were a highlight Featuring Studio Museum favorites Mark Bradford, Robin Rhode and work grapples with her imagined displacement from Africa, her ac- of Freestyle. In this exhibition of new work, she departs from that 19 – May 20, 2007 / www.rollins.edu/cfam 2004–05 Artist-in-Residence William Cordova, Street Level explores tual exile from Cuba and her experience as a black Cuban woman graphic style with intricately worked ink drawings that suggest mon- the inspiration and infl uence of the urban streetscape. Found objects living in North America. Everything is Separated by Water, also the sters, fi ctionalized anthropology and ethnic and sectarian violence. Crossing the Line features 58 works from the Bradley/Otis collection. and imagery from the diverse cities these artists live in or visit—Ber- title of one of the works in the show, references the dangerous sea Former Harlemites and now Florida residents, Bradley and Otis are lin, Los Angeles, New York, Cape Town, Johannesburg, Lima, Miami crossings faced by both enslaved Africans and contemporary Cu- among the most important collectors of African-American art. The —help build a foundation for their art, including painting, works on bans coming to America. exhibition includes the work of many artists who have exhibited at the paper, sculpture, photography, video, installation and other mixed Studio Museum, including former Artists-in-Residence Michael Kelly media. This is the fi rst exhibition organized at the Nasher by their new Williams, Nadine Robinson and Kehinde Wiley. curator of contemporary art, Trevor Schoonmaker.

Tate08 Series: Ellen Gallagher @ Tate Liverpool / Liverpool, England / Don’t Sam Gilliam: a retrospective @ April 21 – August 28, 2007 / Contemporary Arts Museum / Houston, TX / miss! January 27—May 6, 2007 / www.camh.org www.tate.org.uk/Liverpool

05 As part of the Tate08 exhibition initiative, Ellen Gallagher will show new work and recent drawings exploring the myth of a Black Atlan- Black Light / White Noise: Sound tis – known as Drexciya – populated by those who jumped from slave and Light in Contemporary Art @ ships during the grueling journey from Africa to America. Also featured is her painting Bird in Hand (2006), addressing the history Contemporary Arts Museum / 02 of Cape Verde, Gallagher’s father’s homeland and for centuries a Houston, TX / May 19 — August 12, 2007 / 01/ María Magdalena Campos-Pons 05/ Nadine Robinson WACK! Art and the Feminist Revolution Abridor de Caminos (The One Who Wormwood center of trade in salt and slaves. Opens the Path) 2005 www.camh.org 1997 Courtesy the artist and Grand Museum of Contemporary Art / Los An- The Polaroid Collections Arts, Kansas City Courtesy Indianapolis Museum of Art geles, CA / March 4 — July 16, 2007 / Global Feminisms @ Brooklyn Museum / Black Light / White Noise is the ﬁ rst museum exhibition to explore 06/ Raymond Saunders the contributions of African-American artists to the sound and light 02/ Senga Nengudi Title to Follow 2 www.moca.org/wack Brooklyn, NY / March 23–July 1, 2007 / I 1993–1994 aesthetic. Featuring former Studio Museum Artists-in-Residence 1977 Collection of Jacqueline Bradley www.brooklynmuseum.org Sanford Biggers (1999–2000), Louis Cameron (2002–2003), Kira Courtesy the artist and Thomas Erben and Clarence Otis, Jr. The ﬁ rst of two major museum exhibitions of feminist art opening Gallery, New York Lynn Harris (2001–2002) and Nadine Robinson (2000–2001), along this spring, WACK! features 119 international artists including Assia Also exploring feminism from a global perspective, but featuring more with Kianga Ford, Satch Hoyt, Arthur Jafa, Jennie C. Jones, Yvette 03/ Robin Rhode Djebar, Senga Nengudi, Lorraine O’Grady, Howardena Pindell, Adrian Untitled Harvest (Film Still) contemporary work, is Global Feminisms. Celebrating the museum’s Mattern, Camille Norment and Kambui Olujimi, the exhibition presents 2005 Piper, Faith Ringgold, Betye Saar and “Where We At” Black Women Courtesy the artist and new Elizabeth A. Sackler Center for Feminist Art, the show aims not the work of artists working with sound and light as interactive elements Artists. Focusing on the period from 1965 to 1980, WACK! high- Perry Rubenstein Gallery, New York only to present a large sampling of contemporary feminist art from in a platform for a more politically and socially charged consciousness. lights the dialogue between women’s perceptions of their social 04/ Laylah Ali 1990 to the present, but also to showcase work outside the domi- The exhibition also contextualizes their work by showing canonical Untitled roles and contemporary art practices. nant Western brand of feminism. Look for work by artists Kara Walk- works by Fluxus artist Benjamin Patterson, musician and sound artist 2005 (from the Typology series) Courtesy the artist and 303 Gallery, er, Tracey Emin, Wangechi Mutu, Ghada Amer and Berni Searle. George Lewis and sculptor Tom Lloyd. New York Artist Commission / Sanford Biggers / Lives and works in New York, NY Hip-Hop Ni Sasagu (In Fond Memory of Hip-Hop) Study 1 and Study 2 2006 20 / feature Studio / Spring 2007 21 / Studio / Spring 2007

Benny Andrews, Trash, 1971 Collection of The Studio Museum in Harlem

It was a sunny day. I think it was in the summer of 1973 or 1974. I entered in the struggle to challenge the consciences of art institutions around for the fi rst time—and, God willing, the last time—the formidable issues of what we now call inclusion. This was the period when the Art Benny Andrews: structure on Centre and Lafayette streets in lower Manhattan known Workers Coalition, Women and Students for Black Art Liberation, euphemistically as the “Tombs.” I remember the frisson of terror that various ad hoc coalitions and the nascent women’s art movement were ran through me as I heard each gate in the sequence clank very loudly aggressively demanding exhibition and acquisition opportunities for A Reminiscence behind me as I progressed from one security post to another, my artists of color and women, and that art institutions divest their portfo- identity credentials carefully scrutinized at each. I had to suppress the lios of holdings that refl ected support for the war in Vietnam and large impulse to bolt and run, and it was only reminding myself why I was agribusinesses. there that allowed me to maintain the illusion of calm. By Dr. Lowery Stokes Sims, Adjunct Curator for the Permanent Collection I was aware of these movements as an undergraduate at Queens College These remarks were delivered at the memorial service for Benny Andrews on January 13, 2007, I had been brought to the Tombs by Benny Andrews, who had somehow in the late 1960s, when I fi rst met Benny. He began teaching in the Art at the Great Hall, Cooper Union, New York, NY. persuaded me to visit one of the workshops that he and Cliff Joseph Department as part of the SEEK (Search for Education, Elevation and organized for inmates through the organization they had founded, the Knowledge) program at about the same time that I began tutoring in art Black Emergency Cultural Coalition. (I was always struck by their asso- history for the same program, which addressed diversity and opportuni- ciation of culture and the notion of emergency.) Benny and Cliff felt that ties for black and Latino students in the City University of New York as an employee in the Community Programs Department of The Metro- system. Benny was probably the fi rst working artist that I got to know politan Museum of Art, I should be aware of this particular program in as a close friend. He became my mentor and a critic, tugging at my coat this particular community, and that I should also assess the feasibility of sleeves whenever he felt I was slacking in our mutual commitment to making museum resources available to the workshop program. diversity and opportunity in the art world.

Only Benny could have gotten me to the Tombs. He was the quintessen- When I graduated from Queens College and returned to New York after tial art worker-activist—over the previous years he had been prominent a two-year detour in graduate school at The Johns Hopkins University Studio / Spring 2007 uo Studio / Spring 2007 22 / feature 23 / 3Q’s arthélémy Tog New Acquisition / B

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01 02

03 04 01 – 04 / Benny Andrews Trash (detail) 1971 Collection of The Studio Barthélémy Toguo, Transit, 1996–1999. Collection of The Studio Museum in Harlem Museum in Harlem Barthélémy Toguo CYK You are opening an art space in your native country of Cameroon. By Christine Y. Kim What is the program and how can it be part of a larger, international in Baltimore, I began working at the Metropolitan Museum and Benny Studio Museum in Harlem includes the monumental 1971 canvas Trash, Translated from French by Nico Wheadon conversation on art and art making? and I renewed our acquaintance. He wrote the fi rst profi le on me as an one of the compositions that comprises his Bicentennial series painted art professional for the now-defunct Encore magazine. He also merci- in anticipation of the 200th anniversary of the United States in 1976. BT It is a personal project that emerged following my acknowledge- ment of numerous failed cultural projects concerning the African conti- lessly criticized the exhibition program I administered for community This complex work depicts what is tantamount to a vast dump where all Christine Y. Kim Each of the eight prints in the Transit series tells nent. In regard to the lack of democracy and freedom in Africa, Africans groups at the museum‘s Eighty-fi rst Street entrance, in what was then the ills and evils of the history of this country have accumulated, and is the story of a “performance” from your travels throughout Europe. The must understand that they should not surrender. It is important that they the cafeteria of the Junior Museum. “Kitchen Art,” he called it. I was not marked by his signature technique of combining drawing, painting, col- image of you wearing a workman’s suit is about refusing to leave a fi rst- imagine solutions in every realm: agricultural, medical, economic, social amused. This did not, however, dampen our friendship, and over the lage and relief. The importance of the Bicentennial series to twentieth- class train for which you had an appropriate ticket, resulting in other and cultural. This project will allow for the assembly of international years I curated an exhibition of his work for the California Museum of century art has yet to be recognized. passengers leaving the car. The image of the carved-wood suitcases visual artists, writers, sociologists, actors, fi lmmakers, ethnologists—the Afro-American History and Culture, lobbied the Metropolitan Museum is about airport security and customs—when the offi cials asked you to whole world—in Bandjoun to develop projects that adequately repre- to acquire some and spoke about him in various lectures and video I still smile when I think about how Benny could fi x you with a serious open them and it was clearly impossible, they broke the sculptures. Are sent this place, its environment and its people. I’ve already composed projects. I followed the progress of his work through studio visits and stare and deliver a stern diatribe when a topic was important, and then these images recreations, documents or something else entirely? an assembly with international artists so that we may avoid another African ghetto. periodic gallery shows. Benny continued to teach at Queens College collapse into that giggly guffaw of his if he thought he was taking himself Barthélémy Toguo Transit is a brazen survey of clichés and appropri- until the late 1990s, and along the way took a leave of two years to head too seriously. Benny was a man of integrity who stayed true to his family ation. It is not forcefully a work about “the black man,” as this work goes CYK You work in all media—drawing, painting, video, sculpture, perfor- the Visual Arts Division at the National Endowment for the Arts. It was and rural Georgia roots, no matter how prominent his professional and very far beyond that. I was fed up and decided to give the customs of- mance and photography. How would you describe your art practice? the era of the culture wars and he navigated the terrain expertly and personal circumstances were. In the early 1990s when I was preparing fi cers and border police the opportunity to exert their faculties of control, with integrity. an essay on Beverly Buchanan’s shack sculptures, Benny regaled me and thus Transit began. It should be understood that we are all perma- BT Beyond drawing, it starts with the attentive observation of the modi with tales of well-to-do Georgians affecting shabby-chic alternative nently in transit. This concept is universal for the twentieth-century man, operandi of contemporary society. To that effect, information becomes What has always impressed me about Benny’s artwork is how he was al- lifestyles by refurbishing rural shacks with chandeliers and Memphis- and whether he is white, black or yellow is of little importance. His exis- paramount for me. I am connected to the radio all day, I like to read the tence is one of eventual exile brought on by the machine of society, which headlines of the newspapers and compare them to political trends, and ways able to infuse even the most pungent and pointed political content style furniture. He laughed as much at my incredulous reaction as at simultaneously colors his voyage and makes him an outcast. We leave I like to watch television. It is crucial to know what is going on in the en- with allegorical nuance. In his 1971 American Gothic in the collection of the ridiculous pretensions of the slumming rich and famous. We all room for others by various means, while carrying our own culture, which tire world. However, it is also necessary to maintain distance from the the Metropolitan Museum, the high price of the war in Vietnam on the will remember Benny’s inclusive and generous spirit. For me, that will goes into the meeting of this other. Of course this introduction can be press and to differentiate between information and intoxication, even American population is powerfully symbolized by a hair-netted older always be an inspiration. both beautiful and diffi cult at the same time and the voyage is enriched though I do believe “intox” is also a formidable source of inspiration! woman waving a small United States fl ag as she sits obliviously on the by the unrestrained rhythm of actual society. One is constantly in mo- This step allows me to develop my work by using photography, sculp- back of an American soldier. The soldier’s emaciated form and bowed tion. Thus, more often than not, this concept of “transit” is actual, as its ture, performance and video. However, “LIFE,” and its manifestations, back speaks volumes about the burden he has had to bear to preserve multiple facets evolve alongside society. Transit questions, with a remains my primary preoccupation because it serves as an obligatory inspiration for an artist. our sense of freedom and democracy. The permanent collection of The humor retaining a certain amount of provocation, the conditions of crossing borders. 24 / education and public programs Studio / Spring 2007 25 / Studio / Spring 2007 The Time is Here Education and Public Programs By Romi Crawford Spring 2007 Listings Curator and Director of Education and Public Programs Sunday, April 15, 2007 / 1:00–6:00 p.m. Artists-in-Residence Open Studio

Welcome 2006–2007 Studio Museum Artists-in-Residence Titus Kaphar, Wardell Milan and Demetrius Oliver, and be among the fi rst to visit their studios. This is a great opportunity to preview their One of the current exhibitions on display new work and meet the artists during their year-long tenures at the at the Studio Museum, Philosophy of Museum. Conceived at the formation of the Museum over 30 years Time Travel, explores the concepts of ago, the Artists-in-Residence Program remains central to The Studio space and time, both of which have been Museum in Harlem’s mission. on my mind as of late. I realize that the Education and Public Programs The Artists-in-Residence Open Studio is FREE. Please call 212.864.4500 x264 Studio Museum is the right space at the to reserve a space. Space/seating is limited and available on a fi rst-come, right time for me. Spring 2007 Overview fi rst-served basis. The Artists-in-Residence Program and annual exhibition are presented with the support of The Nimoy Foundation; The Elaine Dannheisser Foundation; The Greenwall Founda- As I slowly but surely step into the position; The New York State Council on the Arts, a state agency; The Helena Rubinstein tion of Curator and Director of Education Youth Programs Family Programs Foundation; The Jerome Foundation; The Dedalus Foundation; and endowments established by The Jacob and Gwendolyn Lawrence Trust and The Andrea Frank Foundation. and Public Programs, I can’t help but The Studio Museum in Harlem is dedicated to creating a safe environment for youth to express Are you looking for something fun to do with your kids instead of think that I’m in a place that meshes my themselves creatively. The Museum hosts free programs for high school students outside the watching Saturday morning cartoons? Bring the family to the Studio past, present and future endeavors. My school environment. These programs offer students opportunities to meet and converse with Museum and experience art in new and exciting ways! Wednesday, April 18, 2007 / 7:00–9:00p.m. work over the years as a professor of prominent visual artists, express their ideas through discussions, facilitate tours and hands-on The Fine Art of Collecting Africana studies, an arts programmer and workshops and develop important communication and critical thinking skills. The Studio Museum acknowledges the need for families to spend a scholar, revolves primarily around the time together. Nurturing bonds between parents and their children The Studio Museum developed The Fine Art of Collecting series study of African-American visual, artistic ARTLooks: A Day in the Life of an Artist through art, the Museum offers programs and activities that allow to educate a new generation of art connoisseurs and provide them and expressive culture. That I found my ArtLooks is designed to support high school students who are interested in the visual arts. This families to share in the creative process. Bring the family and access to world-class curators, conservators, appraisers and way to the Studio Museum seems fi tting. program includes introductions to professional artists within the Harlem and larger New York explore our exciting exhibitions. Become an artist in a hands-on collections. The program will address many key topics, including the City communities, one-on-one portfolio reviews and visits to other arts programs at cultural workshop and create works of art with your kids! fundamentals of collecting contemporary art and purchasing art institutions throughout the city. But what does it mean to be here and Family programs are FREE. Family programs are designed for families with children over time. ages 4 to 10 years old. Pre-registration is required. Please call 212.864.4500 x264 now? Ultimately it’s a place that appeals to register. The Fine Art of Collecting is $20 for the general public and $15 for members, seniors to me on many levels: I am awed by its High School Internships and students. Pre-registration is required. Space/seating is available on a fi rst-come, Each spring, summer and fall, high school students are invited to apply for internships at The Family Programs are funded in part by public funds from the New York State Offi ce fi rst-served basis. Please call 212.864.4500 x264 to register and for more information. past founders, leaders and stewards; I of Parks, Recreation & Historic Preservation, made available through the offi ce of am inspired by my esteemed colleagues; Studio Museum in Harlem. This professional development program for teens introduces youth Assemblyman Keith L. Wright. I am committed to the institution’s focus, to museums, the arts and a professional environment. Saturday, April 21, 2007 / 10:00 a.m.–3:00 p.m. the cultural specifi city that makes it a All Youth Programs are FREE and open to students ages 15 to 19. For an application or more information, contact Educator Programs Harlem Bound! 212.864.4500 x230 or [email protected]. “problematic” site; I am challenged by the Teaching and Learning Workshops for K-12 Educators art that animates the exhibition spaces; Youth Programs are supported by the Peter Jay Sharp Foundation; MetLife Foundation; Time Warner Inc.; Citigroup The Studio Museum in Harlem acknowledges teachers as profes- Teens, come out and explore the studios of Harlem-based artists Foundation; the Jacob and Gwendolyn Lawrence Trust; New York State Council on the Arts, a state agency; and the I am enthralled by Harlem; I am excited Eathon Hall Memorial Fund. sionals at the center of education, whose signifi cant contributions and see how they really work! Please RSVP by April 16, 2007, to about my charge, to extrapolate dialogues, have the most profound effect on the lives and learning of students. 212.864.4500 x264. programs and conversations from the Adult Programs The array of programs designed for educators refl ects the Muse- ideas that are couched in, and resonate The Studio Museum in Harlem has a long tradition of presenting programs that address preva- um’s commitment to reaching beyond the traditional classroom and Tuesday, April 24, 2007 / 8:00–10:00 p.m. from, the artwork and exhibitions. museum visit by responding to the increasing demand for quality lent issues in contemporary art by artists of African descent. Through the Department of Educa- Rain date: Thursday, April 26, 2007 arts education from an interdisciplinary perspective. tion and Public Programs, we offer a range of programs that engage a diverse cross section of Blues Up and Down, From the Mississippi Mud to Most of all, being here at the Studio artists of various disciplines, writers, scholars and critics who share diverse perspectives with All participants involved in the Museum’s programs for educators are provided with the Avant-Garde: The Music of Olu Dara. Museum at this moment provides an free Educator Passes, which enable the participants to return to the Museum to our audiences. opportunity to fully engage a dynamic and preview exhibitions and prepare class ideas and curricula. The Museum’s Educator Programs are supported by The Wachovia Foundation. Olu Dara is a celebrated trumpeter, cornetist, guitarist and singer confl icting set of responses to an endur- Books & Authors whose music has been described as “a miraculous journey ing question: What is the signifi cance of Be sure to arrive early for this already legendary program featuring some of today’s most tal- Special Programs through the African-American experience, blues, jazz and poetry.” art made by those of African descent and ented authors. Packed to capacity, Books & Authors is designed to introduce works by literary These unique programs fall into a category all their own. They He has performed blues and jazz throughout this career, and art that is inspired by black culture? masters, established living authors and emerging writers. This program also features new titles are presented in collaboration with other renowned institutions through his performance makes vivid the connections between that explore black culture locally, nationally and internationally. Sometimes it’s a performance throughout New York City and abroad. these forms of music. I’m not seeking answers or a resolution. and other times it’s a straight reading, but there’s always a discussion fi lled with rich, diverse Rather, it’s the steadfast query that brings perspectives. Each program is followed by a book signing. The musical performance of Olu Dara and his fi ve-piece rhythm and me to this place. Being here, now, is the horn ensemble will be supplemented by a pre-concert interview by ideal combination of past-present-future. The Artist’s Voice Professor Robert O’Meally of Columbia University. The interview I can do what I’ve always done and I can Finally, an opportunity to be a part of the conversation! These evenings of interaction with artists and concert will be held in the Museum’s sculpture garden. push it into tomorrow. will get you talking. The Artist’s Voice series provides a forum for artists to explain the philoso- This collaborative presentation of The Studio Museum in Harlem and Columbia phies underlying their work and for audiences to ask questions. University’s Center for Jazz Studies will be the third concert of the Columbia/Harlem Jazz Project and is funded in part by a grant from the New York State Music Fund 26 / education and public programs Studio / Spring 2007 27 / Studio / Spring 2007

with additional support from the Ford Foundation, the Louis Armstrong Educational Foundation and the New York State Council on the Arts. Wednesday, May 9, 2007 / Saturday, June 2, 2007 / 2:00 p.m. Wednesday, June 27, 2007 / 7:30–10:00 p.m. 7:00–9:00p.m. Senior Programs / Tours for Seniors! JVC Jazz Festival / The Geri Allen Trio Blues Up and Down is $20 at the door; $15 for advance tickets, students and seniors; and $12 for members. Seating is limited and available on a fi rst-come, fi rst-serve A Long Way Gone: Memoirs of a Boy Soldier basis. Pre-registration is required and early registration is encouraged. Please call With Ishmael Beah Are you an elder? Do you like meeting and having conversations with World–renowned composer and pianist Geri Allen has recorded 212.864.4500 x237 to purchase a seat. new people? Well … then it’s time to get out and socialize. Spend and performed with a diverse roster of musicians, including Sir a Saturday afternoon at the Studio Museum during these exclusive Simon Rattle, Clark Terry, Vernon Reid, Ron Carter, Ornette In A Long Way Gone, Beah, now 25 years old, Saturday, April 28, 2007 / 2:00–4:00 p.m. tours to explore our current exhibitions. Each tour explores a different Coleman and Charles Lloyd. Her most recent release, Timeless tells a riveting story of how at the age of 12 he fl ed What Is the What aspect of the exhibitions. Portraits and Dreams, rounds out an impressive catalog, joining attacking rebels and wandered a land rendered With Dave Eggers and Valentino Achak Deng such acclaimed recordings as Twenty-One, Maroons, The Gather- unrecognizable by violence. By 13, he’d been picked up by the gov- Tours for Seniors are FREE. Space is available on a fi rst-come, fi rst-served basis. Pre-registration is required. Please call 212.864.4500 x264 to reserve a space. ing and Miles: Cool and Collected. Separated from his family, Valentino Achak Deng became a refugee ernment army and, though at heart a gentle boy, found that he was Light refreshments will be served. capable of truly terrible acts. in war-ravaged southern Sudan. His travels brought him into contact Senior Programs are supported in part by the Renate, Hans and Maria Hofmann Trust. Allen, a Detroit native educated at Howard University and the with enemy soldiers, liberation rebels, hyenas, lions, disease, starva- University of Pittsburgh, currently serves as Associate Professor tion and deadly murahaleen (militias on horseback)—the same sort Wednesday, May 16, 2007 / 7:00–9:00p.m. Saturday, June 3, 2007 / 10:00 a.m.–12:00 p.m. of Jazz and Improvisation Studies at the University of Michigan’s Philosophy of Time Travel who currently terrorize Darfur. Based closely on his actual experi- Future Shock: The Panel Books & Authors, Kids! School of Music, Theater and Dance. Allen also serves as musical ences, What Is the What is heartbreaking and astonishing, fi lled with Columbia University Jerome L. Greene Hall, #106 / 435 West director for the Mary Lou Williams Collective and collaborates with Families, join us for story time with a notable author as we highlight adventure, suspense, tragedy and, fi nally, triumph. 116th Street her husband, Wallace Roney, on a multitude of projects. a children’s book that will set your imaginations free! Also, explore Tuesday, May 1, 2007 / 4:30–7:30 p.m. Come and meet the artists Edgar Arceneaux, Vincent Galen Johnson, your creativity in a hands-on art-making workshop and have your The JVC Jazz Festival is presented by George Wein and Festival Productions, Inc. books signed! Curriculum Connections: Bringing Contemporary Art Olga Koumoundouros, Rodney McMillian and Matthew Sloly, as they JVC Jazz Festival is $20 at the door; $15 for advance tickets, students and seniors; present the creative impetus behind their recent work, Philosophy of and $12 for members. Seating is limited and available on a fi rst-come, fi rst-serve into the Classroom basis. Pre-registration is required and early registration is encouraged. Time Travel. Wednesday, June 6, 2007 / 7:00–9:00p.m. Please call 212.864.4500 x264.

Are you a teacher interested in integrating the arts into your curricu- The Artist’s Voice is FREE and open to the public. Seating is limited and available on The N Word: Who Can Say It, Who Shouldn’t and Why This collaborative presentation of The Studio Museum in Harlem and Columbia lum, but also looking for practical ways to create art in class? Don’t a fi rst-come, fi rst-served basis. Please call 212.864.4500 x264 to reserve a space. With Jabari Asim University’s Center for Jazz Studies will be the third concert of the Columbia/Harlem Jazz Project and is funded in part by a grant from the New York State Music Fund miss this opportunity to explore practical strategies for incorporat- Philosophy of Time Travel is made possible in part by a grant from the Peggy Cooper with additional support from the Ford Foundation, the Louis Armstrong Educational Cafritz Foundation of The Community Foundation for the National Capital Region, In 2003, Randall Kennedy’s book Nigger started an intense conver- Foundation and The New York State Council on the Arts. ing creative processes. Educators will meet exhibiting artists to get with additional support from The Creative Capital Foundation and The Canada Council the inside scoop on the creative process and explore ways to use for the Arts. sation about the use and implications of that epithet. The N Word contemporary art as a teaching tool. moves far beyond Kennedy’s short, provocative book by revealing July 19, 2007 / 6:00–9:00p.m. how the slur has both refl ected and spread the scourge of bigotry in Expanding the Walls: Making Connections Between History, Participants will work collaboratively with artists, museum educators America over the last 400 years. Photography and Community Student Exhibition and their peers to create interdisciplinary, hands-on projects that can Books & Authors is FREE. Space/seating is available on a fi rst-come, fi rst-served be used in the classroom to teach key subject areas including social basis. Authors will be available to sign books after the program. Books are available Expanding the Walls is an exciting eight-month program for high in the Museum store. studies, science and language arts. school students that uses the James VanDerZee archive as a spring- Books & Authors is made possible in part by The New York State Council on the Arts. board for discussing and learning about photography and community. This program is FREE! Space is limited and available on a fi rst-come, fi rst-served basis. Registration is required. For more information, call 212.864.4500 x264. Students learn 35 mm photography and work with diverse audiences including seniors, families, peers, artists and participants in other Saturday, May 5, 2007 / 10:00 a.m.–12:00 p.m. youth programs. At the culmination of the program, the participants Blast from the Past! organize a group exhibition of their photographs alongside those of James VanDerZee. The images in this exhibition will refl ect Take a tour of the Philosophy of Time Travel exhibition to see fi ve art- subjects that investigate representations of identity, family tradi- ists’ creation of a sculpture that has traveled from the past and landed tion, the effects of gentrifi cation and the symbolism of portraiture. at The Studio Museum in Harlem! Then kick your imagination into This presentation of black-and-white photographs will highlight the high gear as you turn an everyday object into a product of the future participants’ newfound understanding of imagery and how it can Thursday, May 17, 2007 / 7:00–9:00 p.m. in an art-making workshop! expand the defi nition of community. For more information, contact Poetry@SMH: Intersection of Art and Poetry 212.864.4500 x256. With Cave Canem Saturday, May 5, 2007 / 2:00 p.m. Senior Programs / Tours for Seniors! Enjoy an evening of poetry and prose with Cave Canem Fellows Aracelis Girmay, Marcus Jackson and JoAnne McFarland as they Are you an elder? Do you like meeting and having conversations with share new work related to the ideas presented in the Philosophy of new people? Well … then it’s time to get out and socialize. Spend Time Travel exhibition at The Studio Museum in Harlem. Saturday, June 16, 2007 / 11:00 a.m.–4:00 p.m. a Saturday afternoon at the Studio Museum during these exclusive Community Art Jam: Juneteenth Celebration! tours to explore our current exhibitions. Each tour explores a different Cave Canem is a foundation that provides venues for African-Ameri- aspect of the exhibitions. Get your summer off to a fun and creative start! Join the Studio 64.4500 can poets to workshop, read, publish and fi nd fellowships. The orga- Find out se Tours for Seniors are FREE. Space is available on a fi rst-come, fi rst-served basis. Museum in celebrating Juneteenth—the name given to emancipation more ! . nization is committed to the discovery and cultivation of new voices in for more Pre-registration is required. Please call 212.864.4500 x264 to reserve a space. day by African Americans in Texas over 100 years ago. Commemo- about the Light refreshments will be served. African-American poetry. ase callx264 us at 212.8programs rate this historic moment with special exhibition tours, games, hands- Ple Poetry@SMH is FREE and open to the public. Pre-registration is required. Space/seat- information Senior Programs are supported in part by the Renate, Hans and Maria Hofmann Trust. upcoming ing is available on a fi rst-come, fi rst-served basis. Please call 212.864.4500 x264. on workshops, performances and more!

The Studio Museum in Harlem is proud to offer this program in collaboration with the Cave Canem Foundation, Inc. Programs and collaborations are made possible by a grant from The Greenwall Foundation and the New York Community Trust. 28 / checkout Studio / Spring 2007 29 / proﬁ le Studio / Spring 2007

Sam Gilliam Brenna Youngblood Julie Mehretu Denyse Thomasos Lamar Peterson Saya Woolfalk Northwest Wind The Leaving Entropia (review) Hybrid Nations Mother Nature’s The Light House 1992 2006 2004 2005 Favorite Flower 2006 Collection of The Studio Courtesy Margo Leavin Collection of The Studio Courtesy the artist 2003 Courtesy the artist Museum in Harlem Gallery, Los Angeles Museum in Harlem Courtesy Richard Heller Gallery, Santa Monica

By Lauren Haynes, Curatorial Assistant If you like ... check out Sam Gilliam Born 1933, Tupelo, MS Brenna Youngblood Born 1979, Riverside, CA Lives and works in Washington, DC Lives and works in Los Angeles, CA

Proﬁ le: R. Gregory Christie Kalia Brooks, Public Programs Coordinator

If you like ... check out Julie Mehretu Born 1970, Addis Ababa, Ethopia Denyse Thomasos Born 1964, Port of Spain, Trinidad and Tobago Lives and works in New York, NY Lives and works in New York, NY

R. Gregory Christie works tirelessly. “An average of sixteen hours Christie’s illustrations have earned him three Coretta Scott King a day,” he says when asked to elaborate on his practice as an artist. Honor Awards and two Best Illustrated Book of the Year honors He dedicates six months a year to his commissioned projects, and from The New York Times. His career has taken from Brooklyn, the other half to traveling around the world developing his visual where he now lives, to distant places such as Australia, Swe- ideas. Christie began his journey as an artist in kindergarten, when den and Malaysia. His repertoire is vast and expanding. He has he fi rst recognized his creative talent. Since then he has remained been featured in exhibitions at Rush Arts Gallery in New York committed, persistently educating himself on the techniques of and the Art Institute of Chicago. He was the monthly featured painting. In 1989, Christie moved to New York City from his native artist at the Center for Book Arts in New York City in 2003 and New Jersey to study actively and earn his BFA from the School of will have a solo exhibition at the Brooklyn Public Library, Retro- Visual Arts. His fi rst major job as an illustrator came in 1994 when spective, opening in June 2007. Christie says his hard work has he was commissioned to paint the album cover for the jazz-funk earned him “a decent living,” and this year he will push himself group Justice System. His fi rst published illustrations were in, From even further as an artist. He recently completed a digital video the Underground: Hip Hop Culture as an Agent of Social Change project with actresses Karyn Parsons and Queen Latifah about (1994), which he says is a collector’s item. Christie’s profi le as an gas mask and traffi c light inventor Garrett Morgan. His painting If you like ... artist continues to grow—he has illustrated more than 18 books. will illuminate young minds for generations—Christie is undeni- check out ably focused and has an incredible amount of passion for his craft. Lamar Peterson Born 1974, St. Petersburg, FL Saya Woolfalk Born 1979, New York, NY Christie describes painting as “an obsession.” He creates non-stop Lives and works in Brooklyn, NY Lives and works in New York, NY and declares that his work is essentially therapeutic. The medium Please visit the artist’s website for more information at allows him to educate people on a massive scale. Christie has a www.gas-art.com mix of inspirations. The most prominent are black historical fi gures such as Richard Wright, Langston Hughes and Sojourner Truth, as well as art fi gures such as Picasso, Jean-Michel Basquiat and Romare Bearden. He uses his artwork as a vehicle to champion neglected histories. His most memorable work appeared in Only Passing Through: The Story of Sojourner Truth (2001), by Anne Rockwell. Christie admits that the project taught him many lessons. “ I never knew that [Sojourner Truth] spoke Dutch as a fi rst language,” he says. “She met Abraham Lincoln and Queen Victoria, and challenged segregation of streetcars a decade before Rosa Parks.” He often fi nds that his work in children’s books is the most Turn the page and socially conscious. add some color to Greg’s work! 30 / coloring page Studio / Spring 2007 31 / section title Studio / Spring 2007

Like the beautiful people and places that create the vibrant energy known as Harlem, hrlm: things – objects that remind us of everyday life – also tell a story, reminiscent of the past and hopeful for the future.

beautiful We invited artist Eric Henderson to turn his lens on contemporary Harlem to show us some of the things that makeup the character of this neighborhood today. As you see, things and as you know if you live here, the things in Harlem are beautiful. –Ali Evans, Editor-in-Chief

hrlm is a series of Harlem-speciﬁ c, site-responsive exhibitions and projects that investigate This page and observe the breadth of this community through the work of artists. hrlm: beautiful things “the unfried” 2007 is the third section of a three-part feature, hrlm: beautiful people, places & things. The hrlm word mark was conceived and generously donated by 2x4, New York. Opposite “off the glass at St. Nicholas Park” 2007 34 / section title Studio / Spring 2007 35 / section title Studio / Spring 2007

“no standing … except for Duke” 2007 “people get ready…” 2007 “harlem in, harlem out” 2007 “night stand” 2007 36 / section title Studio / Spring 2007 37 / Studio / Spring 2007

“strolling 110th at Lex” 2007 “laguardia’s ﬁ rst gate: the M60” 2007 “the new back of the bus” 2007 “sometimes beauty demands itself beneath the full moon” 2007 38 / SMH travel Studio / Spring 2007 39 / Studio / Spring 2007 Wednesday, December 6

We stay up late and party at the Art Bar hosted by Kehinde Wiley and Russell Simmons.

Thursday, December 7

We ride to hear Glenn Ligon speak at the Pulse Art Fair. Friday, Friday, December 8 December 8 We take a break from the fairs and gather for lunch at Tap Tap Restaurant in Little Haiti.

In early December Thelma Golden, Christine Y. Kim, Rosa and Carlos de la Cruz host us for a lovely Lea Green and Hallie Hobson traveled to Miami breakfast on the water with 30 Studio Museum patrons and friends for and private tour of their amazing home and Art Basel Miami Beach, an international art show. art collection. Miami It is the American sister-event of Art Basel in Friday, Switzerland, one of the most important annual December 8 art shows worldwide. These are some of the highlights from our fun-ﬁ lled tour!

Martin Margulies tells us about his history of and Images by Christine Y. Kim, Hallie Hobson and Kenneth Montague love for collecting art. Friday, Saturday, December 8 December 9

Don’t we look good! We end the trip with We enjoy fabulous visits a private lunch for with featured artists Robin featured artists, Rhode and Mark Bradford hosted by the Studio and breakfast at Michelle Museum at the Blue and Jason Rubell’s home. Door at the Delano. Studio / Spring 2007 Studio / Spring 2007 >>>>40 / playlist: what artists we love are listening to 41 / studio visit

EDGAR ARCENEAUX ARTIST >>>> 01 MERC’S MASTER MIX HIP HOP ‘06 (MY SISTER’S MIX CD) >>>> 02 DREXCIYA “THE QUEST” >>>> 03 STEPHEN HAWKING AND LEONARD MLODINOW “A BRIEFER HISTORY OF TIME” >>>> 04 GNARLS BARKLEY “ST. >>>> ELSEWHERE” 05 STEVIE WONDER “SIGNED, SEALED AND DELIVERED” 01/ Kianja Strobert Untitled (detail) >>>> 06 STEVIE WONDER “TALKING BOOK” >>>> 07 THE GATORS “WASTED” 2007 Courtesy the artist >>>> >>>> >>>> 08 SIGUR RÓS “SIGUR RÓS” 09 THEO PARRISH “FIRST FLOOR” 02/ Kianja Strobert Untitled (detail) 10 SIRIUS (COMMERCIAL FREE) RADIO 2006 Courtesy the artist 01 02

GEORGE LEWIS JAZZ MUSICIAN / COMPOSER >>>> 01 GEORGE LEWIS “WHAT’S ON THE (AUDIO-VIDEO) IPOD?” >>>> 02 placed mirror fragments. A mobile hung from the ceiling repeatedly WOLE SOYINKA, “MUHAMMAD ALI AT THE RINGSIDE, 1985” (FROM “OUR Kianja Strobert Brooklyn, NY / February 14, 2007 shows an image, found in an old Our Bodies book, of a woman SOULS HAVE GROWN DEEP LIKE THE RIVERS: BLACK POETS READ THEIR By Rujeko Hockley slumped down on a red couch, holding her head in one hand and a drink in the other. On the walls are other works on paper, canvas WORK”) >>>> 03 BURNT SUGAR, THE ARKESTRA CHAMBER. “NOT APRIL IN and newsprint in a range of media—pastel, graphite, pen, paint, etc. A graphite drawing of a heart, perfectly anatomically rendered, rests >>>> PARIS – THE ARKESTRA CHAMBER LIVE AT BANLIEUES BLEUES” 04 on a side desk among paintbrushes, plastic cups and a cell phone. KAIJA SAARIAHO “LICHTBOGEN (AVANTI! CHAMBER ORCHESTRA)” >>>> I am particularly drawn to a piece covered in shimmering golden glitter leaning against one wall. It started out entirely differently she tells 05 TRISTAN MURAIL “SERENDIB” >>>> 06 JOHN COLTRANE (WITH ALICE me, and she wasn’t happy with it. In frustration, she spontaneously >>>> “I like to stay in not the fi nest hour,” Kianja Strobert tells me as we decided to coat it with glitter, leaving only hints of the original. This COLTRANE) “NAIMA” 07 MIYA MASAOKA “FOR BIRDS, PLANES & CELLO sit down in her downtown Brooklyn studio on a wintry, blustery spontaneous action gets to the heart of Strobert’s artistic inquiries. (SOLITARY B)” >>>> 08 BERNHARD LANG, “DIFFERENZ/WIEDERHOLUNG Valentine’s Day. It’s a curious statement at fi rst, but then she explains “How much information is needed in order to name something?” she that she likes to work organically through trial and error, coming up asks. “Is there something about the thing being depicted that will 2” 09 JOHN DAVID PLAYS BLIND TOM >>>> 10 VIJAY IYER AND RUDRESH with new variations on old pieces and getting lost in the process and suggest itself no matter how I interfere with it?” The hints of the MAHANTHAPPA “RAW MATERIALS” the work instead of focusing on the end product. Highly conscious original tantalize, begging closer inspection and conjecture. of expectations and the negative effect they can have on creativity, Strobert permits only her own, though they are admittedly high. Drawing from a variety of infl uences, ranging from early Italian Renaissance painter Piero della Francesca to R.B. Kitaj’s use of PAUL D. MILLER DJ / ARTIST Having occupied this studio for about a year, she is in the process of pastels to the literary works of James Baldwin (particularly Giovanni’s >>>> 01 BAD BRAINS “RE-IGNITION” >>>> 02 MARCEL DUCHAMP “ERRATA relocating. Within the work space of another artist, it is a cozy, light Room and Another Country), Strobert is inspired by history, language area furnished with a couple of chairs, small tables and shelves. A and the recurrence of ideas. She works tangentially, allowing and MUSICAL” >>>> 03 PHILIP GLASS “VIOLIN CONCERTO NO.1” >>>> 04 JOHNNY stereo sits in the corner with a stack of CDs and a rich burgundy encouraging each thing to lead to the next. Consequently, her work riding hat awaiting sale on eBay. A motley assortment of tenants is fi lled with interesting and unexpected juxtapositions, such as the >>>> CLARKE “CREATION REBEL” 05 K-OS “ATLANTIS” 06 SARAH JONES occupy the building. An offi ce next door manufactures dentures, drooling face of Karl Marx drawn above a reclining female nude. She “YOUR REVOLUTION” >>>> 07 SAUL WILLIAMS “NOT IN OUR NAME” (DJ and there is a dance studio downstairs and another artist’s studio is somewhat reluctant to speak about her practice, but Strobert’s upstairs. A quick look around Strobert’s studio reveals that her work speaks for itself. SPOOKY REMIX) DUKE ELLINGTON “HARLEM TONE POEM” >>>> 08 YOKO practice is similarly diverse. A skilled painter and draftsperson, she >>>> has recently begun to move off the wall and into three dimensions. Kianja Strobert was born and raised in Crown Heights, Brooklyn. ONO “APPROXIMATELY INFINITE UNIVERSE” 09 SONIC YOUTH, A painted fabric sculpture reminiscent of Tibetan prayer fl ags hangs She received her BFA from the School of the Art Institute of Chicago “RATHER RIPPED” >>>> 10 DJ DANGER MOUSE, “ENCORE” (FROM “THE from one wall and on the fl oor there is a small three-dimensional in 2004 and her MFA from Yale University in 2006. She lives and diorama in which the red, white and blue fabric triangles of the works in Brooklyn. GREY ALBUM”, JAY-Z / WITH THE BEATLES MASH-UP) larger piece recur on a much smaller scale, refl ected by strategically 42 / feature Studio / Spring 2007 43 / Studio / Spring 2007

01 03 Margo Natalie Crawford is the author of Dilution Anxiety and the Black Phallus (forthcoming 2007). Her work has appeared in a range of journals including “Études Faulknériennes”, “MAWA Review”, “American Literature”, and “Studies in American Fiction”. She is an Assistant Professor of African American literature and culture in the department of English at Indiana Revisualizing the University-Bloomington. Lisa Gail Collins is Associate Professor in Art History and Africana Studies at Vassar College. She is author of The Art of History: African American Black Arts Movement 02 04 Women Artists Engage the Past (Rutgers An excerpt from New Thoughts on the Black Arts Movement University Press, 2002), Art by African- 01 – 04/ Photos by Bob Crawford American Artists: Selections from the Edited by Margo Natalie Crawford and Lisa Gail Collins 1967–1969 20th Century: A Resource for Educators (Metropolitan Museum of Art, 2003), and Arts, Artifacts, and African Americans: Context and Criticism (ProQuest, 2006).

What did it mean, at that particular historical poetry, and writing are, when conceived. They Black men,” after the injunction, “Can you kill the reveal either a close-minded understanding of 1 Don L. Lee, “Introduction,” in 2 Directionscore: Selected and New Poems moment, to deﬁ ne beauty itself as black? Blackness must move (swing).” The breaking of boundaries nigger / in you / Can you make your nigger mind / whiteness as that which must be annihilated, or an (Detroit: Broadside Press, 1971), 29. emerged as a veritable liberation theology: to be during the movement is perhaps best appreciated die.” She articulates black women’s rage even as she open explosion of the power of blackness, which

4 2 James Stewart, “The Development of free, one had to love one’s blackness. Black self-love by remembering the types of collaborations that focuses on black men. Haki Madhubuti screams as: the Black Revolutionary Artist,” in Black was publicly expressed during this period with an happened in the artistic collectives. Collaborations Killing the ghosts of oppression is at the black doubleblack purpleblack blueblack Fire: An Anthology of Afro-American Writing, ed. LeRoi Jones and Larry Neal unprecedented loudness akin to James Brown’s between poets, musicians, theorists, dancers, core of the Black Arts ethos. In Ed Bullins’s A Short beenblack was / black daybeforeyesterday (New York: William Morrow, 1968). mantra, “Say it loud, I’m black and I’m proud.” painters and photographers defi ned Black Arts. Play for a Small Theater (1970), the ideology of blackerthan ultrablack super / black 3 In 1965, The Black Arts Repertory The efforts to smash dominant aesthetic The Black Arts Repertory Theater/School, Spirit whiteness (white power) is killed in performance blackblack yellowblack niggerblack blackwhi- Theater/School in Harlem was organized models were also proclaimed loudly in Think House, the Organization of Black American when an audience that is two-thirds black and teman / blackerthanyoueverbes 1/4 black by LeRoi Jones, and followed by the creation of Spirit House in Newark, Black (1967), where poet and publisher Don Lee Culture (OBAC) and BLKARTSOUTH were all one-third white watches a black actor shoot white unblack coldblack clear / black my momma’s New Jersey. In 1967, the Organization 3 of Black American Culture was founded (now Haki Madhubuti) asserts, “We must destroy spaces where this collaborative energy thrived. people in the audience and then reload his gun “if blackerthanyourmomma pimpleblack in Chicago. Its legendary members Faulkner, dick, jane, and other perpetuators of The 1967 Chicago mural Wall of Respect was created there is need.”5 This imaginary gunfi re made fall / black so black we can’t even see you included Gwendolyn Brooks, Haki Madhubuti and Hoyt Fuller, editor of evil. It’s time for DuBois, Nat Turner and Kwame by the visual arts component of OBAC, the visual visible, onstage, the real violence shaping volatile black on black in / black by black technically Negro Digest/Black World. An artistic Nkruma.”1 In the opening essay of Black Fire, artists of which later formed African Commune of 1960s race relations. Bullins’s script insists on the black mantanblack winter / black coolblack workshop in New Orleans named BLKARTSOUTH gradually blossomed James Stewart presents the new aesthetic models Bad Relevant Artists (AFRI-COBRA). At the Wall, audience be two-thirds black to one-third white, 360degreesblack coalblack midnight / black between 1967 and 1970 after an artistic as motion opposed to any fi xity: “Art is not fi xed. there was a fusion of poetry and music, theater and and that people should be turned away if necessary. black when it’s convenient rustyblack moonblack collective named Free Southern Theater lost its funding to recruit Art can not be fi xed. Art is change, like music, dance, painting and photography. The performative gunfi re and aesthetic warfare /black starblack summerblack electronblack Northern actors. One of the founders of BLKARTSOUTH, Tom Dent, remembers The openness of the cross-genre work within spaceman / black shoeshineblack jimshoeblack discovering the specifi city of his black the collectives did not always lead to openness in underwearblack ugly / black auntjimammablack, Southern identity during the Black Arts Movement. ideology. The mixed media were sometimes used to uncleben’srice black williebest / black express singular visions of a monolithic blackness. blackisbeautifulblack I justdiscoveredblack 4 Nikki Giovanni, Black Feeling, Black Talk/ Black Judgement (New York: 6 Sexism and homophobia were often a part of the negro / black unsubstanceblack. Morrow Quill, 1979), 20. black nationalism that shaped the movement. Nikki Within this explosion, blackness is both open and 5 Ed Bullins, The Theme is Blackness: Giovanni wrestles with sexism in the poem, The fi xed, motion and stasis. This tension between “The Corner” and Other Plays (New York: True Import of Present Dialogue, Black vs. Negro possibilities and constraints fueled the fi re of the William Morrow, 1973), 182. (1968). When she ends with the words, “Learn to be Black Arts Movement. 6 Lee, “Gwendolyn Brooks,” 89-90. 44 / harlem: where we’re at Studio / Spring 2007 45 / studiosound Studio / Spring 2007

StudioSound: The Gift by Paul D. Miller aka DJ Spooky that Subliminal Kid

Photo: Tamar Levine

Sampling of that subliminal kid by Nicole Sealy mirror held up to the conventional art world. I guess you could say my music and art are kind of a postmodern carnival where anything goes. Paul D. Miller (a.k.a. DJ Spooky that Subliminal Kid), art enthusiast, conceptual artist, cultural critic, producer, turntablist and writer, NS But in those mirrors refl ections are warped—some would say even is the quintessential black Renaissance man. He has collaborated unsightly. Why are listeners and fans able to take in your carnivalesque Photo: Liz Gwinn / Purple Reign 171 Lenox Avenue with such legendary musicians as Chuck D. of Public Enemy, work? Is it the unconscious desire for a sound that is different, an The store is a fun and inviting space for kids, with playful scenes of the Vernon Reid of Living Colour and, most recently, Yoko Ono. attraction to the exotic? jungle and cartoons playing in the background. The boutique carries a wide array of shoes, boots and raincoats, as well as puzzles and With an international fanbase that is as improvised and varied as PDM I guess at the end of the day, I don’t play “safe,” normal or boring children’s books. his sound—from hip-hop heads to jazz lovers—Miller creates work music. iPod playlists are basically mainstream, boring stuff. Art should that makes people rethink how they listen to music and view art. be wild! Music should be interesting! Why in the twenty-fi rst century are The last shop I visited was down the street at 114 West 116th Street, In sporadic back-and-forths, Miller and I chatted about his unique people listening to boring, safe pop? There’s so much good music and art where N Harlem opened in March 2006. Once a storefront church, outlook on sound, art and sound as art. coming out of places such as India, Brazil, Angola, Egypt and Palestine. Staff Picks: the building has been transformed into bi-level, 3,500 sq. ft. loft-like America is kind of boring at the moment. For me, one of the most Tiffany Hu, Public Relations Coordinator space. N is an upscale multi-designer retail store carrying a selective Nicole Sealey You’ve suggested that DJing is dynamic improvisation. As interesting spots in New York is the Studio Museum, and that’s what this collection of men’s and women’s apparel, accessories, home products such, should it be labeled? What do you think about people branding your project is about: urban Renaissance! and cosmetics. I found independent and Harlem-based labels alongside music as “trip hop”? Looking forward to warmer weather, I hit the shops to fi nd new spring established designers including Tracy Reese, Nicole Miller and G-Star. NS Some painters fi rst envision the colors that best complement their fashions to replace the winter wardrobe. Whether I was checking out They also offer a selection of gift items, jewelry by local designers, Paul D. Miller Labels are irritating. I can’t stand labels. But from iPod work. What do you suppose you envision when thinking about your new stores or rediscovering old ones, I found amazing clothes, jewelry handbags for men and women, scented candles, organic teas, cosmetics playlists to online searches, we need categories and labels. I guess I just sound? and home accessories in a variety of retail stores in Harlem. and skincare products. There is a landscaped backyard that doubles as want people to think about music as music and forget about the brand. an event space and plans are underway to open a café where patrons My concerts, for example, are hard to label. Are they “happenings” in PDM I really want to make sure people realize that they can exist My fi rst stop was The Brownstone, located at 2032 Fifth Avenue can enjoy beverages and light fare. Prices range from $40 t-shirts to the tradition of Allan Kaprow and Andy Warhol? Is black music just simultaneously in several media. I look at creativity as completely and (between 125th and 126th Street). As its name suggests, this unique $4,000 custom-tailored men’s suits. N gives you all the exclusives of entertainment? Why do we limit the way we think about black art and seamlessly tied into software at this point. shop has all the features of a Victorian brownstone with beautiful downtown shopping right here in uptown Harlem! music? I want to use art and music to break this stuff down. It’s the interior woodwork, high ceilings, stained glass and fi replaces. They twenty-fi rst century. Things should be wild! One day, I guess, I’ll be able to send an entire show as a hologram, while highlight a variety of vintage-inspired fashions including hats, After an exhaustive afternoon of shopping, I settled in for a cozy the real “Paul Miller” relaxes on a beach. In the interim, I have to travel a handbags, scarves and jewelry. Over 40 local designers are featured in lunch at the nearby bakery and café, Settepani, located at 196 Lenox NS Considering that many art enthusiasts view art as objects hung on lot because each medium requires constant maintenance. Music moves the store with handcrafted jewelry and handmade garments. The store Avenue and 120th Street. I found a delicious menu of soups, salads museum walls, how does your work promote the “DJ-as-artist” concept? the quickest. Trends and styles evolve rapidly all over the world. DJs are also carries cosmetics, soaps, candles and other specialty bath items. and sandwiches, as well as displays of irresistible baked goods, cakes, the fi lters. We collect records and make people realize that different chocolates and desserts. I ordered a bowl of butternut squash soup and PDM Art asks questions. Art is always subjective. I really want to sounds make going out more fun! Who wants to hear the same records Right around the corner is XUKUMA, located at 11 East 125th Street. a slice of ham and gruyère quiche. Whether you are hungry for lunch, create a crisis of categories. What is an object derived from software? all the time? Some artists—painters or DJs—stick to the same styles once (between Fifth & Madison Avenues). Here I came upon an need a cake for a special occasion or just need a quiet place to rest with a Is it music or sculpture? What do you think about an object that can be they get a little recognition. I switch styles a lot, which means constant eclectic collection of jewelry, home and novelty items. Inspired by cup of coffee, Settepani is a great place to check out. It was the perfect printed, smelted, remixed and played out in many different contexts? Is research and constant exposure to new information. I like that. Harlem lifestyle, XUKUMA carries unique styles of accessories way to end my afternoon of shopping. it performance or painting? These are questions that music is throwing and home décor. out to the world. My work involves sampling and collage, multiple copies NS Writer Touré said that you’ve “got the brilliant negro thang down cold.” that can be derived from any piece of software and the social implications Walking down Lenox, I stopped in at the children’s shoe boutique of democratized art. Artists and architects as diverse as Richard Serra PDM Nah, it’s kinda hot ‘round here! Purple Reign, located at 171 Lenox Avenue (between 118th and and Frank Gehry use software to make physical objects and buildings. 119th Streets). My artwork—posters, stickers, web projects, multiples—is a funhouse Nicole Sealey is a writer, editor and poet living in Brooklyn, NY. 46 / development news Studio / Spring 2007 47 / Studio / Spring 2007 Gala 2006

The Studio Museum in Harlem would like to thank the following businesses and individuals for their generous contributions to the success of Gala 2006, as well as our 950 elegant and giving guests, who helped to raise $1.6 million last year.

Congratulations and thank you to our dedicated Gala Committee, Kathryn C. Chenault, Joyce Kuykendall Haupt and Carol Sutton Lewis. We salute this year’s honoree, Gordon J. Davis. We also thank George Wein who established the inaugural Joyce Alexander Wein Artist Prize and congratulate the recipient, Lorna Simpson.

Our deepest appreciation goes out to the following companies for their contributions to the gift bags: Coach, Altoids, Town & Country, MAC Cosmetics and llly Coffee. We also thank Tiffany & Co. for designing the Honoree Award.

Tables Malika Jones & Troy Dixon Sharon Bowen & Larry Morse Della Britton Baeza Donald & Catie Marron Drs. Mary & George Campbell George Butcher & Benefactor Metro Pictures Joanne Casullo Brenda Jackson Butcher Kathryn C. & Kenneth Chenault/American Von M. Hughes/Pacifi c Alternative Asset Norma Jean Darden Carver Federal Savings Bank Express Management Corp. Willie Dennis CDS Gallery Gordon J. Davis/LeBoeuf, Lamb, Greene Pfi zer Inc. Maurice & Andrea DuBois Jean Clark & MacRae Scripps Networks Brian Ellerson Claudia Cohen Carol Sutton Lewis & William M. Lewis, Jr. Sikkema Jenkins & Co. Rita & Waldo Falkener Carl A. DeBrito Susan & Donald Newhouse Paul T. Schnell/Skadden, Arps, Slate, Michael Fricklas & Donna Astion Sylvia De Cuevas Ann Tenenbaum & Thomas H. Lee Meagher & Flom LLP Morris Gearring Eleana Del Rio Wachovia John T. Thompson/Thompson Distribution Marian Goodman Antoinette Delvuelle & Joshua L. Steiner Company, Inc. David Allen Grier Jeanine Downie Patron Tiffany & Co. Sandra Grymes Barbara G. Fleischman Advent Capital Management, LLC Jonathan White/Siebert Brandford Shank Samuel L. Guillory, MD Mark Fletcher Gayle Perkins Atkins and Susan Fales-Hill & Co. Homer Hasbrouck Charlotte & Bill Ford Debra L. Lee/BET Networks Charles S. Simpson/Windels Marx Lane Steve Henry & Anthony Allen Arti Freeman Bloomberg & Mittendorf Tom Healy & Fred P. Hochberg Kathy & Richard S. Fuld, Jr. Reggie Van Lee/Booz Allen Hamilton Verizon Eric J. Henderson LaRue Gibson Anne & Joel Ehrenkranz Steven Henry & Anthony Allen Granite Broadcasting Corporation Mitzi & Warren Eisenberg Friend Ross Jacobs/Cogswell Realty Group Joseph & Niki Gregory The Estée Lauder Companies Inc. Melva Bucksbaum & Raymond Learsy Peggy Jacobs Agnes Gund & Daniel Shapiro Alphonse Fletcher Jr./Fletcher Asset The College of New Rochelle Gayle King James F. & Sezelle Haddon Management, Inc. Larry Dais/Columbia University Shirley Madhere Conrad & Marsha Harper Dr. Lisa Grain & David J. Grain Lisa Davis & Michael Frankfurt Meredith & Yolonda Marshall Eileen Harris Norton Integrated Holdings, LLC Gladstone Gallery Charlita Mays William Harper Lehman Brothers Allen M. Harvey, CPA Ginger McKnight-Chavers & Seymour C. Heck Macy’s & Bloomingdale’s ICBC Broadcast Holdings, Inc. Kevin G. Chavers Susan & John Hess Tracy Maitland Lehman Brothers Loida Nicolas Lewis Arthur J. Humphrey Jr. Raymond J. McGuire Michael Ward Stout/The Robert Katherine & Joseph Mele Tracey Brown James Merrill Lynch Mapplethorpe Foundation The Metropolitan Museum of Art Johnson Publishing Company, Inc. Rodney M. Miller Moody’s Corporation Jacques Miles Vernon Jordan, Jr. Morgan Stanley Suzanne Slesin & Michael Steinberg Gregory R. Miller and Michael Wiener John & Pat Klingenstein Pepsi Cola North America Xerox Dr. Kenneth Montague Werner H. Kramarsky Time Warner Inc. Bridget Moore & Edward DeLuca Yoko Ono Lennon Verizon Jeanne Moutoussamy-Ashe Dorothy Lichtenstein George Wein Individuals N’Namdi Gallery Glenn D. Lowry Shea Owens The Honorable & Mrs. Earle I. Mack Supporter Patron Madeline Murphy Rabb Diane & Adam Max Altria Group, Inc. Pamela J. Joyner & Alfred J. Giuffrida Holly L. Phillips, MD & Jose Tavarez Richard & Ronay Menschel Citigroup Corporate and Investment Marie Christmas Rhone Doreen Remen Brooke & Daniel Neidich Banking Melissa & Robert Soros Jonathan Rose Catherine Orentreich Darden Restaurants, Inc. Andrea Rosen Laura Pels Goldman, Sachs & Co. Supporter Perry Rubenstein & Sara Fitzmaurice AJ Perella Foundation Joyce & Ira Haupt II and Glen Sergeon Peg Alston Mary Sabbatino Lisa & Richard Perry HIP Health Plan of NY Deborah & Willard Brittain Sean Kelly Gallery Terence Riley NEMCO Brokerage/Walker Marchant Pippa Cohen Shari L. Sheffi eld Royal & Jonathan Rodgers Group/KPL Corinthian Diagnostic Radiology John Silberman Jeanne & Nicolas Rohatyn Douglas Baxter/PaceWildenstein LLC Brickson E. Diamond Robert A. Smith David Rockefeller Charles J. Hamilton, Jr. & Pamela Walter Eberstadt Ellen & Jerome Stern Roma & Richard Roob Carlton Hamilton/Paul, Hastings, Muna El Fituri June Kelly & Charles D. Storer Daryl & Steven Roth Janofsky & Walker LLP halley k. harrisburg & Michael Rosenfeld Donna Williams Sutton Cynthia Rowley Charles Shorter & Suzanne Randolph Peggy Jacobs James Basker & Angela Vallot Ellen Phelan & Joel Shapiro Thomas H. Lee Partners Dominique Levy Isabel & David Ushery Pamela & Arthur Sharpe Mignon Espy and Camille Hackney Michael McKenzie Vogue Eliza R. Sharpe Warner Music Group L’Oreal Dr. Deborah Willis Dr. Lowery Stokes Sims Kim Powell-Jaulin Eboni Gates & Eric Woods Melissa & Robert Soros Donor Leslie A. Saint-Louis, MD Sheena Wright Susan Sosnick James H. Simmons III/Apollo Real Estate Dr. Robert E. Steele Joshua L. Steiner Advisors Dawanna Williams Contributor David Teiger Photos: Ray Llanos Joyce Mullins Jackson/Avon Products, Inc. Ann & Steven Ames Frederick Terrell Patrick A. Bradford Donor Judy & John Angelo Alice & Tom Tisch Black Enterprise Dr. Answorth Allen & Dr. Rae Wright-Allen Marieluise Hessel Artzt & Edwin Artzt Jonathan Tisch| Con Edison Corey M. Baylor & William Beinecke Teri & Lloyd Trotter Beth Rudin DeWoody Racquel Chevremont Baylor Tom & Andi Bernstein ET & Lyn Williams HBO Jemina R. Bernard Edward Bradley 48 / benefi t Studio / Spring 2007 49 / shop! Studio / Spring 2007 First Annual Spring Benefi t Luncheon Museum Store Friday, April 20, 2007 On Friday, April 20, 2007, the Studio Museum will inaugurate a American culture and art. This year’s benefi t will honor 2006 Pulitzer The titles on your bookshelves and the objects in your home help describe who you are— thrilling new fundraising event—the fi rst annual Studio Museum Prize winner Robin Givhan, top fashion designer Tracy Reese and what is most important and relevant to you in this world. While each person’s collection is Spring Benefi t Luncheon at the Mandarin Oriental Hotel. This leading contemporary artist Lorna Simpson. fantastic occasion will celebrate the Museum’s commitment to distinct and personal, we’ve assembled here a diverse, beautiful and handy mix of books For more information or details on sponsorship/underwriting or other payment education and creativity. The Spring Luncheon will salute three methods, please contact the Membership Offi ce at 212.864.4500 x221. and items available in the Studio Museum Store. dynamic women who have made signifi cant contributions to African- New Books

Contemporary Friends Beneﬁ t New! Wednesday, May 9, 2007

Philosophy of Time Travel Bare Witness: Photographs by Black Panther: The Fletcher Street No Sleep Till Brooklyn By: Christine Y. Kim Gordon Parks Revolutionary Art of Emory By: Peggy Jean-Louis and Issue 1 Item# 836 By: Maren Stange Douglas Martha Camarillo Item# 3268 Price: Please Inquire within Store Item# 3263 By: Danny Glover, Kathleen Item# 3262 Price: $10.00 Price: $36.95 Cleaver, Amiri Baraka and Price: $39.95 Member: $ 8.50 Member: $31.41 Sam Durant Member: $33.96 Item# 3264 Price: $50.00 Member: $42.50

Grafﬁ ti L.A. Wild Style The Sampler Kara Walker: My Compliment, My It’s All Good By Steve Grody and James By Charlie Ahearn Enemy, My Oppressor, My Love By: Boogie Prigoff Item# 3266 By: Philippe Vergne, Sander Item# 3879 Item# 3265 Price: $35.00 L. Gilman, Thomas McEvilley, Price: $35.00 Price: $35.00 Member: $29.75 Robert Storr, Kevin Young, Yasmil Member: $ 29.75 Member: $29.75 Raymond. Item# 3267 Price: $ 49.95 Member: $42.46 Museum Store Gift Ideas

New!

Photos: Hannah Thomson Mechanical Music Leaning Bookends Tape Measure Alarm Harlem Toile De Joy Pillow Harlem Toile De The May 9, 2007, Contemporary Friends Benefi t will take place at porary Friends, and raises funds for the Museum’s educational and Box Set By: Kikkerland Clock Cases Joy Flat By: Kikkerland Item# 5027 By: Kikkerland By: Sheila Bridges and Fitted Sheets the Hudson Bar in the Hudson Hotel (356 West Fifty-eighth Street.), public programming while boosting awareness of the Museum and its Item# 5021 Price: $34.00 Item# 5031 Item# 3310 By: Sheila Bridges Price: $12.50 Member: $28.90 Price: $14.50 Price: $38.00 Queens Size and will be a fantastic evening of dancing, cocktails and hors d’oeuvres membership groups. This year’s benefi t is sponsored by the Morgans Member: $10.63 Member: $12.33 Member: $32.30 Item# 3311 with professionals, artists, cultural afi cionados and other friends of the Hotel Group. Price:$52.00 Member:$ 44.20 Museum. The annual spring benefi t is hosted by The Studio Museum For more information or details on sponsorship/underwriting or other payment in Harlem’s young professional membership group, the Contem- methods, please contact the Membership Offi ce at 212.864.4500 x221 or King Size [email protected] Item# 3313 Price: $ 58.00 Member: $ 49.30 Museum Store Hours Wednesday–Friday, 12:00–5:45 p.m. / Saturday, 10:00 a.m.–5:45 p.m. / Sunday, 12:00–5:45 p.m. The Museum Store is closed on Monday, Tuesday and major holidays. 50 / donors Studio / Spring 2007 Yes! I want to be a member of Winter / Spring 2006–07 Donors Join us The Studio Museum in Harlem. 1 year renewal gift Special Thanks The Studio Museum in Harlem thanks the following donors for their generous sup- online! NAME OF MEMBERSHIP HOLDER port of the exhibitions, education and public programs and operations during the last two quarters. (Gift of $1,000 and above only, as of February 28, 2007) NAME OF ADDITIONAL MEMBER (FAMILY/PARTNER LEVEL MEMBERS AND ABOVE) The Membership Department is ADDRESS delighted to let you know that CIT Y STATE ZIP $50,000 — $99,999 $1,000 — $4,999 The Studio Museum in Harlem’s Horace W. Goldsmith Foundation Ms. Jacqueline Adams website now includes the ability WORK PHONE HOME PHONE The Peter Jay Sharp Foundation Daniel and Judia Black EMAIL ADDRESS Carbetz Foundation, Inc. to join the Museum or renew $25,000 — $49,999 Rena Bransten your membership with a credit Please do not make my name, address and other information available to third-party providers. Anne and Joel Ehrenkranz Mr. and Mrs. Kenneth Chenault card online. Using your American Bloomberg Mr. Gordon J. Davis and Mrs. Peggy Cooper Davis Citigroup Foundation Deutsche Bank Express, MasterCard or Visa, Special Membership Groups Elaine Dannheisser Foundation David Driskell you can now safely and quickly Director’s Circle $2,500 Curator’s Circle $1,500 George and Joyce Wein Foundation Evelyn A. J. Hall 1952 Charitable Trust join and be entitled to a host of The New York Community Trust–Wallace Herman Goldman Foundation Contemporary Friends Special Projects Fund Marian Goodman membership benefi ts—including Couple $300 Individual $200 Time Warner, Inc. Cher Lewis free admission, Museum store Kevin Johnson and Karen Jenkins-Johnson General Membership Groups $10,000 — $24,999 Mr. and Mrs. George L. Knox discounts and more—while lending Benefactor $1,000 Family/Partner $75 Audain Foundation Martin Z. Margulies Donor $500 Individual $50 critical support to the Museum and Associate $250 Student $20 Peggy Cooper Cafritz Foundation of The Mr. and Mrs. Donald B. Marron its programs. Visit our membership Supporter $100 Senior $20 Community Foundation for the National Mr. and Mrs. Henry W. McGee III Capital Region Milton & Sally Avery Arts Foundation, Inc. page at www.studiomuseum.org/ Payment Method Center for Arts Education Mr. and Mrs. Lawrence Mohr membership and see just how I have enclosed my check Helena Rubinstein Foundation Morgans Hotel Group (make check payable to The Studio Museum in Harlem) Jerome Foundation Mr. Herman Warsh and Ms. Maryanne Mott easy it is. Please bill my: LEF Foundation Dr. and Mrs. Raymond W. Ransom American Express MasterCard Visa Met Life Foundation Mr. and Mrs. Antonio Reid New Line Cinema Janelle Reiring NAME OF CARDHOLDER New York State Council on the Arts Mr. and Mrs. Donald Rubell New York Times Company Foundation Laura Skoler ADDRESS Corine Pettey Mr. and Mrs. Jerome L. Stern CIT Y STATE ZIP Pfi zer, Inc. Ms. Anne Delaney and Mr. Steve Stuso Renate, Hans and Maria Hofmann Trust Roslyn Watson WORK PHONE HOME PHONE Mr. and Mrs. Darrell Williams $5,000 — $9,999 CARD NUMBER E XP. DATE

Altria Group SIGNATURE Giulia G. Borghese Pippa Cohen Did you know you can join online at Peter Robbins www.studiomuseum.org/membership? Dr. Holly L. Phillips and Mr. Jose L. Tavares Thank you for your support and welcome to The Studio UBS Museum in Harlem! The Studio Museum in Harlem offers the best Universal City Studios way to explore black culture and the latest trends in contemporary art! General Special Visitor Museum Hours Membership Membership Wednesday–Friday, 12–6pm Information Saturday, 10am–6pm Individual $50 Groups Sunday, 12–6pm (Fully tax-deductible) Address The Museum is closed on Monday, Members of the Director’s Circle • Free admission for one. 144 W. 125th St. Tuesday and major holidays. • 15% discount on all museum and Curator’s Circle are the high- store purchases. est level of individual membership New York, NY • Members-only discount shopping and the starting point for people 10027(between Malcolm Admission days. with increased interest in access X and Adam C. Powell Jr. Suggested donation: • Members discount on select to artists and the art world. These education and public programs. Blvds.) $7 (adults), $3 (seniors and • Invitations to opening reception exclusive membership groups have students). Free for members of exhibitions. been instrumental in contributing to the success of SMH and pro- General Info and children (12 and under). • New! Discounts at select Harlem First Saturdays are FREE! restaurants. vide vital support for the museum’s phone: 212.864.4500 exhibitions and programs. Family/Partner $75 fax: 212.864.4800 studiomuseum.org (Fully tax-deductible) Director’s Circle $2,500 All the preceding benefi ts, plus: ($2,135 tax-deductible) Media Contact • Free admission for two adults at • Visits to private collectors’ homes 212.864.4500 x213 and/or viewings of their collections. the same address and children [email protected] under 18 years of age. • Behind-the-scenes tours and talks with art connoisseurs and curators. Public Programs Info Supporter $100 • Annual dinner with Director. ($85 tax-deductible) • Advance announcement of special 212.864.4500 x264 travel programs organized by All the preceding benefi ts, plus: Membership Info • One complimentary ticket to an SMH. education or public program. • Invitations to unique events for 212.864.4500 x221 • Free admission to all North Ameri- Director’s Circle only. can Reciprocal Program member Curator’s Circle $1,500 museums (list available upon Directions ($1,300 tax-deductible) request) • A visit to a private collector’s home Subway: Associate $250 and/or tour. ($225 tax-deductible) • Behind-the-scenes tours and talks A C B D with art connoisseurs and curators. All the preceding benefi ts, plus: 2 3 4 5 6 • Special gift. • Annual dinner with Chief Curator. • Advance announcement of special • Free admission for one guest when to 125th Street. accompanied by a member. travel programs organized by SMH. Contemporary Friends Bus: Donor $500 M-2, M-7, M-10, M-60, M-100, M-102 or BX-15. ($450 tax-deductible) (ages 21–40) Contemporary All the preceding benefi ts, plus: Friends is a dynamic membership group of young professionals who Parking is available at the Municipal Garage at 126th Street • One complimentary copy of an between Malcolm X and Adam C. Powell Jr. Boulevards. SMH catalogue. contribute to many new and exciting • Four guest passes for friends initiatives at SMH. The Contempo- and families. rary Friends represent the future in 126 ST • Annual invitation to a behind-the- charitable giving at the museum. A 2 scenes tour of an SMH exhibition Members host an annual spring 4 benefi t to raise funds to support St Nicholas A led by a museum curator. C 3 125 ST 5 education and public programs. In Benefactor $1,000 return for their support, Contem- B 6 porary Friends receive Individual 5 Ave ($835 tax-deductible) ve D Park Ave All the preceding benefi ts, plus: members benefi ts, plus: Convent Ave • Special invitations to Benefactors • Discount tickets to Contemporary Madison Ave Malcolm X Blvd behind-the-scenes tour of SMH Friends Spring Benefi t. exhibitions led by the show’s curator. • Guided gallery tours. • One complimentary catalogue • An exclusive program of activities

from a major SMH exhibition. and special events. Adam Clayton Powell Jr. Blvd • Two complimentary tickets to an • Behind-the-scenes tours of SMH exhibitions. education or public program. Frederick Douglass Blvd • Free admission for two guests Individual $200 when accompanied by a member. ($175 tax-deductible) Student or Senior (65 or over) $20 Corrections: Couple/Partner $300 (Fully tax-deductible) In the Fall/Winter 2006–07 issue, we misspelled Adia Millett’s name. ($250 tax-deductible) A copy of valid student or senior ID She contributed to the Salt & Light feature and we deeply regret our error. (For two people at the same must be submitted with member- address) ship application of renewal. • Free admission for one. Matching Gifts • 15% discount on all museum store Do you work for a company that purchases. has a matching gift program? If • Members-only discount so, you can increase your gift to shopping days. The Studio Museum in Harlem by • Members discount on select simply requesting a matching gift education and public programs. program form from your employer. Studio is published three times a year by The Studio Museum in Harlem, • Invitations to opening reception For gifts of stock or other contribu- 144 W. 125th St., New York, NY 10027. Copyright © 2007 Studio Magazine. of exhibitions. All material is compiled from sources believed to be reliable, but tions, please call the Development published without responsibility for errors or omissions. Studio assumes Ofﬁ ce at 212.864.4500 x 223. no responsibility for unsolicited manuscripts or photographs. All rights, including translation into other languages, are reserved by the publisher. Nothing in this publication may be reproduced without the permission of the publisher.

Nontskelelo ‘Lolo’ Veleko, Sibu VII from Beauty is in the Eye of the Beholder series, 2003 – 2006, Collection of The Studio Museum in Harlem