The Living Legends Issue
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05/17 Artforum
SUMMER 2017 ! CULTURE IS ITSELF an act of citation—of reference, response, and transformation. From Mayan iconography to Warhol, the Pictures generation to Nanook, orientalism to punk, art has copied, taken, simulated, re-created, and appropriated all manner of images, styles, texts, and experiences. When is such movement a form of resistance, and when is it a form of violence? When is speech free, and when does it harm? Such debates have long raged in the visual arts as in documentary film, sociology, anthropology, and history, but they have taken on a new cast in this time of social media, microaggressions, branding, and a vastly exploded terrain for the circulation of ideas and images. In the pages that follow, artists Salome Asega, Ajay Kurian, and Jacolby Satterwhite; scholars Homi K. Bhabha and Joan Kee; Artforum editor Michelle Kuo; and writer, artist, and activist Gregg Bordowitz examine these urgent and omnipresent politics of representation, appropriation, and power. ! Still from Katy Perry’s 2014 video This Is How We Do, directed by Joel Kefali. HOMI BHABHA: Let’s start with a proposal: I prefer translation to appropriation. The process of translation is a process of interpretation, of relocation—of producing, as Walter Benjamin says, “in another place, something new, which bares the trace of”—I won’t call it “the original,” but I will call it the anterior, the anterior without priority. Translation assumes that there is a prior state—whether it’s a text, or a prior historical moment, or a prior identity, there is something anterior to that which becomes translated. -
1997, a Year to Celebrate! Helped Focus the Activity of the Council
Chairman's Corner by Dan Vigesaa, Chairman, NDAC The North Dakota Aviation Council enjoyed an other successful symposium in spite of the blizzard conditions that prevented many from the eastern part of the state from attending. We had some exciting and spirited presenta tions. All of us felt moved and rewarded to be there when the North Dakota Hall of Fame was inaugurated. All the members of the Council would like to thank you personally for joining one of the organizations that help make this kind of sym posium possible here in North Dakota. I am the lucky one. I get to do it. Thanks to all of you for your support. One of the best parts of the entire sympo sium for me was the overwhelming response to the survey. A whopping 30% of those present responded. Normal survey response is only about 2% or 3%. Most of the responses, (34%), came from the Pilots Association, 17%, came from PAMA, 11% came from AAA, 11% Why is this man smiling? Because immediate past c"aj"~lan ~ftJle NDA~, Fred,Adams, w.on't have, to ?e from the airports association, 14% from the ex judging anolher bowl of chili until nexl year! For more 11Ighl/ghlS from tillS year S symposl!lm, look Ills/de. hibitors, and the rest (15%) from all of the other attendees. The responses clearly define some of the themes of next year's presentations and 1997, A Year to Celebrate! helped focus the activity of the Council. by Bob Simmers ~ . Most of the respondents (92%) felt that the 1997 is a milestone for aviation in North We are seeking static and fly-by displays Symposium should provide a way for the in Dakota. -
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS & PROGRAMMING for the 26TH EDITION of the NEW YORK FAIR January
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS & PROGRAMMING FOR THE 26TH EDITION OF THE NEW YORK FAIR January 18 – January 21, 2018 The Metropolitan Pavilion, 125 West 18th Street, New York Bill Traylor, untitled (detail), 1939-1942, charcoal on cardboard, 14" x 8", collection Audrey Heckler, photo by Adam Reich NEW YORK, NY – Wide Open Arts, the New York-based organizer of the Outsider Art Fair – the premier event championing self-taught art, art brut and outsider art – is excited to announce its exhibitors for the 26th edition, taking place January 18-21, 2018 at The Metropolitan Pavilion. The fair will showcase 63 galleries, representing 35 cities from 7 countries, with 10 first-time exhibitors. Coming off of a successful 5th edition of Outsider Art Fair Paris, which posted a 24% gain in attendance over the previous year, the 26th edition of the New York fair will continue to highlight the global reach of its artists and dealers, including: ex-voto sculptures unique to Brazil’s Afro-Indigenous-European culture at Mariposa Unusual Art; and a collection of works by self-taught artists from Africa, Latin America and the Caribbean at Indigo Arts. Korea Art Brut and Beijing’s Almost Art Project will make their OAF debuts, as will Antillean, who will present work by three Jamaican artists, each of whom use found materials to evoke shanty village life. Drawings by New Zealand’s Susan Te Kahurangi King will be the subject of a solo presentation at Chris Byrne and the sensational ceramic sculptures of Shinichi Sawada will be shown in New York for the first time at Jennifer Lauren Gallery. -
Walker Art Center Annual Report 14 15 Contents
Walker Art Center Annual Report 14 15 Contents Letter from the Executive Director 3 Measures of Success 11 Annual Fund 16 Acquisitions & Gifts 33 Financial Statement 42 Board of Trustees 46 Miwa Matreyek, This World Made Itself Photo: Gayle Laird, ©Exploratorium Year in Review Letter from the Executive Director BY OLGA VISO The year 2015 marked a major milestone in the Walker Art Center’s history: for 75 years it has served as a public center dedicated to con - temporary art and culture. To celebrate, we invited artists and our community to come together and join us in a series of WALKER@75 exhibitions, programs, and events that launched in the fall of 2014 and culminated with the public announcement of a major campus renovation that commenced in August 2015. At the heart of our celebration was an examination of the many questions that have motivated and guided the Walker’s work during its 75-year history. The Walker is at its core about asking questions and has from its very beginning offered spaces and plat- forms for productive dialogue and debate. This long-standing institutional commitment to creative inquiry is grounded in the belief that providing a safe space for the exchange of ideas and open dialogue about the culture around us leads to a place where growth and mutual understanding be- come possible. Celebrating WALKER@75 With generous sponsorship from Target, we invited our community to join Olga Viso us in the act of questioning, with more than 100,000 participating in the Photo: ©Walker Art Center Walker’s 75th-anniversary celebration. -
Teaching and Mentoring Experience
TEACHING AND MENTORING EXPERIENCE 2018 Parsons School of Design, Adjunct Professor, Graduate Advisor, Spring 2017 Parsons School of Design, Adjunct Professor, Graduate Advisor, Fall 2016 Parsons School of Design, Adjunct Professor, Graduate Advisor, Spring Parsons School of Design, Adjunct Professor, Fiber Arts, Undergraduate Program, Spring 2015 Parsons School of Design, Adjunct Professor, Graduate Advisor, Fall 2014 Parsons School of Design, Adjunct Professor, Core Studio 5, Spring 2013 Parsons School of Design, Adjunct Professor, Core Studio 5, Fall Parsons School of Design, Adjunct Professor, First Year Integrative Studio 1, Fall Parsons School of Design, Adjunct Professor, Core Studio 4, Spring Montclair State University, NJ, Visiting Artist/Graduate Advisor, Spring 2012 School of the Art Institute of Chicago, Chicago, IL, Graduate Advisor Interdisciplinary Projects, (2011 – 2012) Parsons School of Design, BFA Critiques, Fall Montclair State University, Montclair, NJ, Visiting Artist, Spring and Fall Designed and taught a course for undergraduate and graduate students in installation art. Working closely with students, I guided them through the management and production of a large scale installation. The piece was presented in Montclair, NJ at the Montclair Art Museum. 2010 Real Art Ways/The University of Hartford, Hartford, CT, Visiting Artist, Fall/Spring Designed and taught a course for undergraduate students in performance choreography. This course required students to participate in all aspects of the creative process of a performative project. The piece was presented at Real Art Ways in Hartford, CT. 2009 University at Buffalo, Buffalo, NY, Visiting Artist, Spring Designed and taught a course for undergraduate students in installation art and dance choreography. This course required students to participate in all aspects of the creative process of a performative project. -
Five Decades of Black Performance Art to Electrify New York City from Greenwich Village to Harlem Radical Presence: Black Performance in Contemporary Art
MEDIA RELEASE CONTACT: Laurie Duke, Press Officer, Grey Art Gallery [email protected] | 212.998.6782 Liz Gwinn, Communications Manager, The Studio Museum in Harlem [email protected] | 646.214.2142 Five Decades of Black Performance Art to Electrify New York City from Greenwich Village to Harlem Radical Presence: Black Performance in Contemporary Art NYU’s Grey Art Gallery | September 10–December 7, 2013 The Studio Museum in Harlem | November 14, 2013–March 9, 2014 New York City (July 8, 2013)—This fall, New York University’s Grey Art Gallery and The Studio Museum in Harlem will co-present Radical Presence: Black Performance in Contemporary Art, the first comprehensive survey of more than five decades of performance art by black visual artists. The exhibition, organized by Valerie Cassel Oliver for the Contemporary Arts Museum Houston, will be presented in New York in two parts: Part I will be on view September 10 to December 7, 2013, at NYU’s Grey Art Gallery; Part II will take place November 14, 2013 to March 9, 2014 at The Studio Museum in Harlem. The exhibition will be accompanied by more than a dozen live performances and public programs throughout its six-month run. These include a series of performances co- organized with Performa 13, New York’s celebrated performance- art biennial (November 1–24, 2013). Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present-day practices, Radical Presence chronicles the emergence and development of black performance art over three generations, presenting a rich and Maren Hassinger performing in Senga Nengudi’s RSVP (1975–77/2012) at Contemporary Arts complex look at this important facet of contemporary art. -
Cveigh, Roisin
JACOLBY SATTERWHITE b. 1986, Columbia, SC Lives and works in Brooklyn, NY EDUCATION 2010 MFA, University of Pennsylvania, Philadelphia, PA 2009 Skowhegan School of Painting and Sculpture, Skowhegan, ME 2008 BFA, Maryland Institute College of Art, Baltimore, MD SOLO EXHIBITIONS 2020 We Are In Hell When We Hurt Each Other, Mitchell-Innes & Nash, New York, NY 2019 Room for Living, Fabric Workshop and Museum, Philadelpia, PA You’re at home, Pioneer Works, Brooklyn, NY 2018 Saturn Returns, Lundgren Gallery, Palme de Mallorca, Spain Birds in Paradise, Jacolby Satterwhite, Patricia Satterwhite, and Nick Weiss, Atlanta Contemporary, Atlanta, GA Jacolby Satterwhite, Morán Morán at Statements/Art Basel, Basel, Switzerland Blessed Avenue, Gavin Brown’s Enterprise, New York, NY 2017 Jacolby Satterwhite, Moran Bondaroff at NADA NY, New York, NY En Plein Air: Music of Objective Romance, Performance in Progress, San Francisco Museum of Modern Art, San Francisco, CA 2014 How Lovely Is Me Being As I Am, OHWOW Gallery, Los Angeles, CA WPA Hothouse Video: Jacolby Satterwhite, Curated by Julie Chae, Capitol Skyline Hotel, Washington, DC 2013 Island of Treasure, Mallorca Landings, Palma, Spain Triforce, The Bindery Projects, Minneapolis, MN Grey Lines, Recess Activities, New York, NY The House of Patricia Satterwhite, Mallorca Landings, Palma, Spain The Matriarch’s Rhapsody, Monya Rowe Gallery, New York, NY 2012 Jacolby Satterwhite, Hudson D. Walker Gallery, Provincetown, MA GROUP EXHIBITIONS 2022 FRONT Triennial, Cleveland, OH 2021 Gwangju Biennial, Gwangju, -
The Studio Museum in Harlem Ma∂Azine/Summer 2008
Studio/ Summer 2008 The Studio Museum in Harlem Ma∂azine/ Summer 2008 SMH Board of Introducin∂ From the Director Trustees turin∂ Alani Bass , Mi∂uel Calderon, Target Free Cat Chow and Felicia Me∂∂inson; Chairman Sundays! StudioSound with Rich Medina; and Raymond J. McGuire See pa∂es Eye Notes, featurin∂ the work of Vice-Chair our youn∂est “artists in residence,” Carol Sutton Lewis 36–38! the hi∂h school participants of our Treasurer Expanding the Walls pro∂ram. Re∂inald Van Lee Secretary The Studio Museum in Harlem Ma∂azine / Summer 2008 Anne B. Ehrenkranz year, Leslie Hewitt, Tanea Richard- Gayle Perkins Atkins son and Saya Woolfalk ener∂ize the Jacqueline L. Bradley Museum’s ∂alleries (and the pa∂es Kathryn C. Chenault 02 What’s Up / Kehinde Wiley / R.S.V.P. / New Intuitions / A Portrait of the Artists / Eye Notes / Harlem Postcards / Gordon J. Davis of this ma∂azine) with their new work Susan Fales-Hill Four Decades 18 Projects on View / Rich Medina / Black is Beautiful 20 Upcomin∂ Exhibitions / Barkley L. Hendricks in New Intuitions. I am thrilled that In these pa∂es you will see addi- Dr. Henry Louis Gates, Jr. they share the ∂alleries this sum- tional excitin∂ features hi∂hli∂htin∂ Sandra Grymes 24 Feature / Allison Saar’s Swing Low 26 Elsewhere / Phantom Sightings / Salad Days / 1968: Then and Now / Yoruba / VanDerZee Mussenden Donna Courtesy / 1932 / Summer 2008 Studio mer with The World Stage: Africa, alumni of our foundational pro∂ram, Joyce K. Haupt A People’s Geography / Nicholas Hlobo / The 7th Gwan∂ju Biennale / RECOGNIZE! / The Poetics of Cloth / The Essential Lagos ~ Dakar, a solo exhibition by includin∂ Alison Saar (1983–84) and Arthur J. -
Hieronymus Bosch Meets Madonna's Daughter in Jacolby Satterwhite's Epically Trippy New Video at Gavin Brown
Hieronymus Bosch Meets Madonna’s Daughter in Jacolby Satterwhite’s Epically Trippy New Video at Gavin Brown It's the artist's first New York solo show since 2013. Sarah Cascone, March 10, 2018 Jacolby Satterwhite, Blessed Avenue, still image. Courtesy of Gavin Brown's Enterprise. “I’m so nervous,” admitted Jacolby Satterwhite. artnet News was visiting the artist at his Brooklyn apartment ahead of the opening of his upcoming show at New York’s Gavin Brown’s Enterprise, and he was feeling some jitters. “My first solo show, no one knew who I was,” he added, noting that the pressure is way more “intense” this time around. Satterwhite’s first solo effort in the city was in 2013. “So much has happened for me since then, creatively, cerebrally, and critically. I hope of all of that comes through in what I’m showing.” Titled Blessed Avenue, the exhibition is a concept album and an accompanying music video showcasing Satterwhite’s signature visuals, a trippy, queer fantasy of a dreamscape, with cameos from the likes of Raul De Nieves, Juliana Huxtable, and Lourdes Leon (Madonna’s daughter, now studying dance at a conservatory). At 30 minutes, it’s the artist’s longest animation to date—although Satterwhite is already teasing an extended director’s cut, on tap to be shown at Art Basel in Basel with Los Angeles’s Moran Moran. Jacolby Satterwhite, Blessed Avenue, still image. Courtesy of Gavin Brown’s Enterprise. Blessed Avenue is also the artist’s most collaborative project to date. Satterwhite credits the many people with whom he has worked with giving him the confidence to consider his practice more broadly. -
JACOLBY SATTERWHITE: We Are in Hell When We Hurt Each Other September 24 – October 31, 2020 534 West 26Th Street, New York
JACOLBY SATTERWHITE: We Are In Hell When We Hurt Each Other September 24 – October 31, 2020 534 West 26th Street, New York NEW YORK, August 13, 2020 – Mitchell-Innes & Nash is pleased to present a solo exhibition of new works by New York-based artist Jacolby Satterwhite, We Are In Hell When We Hurt Each Other. This exhibition, which marks the artist’s first show with the gallery, will include a new, large-scale virtual reality installation as well as new works in a variety of mediums including sculpture, photography, neon and mixed-medium installation. The centerpiece of the exhibition is the debut of Satterwhite's most recent immersive, virtual reality video installation, We Are In Hell When We Hurt Each Other. In the video, after which the exhibition takes its title, the current events of our present reality permeate Satterwhite's quasi-utopic universe. This virtual world is rooted in the expression of Satterwhite's body movements, which are modeled and transcribed through digital bodysuits into animated fembot form. Current events permeate his virtual space that posits a post-pandemic, post-revolution world in which Black CGI female figures rooted in the artist's body movements use ritual and movement as tools of resistance. For over a decade, Satterwhite has used 3D animation, sculpture, performance, painting and photography to create fantastical, labyrinthine universes. Exploring the themes of public space, the body, ritual and allegory, Satterwhite draws from myriad references including Italian Baroque painting, ‘90s video games, Modernism and artworks by his mother Patricia. Patricia’s drawings and recordings have had a significant influence on Satterwhite’s work, serving as a foundation for his otherworldly works. -
Living Legends by Cara Lindberg, Development Department & Donor Relations Manager
Living Legends By Cara Lindberg, Development Department & Donor Relations Manager Bonnie & Dan Sandman They’ve lived in the “The Buckeye State,” the all the best things about Pittsburgh—a “Lone Star State,” and even London, England, unifying force in the community but the Sandmans call Pittsburgh home. A ethnically and otherwise—appealing Cincinnati native, Dan Sandman got a lot more to all types of people with the Sports from Ohio State University than an undergrad Museum, Meadowcroft, Fort Pitt in history and a law degree—he met his future and its different cultural collections,” wife. Bonnie Allison Sandman, a Doctor of Dan commented. Philosophy in psychology, traveled around the This appreciation and globe with her husband, whose career began dedication to Pittsburgh’s heritage Bonnie and Dan Sandman at the History Center’s annual with Marathon Oil Company in 1973. led Dan to the History Center Board 1879 Founders’ Circle Dinner. As Marathon became part of United Chairmanship in 2006. “I enjoyed Copyright ©, Pittsburgh Post-Gazette, 2010, all rights reserved. Reprinted with permission. States Steel Corporation (a company Dan my time as chairman. The board is made Pittsburgh who realize the importance of giving, has always been proud to work for), the up of a very solid group of contributors— whether it’s your time, talent, or dollars.” Sandmans eventually took up residence in the energized and effective.” Dan even gathered his closest friends (a ’Burgh. “We love Pittsburgh. There’s just such Bonnie, who currently works as a career big crowd) for a birthday party at the History a great sense of community and service here; choice consultant, is active with the boards of Center and encouraged guests to contribute gifts we’ve lived here longer than any other place.” Pittsburgh Action Against Rape (PAAR), St. -
Fact Sheet 2015-2016 Season Brigham Young University
Fact Sheet LIVING LEGENDS 2015-2016 Season Brigham Young University Contact: Performing Arts Management (801) 422-357 [email protected] • Celebrating the native cultural heritage of North and South America and the South Pacific, Living Legends presents a vibrant spectacle of energy, music, costume, and dance. Its full program lasts 90 minutes. • Organized in 1971, the troupe specializes in performing for its own native people, in an effort to encourage excellence in achievement, inspire a love of the members’ native lands, and develop a pride for their heritage. • The group consists of 38 members, including performers and a skilled technical crew. Cast members come from the United States, Canada, South and Central America, and the Pacific Islands. All members are of Latin American, Native American, or Polynesian heritage and are selected after a rigorous audition process. In addition, members are pursuing college degrees in a variety of subjects. • Many of the group’s authentic native costumes are made in the portrayed region. Traditional songs and dances are choreographed by members of the group, group leaders, and guest choreographers from around the world. • In 2015, Living Legends toured New Mexico, Texas, Montana, Canada, and Alaska. Their Canadian and Alaskan tour made a successful outreach program to grade and high school kids, in which they exchanged knowledge about the Native American culture. • Living Legends traveled to Northern California and Nevada in 2014, and also spent two weeks during the summer in Nauvoo, Illinois. The performers shared their dances with old and young alike at care centers, parks and outdoor gazebos, in addition to 11 staged performances.