The Studio Museum in Harlem Ma∂Azine/ 4OZZ ' EW\Bs` &¹ '
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Grief and Grievance: Art and Mourning in America,” an Intergenerational Exhibition of Works from Thirty-Seven Artists, Conceived by Curator Okwui Enwezor
NEW MUSEUM PRESENTS “GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA,” AN INTERGENERATIONAL EXHIBITION OF WORKS FROM THIRTY-SEVEN ARTISTS, CONCEIVED BY CURATOR OKWUI ENWEZOR Exhibition Brings Together Works that Address Black Grief as a National Emergency in the Face of a Politically Orchestrated White Grievance New York, NY...The New Museum is proud to present “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. On view from February 17 to June 6, 2021, “Grief and Grievance” is an intergenerational exhibition bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition further considers the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. Included in “Grief and Grievance” are works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition. The artists on view will include: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark -
In Conversation with Adam Pendleton: What Is Black Dada?
In conversation with Adam Pendleton: What is Black Dada? Awa Konaté James Baldwin once said, ‘we used to think of history as the realm of the settled as an inalterable past, as a nightmare. That was the legacy bequeathed us by the past century’s catastrophes. But while we can never redeem what has been lost, versions of the past are forever being reconstructed in our fabrication of the present.’1 Although Baldwin enumerated these words in 1972, today’s volatile political moments and relations reminds us that the past is repeatedly embedded, and evermore so, in our present sphere. Baldwin comments on the interrelations between past and present realities as a continuum of cultural and historical notions that constitute the very materiality of our social fabric as ever persistent, suggesting the past is never past but an ongoing rupture in the present. Adam Pendleton is an artist whose unwinnable and complex layered practice is exceptionally occupied with Baldwin’s declarative statement. With a career spanning nearly two decades, Pendleton has situated the intersections of race, belonging, cultural politics and art history as varying constructions that are rearticulated and imposed in the very centre of our ‘Contemporary’ – not merely in order to inquire ‘how’ and ‘what if’ but to push the very logic that constitutes their historical and social functions. My first encounter with Adam Pendleton was his large ‘Black Lives’ banner at the Venice Biennale’s Belgian pavilion in 2015.2 The context was stupendous, the banner’s dominating and large scaled presence appeared to almost ‘devour’ the white cubed pavilion by forcing the centrality of its race relations. -
Around Town 2015 Annual Conference & Meeting Saturday, May 9 – Tuesday, May 12 in & Around, NYC
2015 NEW YORK Association of Art Museum Curators 14th Annual Conference & Meeting May 9 – 12, 2015 Around Town 2015 Annual Conference & Meeting Saturday, May 9 – Tuesday, May 12 In & Around, NYC In addition to the more well known spots, such as The Metropolitan Museum of Art, Museum of Modern Art, , Smithsonian Design Museum, Hewitt, Solomon R. Guggenheim Museum, The Frick Collection, The Morgan Library and Museum, New-York Historical Society, and the Whitney Museum of American Art, here is a list of some other points of interest in the five boroughs and Newark, New Jersey area. Museums: Manhattan Asia Society 725 Park Avenue New York, NY 10021 (212) 288-6400 http://asiasociety.org/new-york Across the Fields of arts, business, culture, education, and policy, the Society provides insight and promotes mutual understanding among peoples, leaders and institutions oF Asia and United States in a global context. Bard Graduate Center Gallery 18 West 86th Street New York, NY 10024 (212) 501-3023 http://www.bgc.bard.edu/ Bard Graduate Center Gallery exhibitions explore new ways oF thinking about decorative arts, design history, and material culture. The Cloisters Museum and Garden 99 Margaret Corbin Drive, Fort Tyron Park New York, NY 10040 (212) 923-3700 http://www.metmuseum.org/visit/visit-the-cloisters The Cloisters museum and gardens is a branch oF the Metropolitan Museum oF Art devoted to the art and architecture oF medieval Europe and was assembled From architectural elements, both domestic and religious, that largely date from the twelfth through fifteenth century. El Museo del Barrio 1230 FiFth Avenue New York, NY 10029 (212) 831-7272 http://www.elmuseo.org/ El Museo del Barrio is New York’s leading Latino cultural institution and welcomes visitors of all backgrounds to discover the artistic landscape of Puerto Rican, Caribbean, and Latin American cultures. -
BEYOND WORDS Incorporating Collage, Cultural Criticism, Poetry and Video, Adam Pendleton’S Work Defies Categorization
the exchange aRt TALK BEYOND WORDS Incorporating collage, cultural criticism, poetry and video, Adam Pendleton’s work defies categorization. That’s only part of what makes it so appealing to collectors and museums alike. BY TED LOOS PHOTOGRAPHY BY CARLOS CHAVARRÍA HEN AN ARTIST captures a cultural he writes. Pendleton doesn’t think he invented the Being gay and black gave him a useful outsider’s moment just so, it’s like a lightning conversation that he’s a part of. “It is a continuum,” he perspective. “When you’re sort of off to the side, you bolt—there’s a crackle in the air, a blind- says, “but it doesn’t only move forward; it moves back- supply yourself with something that long term is ing flash, and the clouds part. At just 34, wards and sideways, too.” ultimately more productive,” he says. (Pendleton is WBrooklyn-based artist Adam Pendleton has proved Though he works in many media, much of his now married to a food entrepreneur, and they live in himself capable of generating such phenomena. visual work starts as collage, and he has a canny eye Brooklyn’s Fort Greene.) Over the past decade, Pendleton’s conceptual take for juxtapositions that recalls one of his idols, Jasper In 2002, he completed a two-year independent art- on race in America has drawn attention and stirred Johns. “Already in his incredibly youthful career, he ist’s study program in Pietrasanta, Italy, but he doesn’t discussion across the country. Last year, he had solo has managed to land on a graphic language that is have a bachelor’s degree or an M.F.A. -
Ashley and Mary-Kate Olsen Hosted the 2...Ia Art Foundation's Fall Night
Ashley and Mary-Kate Olsen Hosted the 2019 Dia Art Foundation’s Fall Night BY ZACHARY SCHWARTZ November 18, 2019 Ashley and Mary-Kate Olsen Photo: BFA / Sansho Scott On a nippy November night that felt more like December, the Dia Art Foundation invited gallerists, artists, and fashionable art patrons to their annual Fall Night. Mary- Kate and Ashley Olsen chaired the chic festivity, along with Rashid Johnson, Schmidt Campbell, and Melvin Edwards. The party’s primary goal was to support the Dia Art Foundation and it was particularly exciting to celebrate the evening’s honoree, Sam Gilliam. Gilliam currently has an exhibition at Dia Beacon, a perfect venue for his 1960s operatic painted canvases. Hosted in a Chelsea warehouse and supported by The Row, the Dia Art Foundation’s Fall Night started with a joyous cocktail hour, where black cocktail dresses mingled with sharply tailored suits. An impressive roster of artists arrived at the event, including Lawrence Weiner, Adam Pendleton, Marilyn Minter, Melvin Edwards, and Ursula von Rydingsvard. The dark, raw space was perfect for a night out with friends; the dim lighting offered privacy for clusters of attendees who so desired it. The artists in attendance socialized with guests like Sandra Brant, Thelma Golden, Arne Glimcher, Agnes Gund, Jessica Joffe, and Stefano Tonchi. The guest list was a testament to the crowds that Dia, Gilliam, and the Olsen twins can draw. Cocktails were followed by dinner, laid out with seven gorgeous long tables laden with multi-leveled candles. The seated dinner resembled a family-style Thanksgiving supper with butternut squash, brussels sprouts, and roasted chicken. -
Eighteen Major New York Area Museums Participate in Instagram Swap
EIGHTEEN MAJOR NEW YORK AREA MUSEUMS PARTICIPATE IN INSTAGRAM SWAP THE FRICK COLLECTION PAIRS WITH NEW-YORK HISTORICAL SOCIETY In a first-of-its-kind collaboration, eighteen major New York City area institutions have joined forces to celebrate their unique collections and spaces on Instagram. All day today, February 2, the museums will post photos from this exciting project. Each participating museum paired with a sister institution, then set out to take photographs at that institution, capturing objects and moments that resonated with their own collections, exhibitions, and themes. As anticipated, each organization’s unique focus offers a new perspective on their partner museum. Throughout the day, the Frick will showcase its recent visit to the New-York Historical Society on its Instagram feed using the hashtag #MuseumInstaSwap. Posts will emphasize the connections between the two museums and libraries, both cultural landmarks in New York and both beloved for highlighting the city’s rich history. The public is encouraged to follow and interact to discover what each museum’s Instagram staffer discovered in the other’s space. A complete list of participating museums follows: American Museum of Natural History @AMNH The Museum of Modern Art @themuseumofmodernart Intrepid Sea, Air & Space Museum @intrepidmuseum Cooper Hewitt, Smithsonian Design Museum @cooperhewitt Museum of the City of New York @MuseumofCityNY New Museum @newmuseum 1 The Museum of Arts and Design @madmuseum Whitney Museum of American Art @whitneymuseum The Frick Collection -
The Studio Museum in Harlem Partners with the Metropolitan Museum of Art to Present We Found Us, the 2019 Exhibition of the Expanding the Walls Photography Program
MEDIA RELEASE The Studio Museum in Harlem 144 West 125th Street New York, NY 10027 studiomuseum.org/press THE STUDIO MUSEUM IN HARLEM PARTNERS WITH THE METROPOLITAN MUSEUM OF ART TO PRESENT WE FOUND US, THE 2019 EXHIBITION OF THE EXPANDING THE WALLS PHOTOGRAPHY PROGRAM Sixx Teague, EMPOWERMENT, 2019. Digital chromogenic print. Courtesy the artist. NEW YORK, NY, July 9, 2019— From July 19, 2019 through August 30, 2019, We Found Us: Expanding the Walls 2019 will present work by the fifteen artists in the 2018–19 cohort of The Studio Musuem in Harlem’s annual residencey program Expanding the Walls: Making Connections Between Photography, History, and Community. During their eight months in the program, the partcipants from New York City–area high schools explore the history and techniques of photography. We Found Us will be on view in The Metropolitan Museum of Art’s Ruth and Harold D. Uris Center for Education while the Studio Museum constructs a new building on the site of their longtime home on West 125th Street. We Found Us reflects on the personal and collective development of the fifteen artists in this year’s program, capturing what they find significant in their daily lives. The exhibition demonstrates their shared interest in storytelling, technical experimentation, and the possibilities of photography as a channel for expression. We Found Us is a declaration born as the artists’, grappling throughout the residency with themes of selfhood, found new perspectives on the world through their cameras and one another. The artists are: Aisha Hashmi, Anthony Trowner, Sixx Teague, Belen Vanesa Bautista, Bryam Franco, Charles Etuk, David Mills, Kenny Peña, Leila Annah Fuentes, Michelle Morocho, Sadia Zaman, Saiida Powell, Skye Mayo, Emmanuel Lugo, and Steeve Hedouville. -
Undiscovered New York
Undiscovered New York: An Inside Look Through the Eyes of Its Artists October 11 – 15, 2021 Dear National Trust Traveler: A city of immigrants, innovators, and dreamers, New York is a magical destination with millions of fascinating stories and untold secrets. Yet few travelers ever experience the thrilling diversity of its creative community. In October 2021, with a backdrop of autumn leaves and crisp air, join the National Trust to discover this historic city from a revelatory new perspective—in the company of its leading creators, curators, and exhibitors. Over four days, you will encounter a range of exciting creative voices who will awaken new insights into how New York’s history and art intersect with local culture. Go behind the scenes of the city’s cultural institutions, studios, and galleries with expert guidance. This tour is notable for its level of rare access. You will enjoy an inside look at an art conservation laboratory to witness meticulous restoration work firsthand, and delight in an in-depth tour of a famous auction house. Begin with a private tour and special reception at the Museum of the City of New York, with its beautifully curated exhibitions documenting the city’s history and character. Delve into sublime works by artists of African descent at the Studio Museum in Harlem, and meet exhibitors at Soho’s groundbreaking Drawing Center, home to splendid historical works. In an exclusive, before-hours visit, browse the Klimt collection at the Neue Galerie New York. Conclude with a curator-led, behind-the-scenes tour of the most famous New York museum of them all, The Metropolitan Museum of Art. -
THE STUDIO MUSEUM in HARLEM PRESENTS EXCERPT an Exhibition of Text-Based Works Organized by Adeze Wilford, Inaugural Studio Museum / Moma Curatorial Fellow
MEDIA RELEASE The Studio Museum in Harlem 144 West 125th Street New York, NY 10027 studiomuseum.org/press CONTACT Elizabeth Gwinn Kate Lydecker The Studio Museum in Harlem Polskin Arts and Communications Counselors [email protected] [email protected] 646.214.2142 212.715.1602 THE STUDIO MUSEUM IN HARLEM PRESENTS EXCERPT An exhibition of text-based works organized by Adeze Wilford, inaugural Studio Museum / MoMA Curatorial Fellow NEW YORK, NY, [January 11, 2017] — Exploring how artists challenge conventional histories by manipulating the principal medium through which received ideas are conveyed—printed texts—The Studio Museum in Harlem will present the exhibition Excerpt, opening January 26, 2017. Including artists’ books, photographs, prints, works on paper and multimedia pieces by fifteen artists, selected primarily from the Studio Museum’s unparalleled collection, Excerpt is organized by Adeze Wilford, one of four participants in the inaugural fellowship collaboration of The Studio Museum in Harlem and The Museum of Modern Art. “By physically breaking down the medium of the published text and blurring the lines between written word and visual landscape, the artists in Excerpt confront dominant discourses, make spaces for alternative voices and create fuller narratives,” said Wilford, inaugural Studio Museum / MoMA Curatorial Fellow. “As an emerging curator, the opportunity to add to the art historical discourse in this way Juliana Huxtable, Untitled (Casual Power), 2015. is especially meaningful.” Color inkjet print, 40 x 30 in. The Studio Museum in Harlem; Museum purchase with funds provided by Excerpt includes work by Sadie Barnette, Bethany a gift from Martin and Rebecca Eisenberg and Ber- nard I. -
Adam by Pendleton Venus Williams
Interview Magazine Williams, Venus: Adam Pendleton Summer 2021 THIS PAGE: Photographed by Styled by T-shirt (worn ANDY JERMAINE throughout) by JACKSON DALEY CDLP Necklace by TIFFANY & CO. OPPOSITE PAGE: Jacket and Pants by DIOR MEN Necklace by BVLGARI Adam Pendleton by “Always try something different, always do something new.” Venus112 Williams Coat, Jacket, Pants, and Shoes by 5 MONCLER CRAIG GREEN ADAM PENDLETON No contemporary artist embodies the spirit of Walt Whitman’s declaration “I contain multitudes” more potently than Adam Pendleton. Across his bold, compressed, densely piled surfaces spill words, fragments, rally cries, commands, defiant chants, civic demands, graffiti, broken poetic syllables, and blown-apart letters, all competing in a visual-linguistic cacophony that feels like a snapshot of our loud nation in the present tense. The 37-year-old, New York– based artist is a prodigious talent whose multidisciplinary corpus ranges from performance to photography, but he is particularly celebrated for his graphic, black-and-white screen-print paintings, sometimes covering entire walls, collaged and layered with so much visual complexity that they often take on the dimensionality of sculpture. In the past two decades, Pendleton has built a career that bridges so many seemingly incompatible realms—formalism with political activism, the visceral energy of abstract painting with hyper-tuned socio-historic concerns, the living messages of grassroots movements such as Black Lives Matter inside the institutional structure of galleries and museums. The artist seems almost single-handedly to be redefining the role of the artist for our current age. This past spring, Pendleton’s alchemy filled the lobby of New York’s New Museum with paintings of protest language and images of masks stamped directly on the walls. -
Enacting Cultural Identity : Time and Memory in 20Th-Century African-American Theater by Female Playwrights
Enacting Cultural Identity: Time and Memory in 20th-Century African-American Theater by Female Playwrights Dissertation zur Erlangung des akademischen Grades des Doktors der Philosophie (Dr. phil.) vorgelegt von Simone Friederike Paulun an der Geisteswissenschaftliche Sektion Fachbereich Literaturwissenschaft Tag der mündlichen Prüfung: 13. Februar 2012 Referentin: Prof. Dr. Dr. h.c. Aleida Assmann Referentin: PD Dr. Monika Reif-Hülser Konstanzer Online-Publikations-System (KOPS) URL: http://nbn-resolving.de/urn:nbn:de:bsz:352-0-269861 Acknowledgements 1 Acknowledgements This dissertation would not have been possible without the guidance and support of several individuals who in one way or another contributed to the writing and completion of this study. It gives me a great pleasure to acknowledge the help of my supervisor Prof Dr. Aleida Assmann who has supported me throughout my thesis and whose knowledge, guidance, and encouragement undoubtedly highly benefited my project. I would also like to thank PD Dr. Monika Reif-Hülser for her sustained interest in my work. The feedback that I received from her and the other members of Prof. Assmann’s research colloquium was a very fruitful source of inspiration for my work. The seeds for this study were first planted by Prof. David Krasner’s course on African- American Theater, Drama, and Performance that I attended while I was an exchange student at Yale University, USA, in 2005/2006. I am immensely grateful to him for introducing me to this fascinating field of study and for sharing his expert knowledge when we met again in December 2010. A further semester of residence as a visiting scholar at the African American Department at Yale University in 2010 enabled me to receive invaluable advice from Prof. -
El Museo Del Barrio Opens Estamos Bien – La Trienal 20/21, the Museum's First National Survey of Latinx
EL MUSEO DEL BARRIO OPENS ESTAMOS BIEN – LA TRIENAL 20/21, THE MUSEUM’S FIRST NATIONAL SURVEY OF LATINX ART Featuring 42 artists and collectives from across the U.S. and Puerto Rico March 13 – September 26, 2021 NEW YORK, NY, February 23, 2021 – El Museo del Barrio, the first and leading museum in the country dedicated to preserving and presenting Latino art and culture, is pleased to reveal exhibition highlights for ESTAMOS BIEN➖LA TRIENAL 20/21, the Museum’s first large-scale national survey of Latinx art. Curated by El Museo del Barrio’s Chief Curator, Rodrigo Moura, Curator Susanna V. Temkin, and Guest Curator and Artist Elia Alba, the exhibition is on view to the public from March 13 to September 26. Following two years of research and studio visits by the curatorial team, ESTAMOS BIEN features the works of 42 Latinx artists and collectives from across the United States and Puerto Rico. Originally scheduled to coincide with the 2020 U.S. Census and the presidential election, La Trienal opens in El Museo’s galleries one year after the museum first closed due to the pandemic with works that reflect the current moment. The exhibition centers on an intersectional approach to the concept of Latinx—the much-contested term that departs from binary understandings of U.S.-Latino identity through the adoption of the gender-neutral suffix X, distancing itself from rigid definitions to allow a nuanced, more inclusive understanding of identity. In ESTAMOS BIEN, Latinx serves as a meeting point rather than a singular definition, as the artists participating in the show represent diverse generations, genders, ethnic and racial backgrounds, foregrounding Indigeneity, African and non-European heritages; gender nonconformity; and other multiplicities.