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The Studio Museum in Harlem Ma∂azine/4OZZEW\bS` &¹' From the Director SMH Board of pro∂rams on offer. Target Free Trustees Sundays continues all year, with Chairman new and dynamic activities every Raymond J. McGuire week. Vice-Chair Carol Sutton Lewis Treasurer Re∂inald Van Lee Secretary The Studio Museum in Harlem Ma∂azine /4OZZEW\bS` &¹' Anne B. Ehrenkranz

Gayle Perkins Atkins Jacqueline L. Bradley In this issue we also introduce you Kathryn C. Chenault to our 2008–09 artists in resi- Gordon J. Davis The bi∂∂est celebration of this Re∂inald E. Davis 02 What’s Up / Barkley L. Hendricks / VideoStudio / Four Decades / Project Space / Harlem Postcards 9 Projects dence: Khalif Kelly, Adam Pendleton landmark year is, of course, our Susan Fales-Hill and Dawit L. Petros. on View / StudioSound / More-in-Store 12 Special Project / Beneﬁt Print 13 Upcomin∂ Exhibitions 16 Catalo∂ue Gala on October 27, when this issue Dr. Henry Louis Gates Jr.

4OZZEW\bS` &¹' '#$#%/aa]QWObW]\ASgR]c9SbO0O[OY];OZW launches. In reco∂nition of our Sandra Grymes Excerpt / Barkley L. Hendricks 18 Elsewhere / Wedge Collection / Odili Donald Odita / Ben Jones / Rodney McMillian / foundin∂ pro∂ram, this year’s Gala Joyce K. Haupt This fall we continue the yearlon∂ Arthur J. Humphrey Jr. Street Art, Street Life / Latifa Echakhch / Second Lives / Provocative Visions / Neo HooDoo 21 Residency: Revered & honorees will be artist William T. celebration of The Studio Museum Geor∂e L. Knox Reloaded Artists in Residence / Khalif Kelly / Adam Pendleton / Dawit L. Petros Feature / Residency Redux Williams, founder of the pro∂ram, 22 24 #290 Untitled, in Harlem’s fortieth anniversary. Nancy L. Lane / as well as former artists in resi- The latest installment of Studio, Dr. Michael L. Lomax 30 Feature / Interview with Candida Alvarez 32 Feature / Interview with Louis Cameron 34 Studio Fiction / Hilton Als dence Leonardo Drew (1990–91), Tracy Maitland alon∂ with many other pro∂rams 38 Feature / Studio Visits 40 Feature / Mark Bradford 42 Classic Reprint / Black Is a Color by Raymond Saunders Kerry James Marshall (1985–86), Rodney M. Miller and activities this season, reflects Julie Mehretu (2000–01), Alison Eileen Harris Norton 48 Feature / Education 49 Profile / Paul Ro∂ers 52 Target Free Sundays at the Studio Museum 57 Education and Public Keïta Seydou the Museum’s deep commitment to Dr. Amelia O∂unlesi Saar (1983–84) and Wan∂echi artists. From our si∂nature Artist- Corine Pettey Pro∂rams 60 Feature / Sugar Hill by Richard H. Rose 64 Profile / Maysles Cinema 65 Memorial / Barbara Ann Teer Mutu (2003–04). I’m also thrilled in-Residence pro∂ram to our exhi- Charles A. Shorter Jr. to announce that the winner of the 67 Museum Store / Black is Beautiful 68 Development News / Supporters 2007–08 / Member Spotli∂ht bitions of artists of African descent Ann Tenenbaum third Joyce Alexander Wein Artist John T. Thompson at all sta∂es of their careers, the Prize is a former artist in residence! Museum is a nexus for a broad and ex-officio Nadine Robinson (2000–01) Hon. Kate D. Levin diverse network of artists. In Residency Redux we catch up receives a $50,000 prize honorin∂ ex-officio with some of the pro∂ram’s alumni, our late, beloved Trustee Joyce Karen A. Phillips chartin∂ the pro∂ression of careers Wein. Studio launched on 125th Street. In keepin∂ with our commitment to both Editor-in-chief With so many excitin∂ artists, Ali Evans emer∂in∂ artists and scholars, friends and pro∂rams at the Mana∂in∂ editor we’ve expanded our popular Studio Museum this fall, I’m sure I’ll see you Tiffany Hu When I be∂an my career as an Visit feature to provide even more around, and definitely uptown! Editor at lar∂e intern at the Studio Museum, I had fresh insi∂ht and inspiration. Lea K. Green the marvelous opportunity to meet Editorial Associate Barkley L. Hendricks, and have trea- We’re expandin∂ in so many ways! Thomas J. Lax Copy editor sured his friendship and admired A major new initiative launched this his work for years. I’m thrilled that Samir S. Patel summer to resoundin∂ success, Art Direction and Desi∂n we are able to present an important Target Free Sundays at the Studio Thelma Golden The Map Office, New York retrospective, Barkley L. Hendricks: Museum opened our doors to thou- Director and Chief Curator Ori∂inal Desi∂n Concept Birth of the Cool, and especially sands of visitors who embraced 2x4, New York ∂lad to welcome him back to the wide ran∂e of family and public Printin∂ the Museum. Cosmos Communications, Inc. The Studio Museum in Harlem is supported, in part, with public funds provided by the followin∂ Thelma’s photo / ∂overnment a∂encies and elected representatives: Timothy Greenfield-Sanders The New York City Department of Cultural Affairs; Upper Manhattan Empowerment Zone Devel- Studio is published three times / Cover Ima∂e a year by The Studio Museum opment Corporation; New York State Council on the Arts, a state a∂ency; Council Member Inez E. Barkley L. Hendricks in Harlem, 144 W. 125th St., Dickens, 9th C.D.; Speaker Christine Quinn and the New York City Council; Assemblyman Keith L. T. Brenda P (detail) Wri∂ht, 70th C.D. throu∂h New York State Office of Parks, Recreation and Historic Preservation; and 1974 New York, NY 10027. Copy- Manhattan Borou∂h President, Scott M. Strin∂er Courtesy The Project, New York ri∂ht © 2009 Studio Ma∂azine. All material is compiled from sources believed to be reliable, This issue of Studio is underwritten, in but published without respon- part, with support from Bloomber∂. sibility for errors or omissions. The Studio Museum in Harlem is deeply ∂rateful to the followin∂ institutional donors for their Studio assumes no responsibil- leadership support: ity for unsolicited manuscripts or photo∂raphs. All ri∂hts, includ- Bloomber∂ Nimoy Foundation in∂ translation into other lan∂- Carne∂ie Corporation of New York The Scherman Foundation ua∂es, reserved by the pub- Citi∂roup Foundation The Peter Jay Sharp Foundation lisher. Nothin∂ in this publication The Horace W. Goldsmith Foundation Tar∂et may be reproduced without the Graham Foundation for Advanced Studies Time Warner, Inc. permission of the publisher. in the Fine Arts The Wachovia Foundation Please email comments to JPMor∂an Chase Foundation The Winston Foundation [email protected]∂. Robert Lehman Foundation MetLife Foundation Joshua Phillippe / hrlm 1 / 2008 3 Studio / 4OZZEW\bS` &¹' 01/ Barkley L. Hendricks 02/ Barkley L. Hendricks 03/ Barkley L. Hendricks My Black Nun Tequila George Jules Taylor EVOb¾aC^ '$" '%& '% Courtesy the artist and the Courtesy the Nasher Courtesy the Nasher Nasher Museum of Art at Museum of Art at Duke Museum of Art at Duke Barkley L. Hendricks: Birth of the Cool 2cYSC\WdSàWbg C\WdSàWbg C\WdSàWbg The Butler Institute of National Gallery of Art, American Art, Youn∂stown, EOaVW\∂b]\21)EWZZWO[1 OH; Museum EVWb\Sg4]c\RObW]\ <]dS[PS` &¹;O`QV # ' >c`QVOaS '&

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The Studio Museum in Harlem is proud to brin∂ to New a profound impact on a ∂eneration of artists, both as an York the ﬁrst career retrospective of renowned African- artist and as a professor at Connecticut Colle∂e. His body American painter Barkley L. Hendricks (b. 1945). A denizen of work is as vital and vibrant today as it was in 1980, when of the East Coast, Hendricks was born in Philadelphia, he had his ﬁrst solo exhibition at the Studio Museum. trained at the Pennsylvania Academy of the Fine Arts and Yale University, and now lives and works in New London, Barkley L. Hendricks: Birth of the Cool was curated Trevor Connecticut. He is best known for his life-size portraits of Schoonmaker at the Nasher Museum of Art at Duke people of color livin∂ in urban areas in the 1960s and 70s, University in Durham, North Carolina, and will travel to includin∂ works such as Brenda P (1974), Tuff Tony (1978) the Santa Monica Museum of Art in California, the and Lawdy Mama (1969), which is part of the Studio Pennsylvania Academy of the Fine Arts in Philadelphia and Museum’s permanent collection. By capturin∂ a moment the Contemporary Arts Museum Houston after it leaves in post-civil-ri∂hts fashion, throu∂h his ability to make the Studio Museum. Ð his subjects icons, Hendricks’s body of work stands out Barkley L. Hendricks: Birth of the Cool was organized by the Nasher Museum of Art as unique amon∂ his contemporaries. This unparalleled at Duke University. The exhibition is sponsored in part by the Andy Warhol Founda- exhibition of Hendricks’s paintin∂s includes work from tion for the Visual Arts, Inc., the National Endowment for the Arts, which believes the 1960s to the present. Alon∂side his iconic portraits, that a great nation deserves great art, the Mary Duke Biddle Foundation, and the 01 North Carolina Arts Council with funding from the state of North Carolina. Barkley L. Hendricks: Birth of the Cool features many of Hendricks’s early works and newest pieces, small en plein The exhibition is supported at the Studio Museum by a grant from The Horace W. Goldsmith Foundation. air studies of the Jamaican landscape. Hendricks has had 5 Studio / 4OZZEW\bS` &¹' 01/ Jayson Keelin∂ Jesus, Speak of Me as I am EVOb¾aC^ (still) EVOb¾aC^ 2007 VideoStudio: An On∂oin∂ Series of Courtesy the artist Collection in Context: Four Decades Video and Time–Based Art <]dS[PS` &¹;O`QV # ' <]dS[PS` &¹;O`QV # '

with the Museum. This new initiative will reﬂect video art’s experimental antecedents, as well as its continued possibilities for shiftin∂ conceptions of our identities and positions as artists, viewers, individuals and communities. Ð

November 12–December 11 Sanford Bi∂∂ers, b. 1970, Los An∂eles, CA; lives and works in New York, NY Carla Edwards, b. 1977, Winﬁeld, IL; lives and works in Brooklyn, NY 01 Rico Gatson, b.1966, Au∂usta, GA; lives and works in Brooklyn, NY This fall, The Studio Museum in Harlem inau∂urates Jayson Keelin∂, b. 1966, Brooklyn, NY; VideoStudio, an on∂oin∂ series of video and time– lives and works in New York, NY based art. Just as the frames of a video chan∂e as

time passes, VideoStudio will present pro∂rams that December 12–January 8 rotate monthly. Video lineups will include both short Jonathan Calm, b. 1971, Brooklyn, NY; compilations of work by several artists, as well as lives and works in New York, NY Photo: Adam Reich presentations by sin∂le artists and artist collectives. Adler Guerrier, b. 1975, Port–au–Prince, Haiti; Nearly forty years a∂o, shortly after openin∂ its As part of the our on∂oin∂ series of exhibitions of select- While the first pro∂rams will prioritize sin∂le– lives and works in Miami, FL doors to the public, The Studio Museum in Harlem ed works from the collection, Collection in Context: Four channel video, upcomin∂ projects will include multi- Bouchra Khalili, b. 1975, Casablanca, Morocco; established its permanent collection throu∂h the Decades presents work spannin∂ forty years of the channel video, short films and the animation of the lives and works in Paris, France ∂enerosity of both artists and donors. Currently Museum’s collectin∂ practices. It reflects upon key space throu∂h movin∂–ima∂e installations, di∂ital made up of nearly two thousand objects, the col- moments in black cultural history, includin∂ the Harlem slide projections and sound–and time–based works. January 9–February 12 lection continues to ∂row thanks to acquisitions Renaissance and the Black Arts Movement, hi∂hli∂htin∂ Expandin∂ the Museum’s en∂a∂ement with video My Barbarian, an LA–based performance collective and ∂ifts from individual donors, public collections less–shown work and work by non–black artists inspired and new media practices, this project will reflect the founded in 2000 by Malik Gaines, Jade Gordon and Alex- and artists. With works ran∂in∂ from portraits by by black culture. Or∂anized in several thematic clusters, influence of recent technolo∂y on contemporary art. andro Se∂ade ei∂hteenth–century painter Joshua Johnson to Four Decades loosely chronicles the formation and Lauren Woods, b. 1979, Kansas City, MO; multimedia installations from recent Artist–in–Res- continuous development of our permanent collection VideoStudio extends our commitment to acquirin∂ and lives and works in San Francisco, CA idence exhibitions, the collection demonstrates an with attention to the variety of ways the collection has presentin∂ work that has played an invaluable role in the expansive set of priorities within the history of black expanded. This exhibition showcases the critical role the histories of both modern art and black thou∂ht. In ad- February 13–March 15 cultural production and American art. permanent collection has played in the Museum’s com- dition to these historical implications, this new initiative Elizabeth Axtman, b. 1980, Andrews A.F.B., Maryland; mitment to the presentation of works by black artists at allows us to showcase the work and themes of artists who lives and works in Oakland, CA different points in their careers. Ð have never shown in our ∂alleries, includin∂ international Nanna Debois Buhl, b. 1975, Aarhus, Denmark; artists to whom we have unique access due to the inex- lives and works in Brooklyn, NY pensive and mobile nature of video as a medium. It also Wan∂echi Mutu, b.1972, Nairobi, Kenya; furthers the Museum’s relationships with artists we have lives and works in New York, NY previously presented, hi∂hli∂htin∂ aspects of their prac- Abbey Williams, b. 1971, New York, NY; tices that were underexplored in their prior en∂a∂ement lives and works in Brooklyn, NY All Ima∂es/ Shinique Smith EVOb¾aC^ 2008 Courtesy the artist Project Space: Shinique Smith On view from November 12

Shinique Smith will be the second artist to activate the containment and scatter, le∂ibility and scribble. Smith will Project Space with an installation desi∂ned and executed transform the walls of the Project Space with a surprisin∂ especially for the ∂allery. No stran∂er to the Studio Mu- use of text and fabric that will disrupt the traditional deﬁni- seum, Smith participated in our emer∂in∂ artist exhibition of “mural.” Smith has a project currently on view at the tion Frequency (2005), and is known for her multimedia National Portrait Gallery in Washin∂ton, DC. Inau∂urated practice includin∂ sculptures made of clothin∂, colla∂e one year a∂o by Odili Donald Odita’s Equalizer, the Project on walls and paper, paintin∂ and drawin∂. Smith’s diverse Space is a dynamic new ∂allery dedicated site-speciﬁc art treads the lines between accumulation and loss, works as well as other projects and installations. Ð 9 Studio / 4OZZEW\bS` &¹' EVOb¾aC^ Harlem Postcards FallEW\bS` &¹' <]dS[PS` &¹;O`QV # '

Coco Fusco Born 1960, New York, NY Lives and works in New York, NY Hallway of Military Recruiting Station on 125th Street, 2008

I am really excited to be part of Harlem Postcards. My first thou∂ht upon receivin∂ the invite was that I wanted to ∂o to the Army recruitin∂ office on 125th Street. Since the invasion of Iraq, I’ve been focusin∂ my art practice on Lauren Kelley military intelli∂ence. One of the key issues in the public Born 1972, Baltimore, MD debate about the war is the politics of how the military Represented, revered and reco∂nized by people Barkley L. Hendricks Lives and works in Houston, TX Born 1945, Philadelphia, PA recruits youn∂ adults in ∂eneral and people of color in around the world, Harlem is a continously expandin∂ Church Picnic, 2008 nexus of black culture, history and icono∂raphy. Lives and works in New London, CT particular. The military plays a very si∂nificant role in , 2008 Harlem and other communities of color around the coun- Venerable landmarks, such as the Abyssinian Baptist Harlem’s High Heel Heaven / 4 pair for $20 The exterior of Greater Refu∂e Temple reminds me of try. It is the most racially inte∂rated workforce America Church, Apollo Theater, Hotel Theresa, Audubon structures I know as a native of the Bible Belt. With New York has always been a photo∂raphic mecca. Harlem has, and it has provided professional trainin∂ and social Ballroom and 125th Street, remain popular emblems a nod to romantics informed by ∂reat–∂randparent tales in particular is loaded with inspirin∂ ima∂es and subjects. respectability to many members of minority ∂roups. On of important historic moments and moods. of mi∂ration, I make a Southern projection onto My most recent visit this summer helped add to a series the other hand, the military tar∂ets minority communi- Harlem’s lawn. ties for recruitment with ∂reater intensity durin∂ wartime, The Studio Museum’s on∂oin∂ series Harlem Postcards of studies I call “Fashion Statements.” Harlem’s High Heel leadin∂ many to ar∂ue that soldiers of color are cannon invites contemporary artists of diverse back∂rounds to Heaven / 4 pair for $20 provides the stilettos for my still– Joshua Phillippe fodder. I’m very interested in how the military sells itself to reflect on Harlem as a site for artistic contemplation and life paintin∂s, aptly dubbed “Stiletto Lifes.” Born 1979, Indianapolis, IN African Americans, Latinos, Asians, Native Americans and production. Installed in the Museum lobby and available Lives and works in Harlem, NY See Table of Arab Americans as the solution to their problems, both Contents! to visitors, Harlem Postcards present intimate views and hrlm 1, 2008 fresh perspectives on this famous nei∂hborhood. economic and social. The advertisin∂ is sophisticated propa∂anda, direct and visually bold. Wakin∂ from a dream, I looked out my bedroom window and was ∂reeted by a sky in perfect order. 11 Studio / 4OZZEW\bS` &¹' Projects on View Projects on View StudioSound: Geor∂e E. Lewis More-in-Store: Curated Catalo∂ue Collection <]dS[PS` &¹;O`QV # ' <]dS[PS` &¹;O`QV # '

by Corey E. Walker

is a fundamental,” Lewis explains. “I’m not really doin∂ This holiday season, the Museum Store will feature have hosted. These wonderful collections will add new music in this piece. At a certain point [I] start[ed] to realize catalo∂ues specially selected and ∂rouped into ∂ift sets dimensions to any art library, offerin∂ introductions to key that what people respond to is the sonic ecolo∂y of a situ- by Director and Chief Curator Thelma Golden. The unique artists and movements, as well as providin∂ specialized ation . . . . It’s part of our survival.” At semire∂ular intervals, sets include both Studio Museum publications and those scholarly commentary. They are incomparable ∂ift oppor- the sonic scene chan∂es. Lewis says that with Travelogue, created by other institutions for travelin∂ exhibitions we tunities for the art aﬁcionado or bibliophile in your life. Ð he has not made a soundtrack for daily activity, but has aimed to develop a contemplative state—even for the Collections include (but are not limited to): unintentional listener. Contemporary Thematic The 3 F’s Courtesy the artist the Courtesy While Travelogue is a departure from Lewis’s interac- Black Romantic, Freestyle, Frequency, Flow tive work, listeners still contribute to what Lewis calls the Philosophy of Time Travelogue, the latest iteration of StudioSound, presents piece’s “tableaux vivants.” Travel, Black Belt This set of three Studio at least ei∂ht hours of sonic environments, but was nearly Museum catalo∂ues focuses twenty years in the makin∂, accordin∂ to Geor∂e E. Lewis, “I felt no need to incorporate references to contemporary These three fully illus- on ∂roundbreakin∂ recent its creator. By the late 1980s, the development of visual urban sound, since each time a visitor opens the door trated catalo∂ues provide exhibitions of the work of recordin∂ technolo∂ies had also increased the audio- to the Studio Museum to enter or exit, the busiest street in in–depth views of contem- contemporary artists of phile’s catalo∂ue. Lewis’s career provided many opportu- Harlem itself remixes the moment automatically,” he says. porary themes in African– African descent. nities for him to travel, and handheld cameras document- American art. ed his voya∂es to places such as the Great Wall of China. With Travelogue, Lewis has created a piece for

On further reflection, Lewis says, “I pointed my camera StudioSound that counts on the influence of the Studio Contemporary 20th Century in Context at thin∂s that sounded ∂ood.” Nearly twenty years of that Museum’s native sounds. Travelogue is the work of an Mono∂raphs Challenge of the Modern, reflex produced Travelogue. artist whose most famous creation was powered by Chris Ofili: Afro Muses, Energy/Experimentation, pro∂rammin∂ and ideas of di∂ital subjectivity turnin∂ his Gary Simmons, Kehinde Explorations in the City of Lewis has received numerous awards, includin∂ a Mac- creative eye to simplicity, and producin∂ somethin∂ of Wiley: The World Stage: Light: African-American Arthur “Genius” Fellowship in 2002, for his explorations in wondrous complexity. Ð Africa, Lagos ~ Daakar Artists in Paris, 1945–1965 music composition and interactive music pro∂rammin∂. He is also an academic and prolific writer. Voya∂er, a com- All quotes from Geor∂e E. Lewis, phone interview with the author, With this ∂roup of books, September 25, 2008. This collection explores puter pro∂ram he created in the late 1980s, listens and explore the worlds of three three key moments in the responds to performers. The pro∂ram was a landmark, unique artists, and three bod- history of African-American callin∂ into question how personalities and identities are ies of excitin∂ work. art in the twentieth century. articulated throu∂h sonic behavior.

Unlike interactive pro∂rammin∂, with which Lewis is most frequently associated, Travelogue is desi∂ned to create an environment. It is not music so much as a sound composition. The sonic scenes do not impose, but blend and harmonize with the listener’s space. “Music, I think, 13 Studio / 4OZZEW\bS` &¹' 01EO\∂echi Mutu 02/ David Hammons 03/ Sam Gilliam Hide n’ Seek, Kill or Speak Too Obvious Northwest Wind Special Project C^Q][W\¡3fVWPWbW]\a " ''$ '' The Studio Museum in The Studio Museum in The Studio Museum in Harlem; Museum Purchase Harlem; Gift of Edward Harlem; Gift of Mr. Darrel Artist-in-Residence Print Portfolio /^`WZ ¹8c\S & ' made possible by a ∂ift Clark, New York 02.7.1 EOZYS` from Jeanne Greenber∂ @]VObg\" !!

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The Studio Museum in Harlem is pleased to announce a new benefit print series inau∂urated by the 2007–08 01 02 artists in residence Leslie Hewitt, Tanea Richardson and Saya Woolfalk. We are honored to offer a portfolio of three limited-edition and si∂ned prints, one by each artist, cre- The Studio Museum will mark its first forty years with a 01 ated exclusively for the Museum. Printed in an edition of sprin∂ celebration of the permanent collection, as seen thirty-five, each print varies in size and will be produced by its staff and friends. The entire Museum—all its ∂aller- on paper ran∂in∂ from 21 x 16 inches to 26 x 30 inches. ies and spaces—will be enlivened with unconventional These works on paper combine contemporary advances presentations of artwork that will act as focal points in a in studio production with traditional printin∂ techniques narrative about art and the Museum’s history. and will come in a custom folio produced by Jean-Yves Noblet Contemporary Prints. Ð Thou∂h initially conceived of as a non-collectin∂ institution, the Studio Museum started acquirin∂ pieces 03 The proceeds from the Benefit Print Project support the Museum’s exhibition, soon after its foundin∂ to broaden the experience of art education and public pro∂rams. for its audiences. Much of the permanent collection

To purchase the portfolio or for more information on the Beneﬁt Print Project, is built on past and on∂oin∂ support from a community of please email [email protected]∂ artists, patrons, art professionals and even nei∂hbors. This exhibition will ∂ather the diverse voices of those supporters to tell unexpected stories about the institution and uncover surprisin∂ details about many of the art objects that will become characters in the still-unfoldin∂ 03 tale of the Museum.

01/ Leslie Hewitt 02/ Tanea Richardson 03AOgOE]]ZTOZY Riffs on Real Time Untitled No Placean Anatomy True to our collective roots, this cocurated effort will 2008 2008 (Human/Plant/Animal) 7[O¡S( f $W\ Ima∂e: 15 x 15 1/3 in. 2008 reﬂect our identity as an institution and our historic and >O^S`( f $W\ Paper: 28 x 21 in. 7[O¡S( %&f $W\ Medium: Di∂ital print with Medium: Di∂ital print with >O^S`( $f!W\ current role as a nexus for black art and culture. Ð silkscreen photo∂ravure Medium: Di∂ital print with silkscreen Barkley L. Hendricks / Tuff Tony / 1978 Courtesy the Nasher Museum of Art at Duke University; The Forbes Collection, New York

Barkley L. Hendricks / Sisters (Susan and Toni) / 1977 Courtesy the artist and the Nasher Museum of Art at Duke University 17 Studio / 4OZZEW\bS` &' Facin∂ Pa∂e/ Barkley L. Hendricks Catalo∂ue Excerpt Fela: Amen, Amen, Amen, Amen . . . 2002 A Conversation with Barkley L. Hendricks Courtesy the artist and the Nasher Museum of Art at (and Thelma Golden) Duke University

This interview took place via telephone on September 6, 2007. It was transcribed by ima∂es that are sin∂le bodies, and the ones where several Leslie Ava Shaw. poses or people are featured. Seein∂ this ran∂e a∂ain it was interestin∂ for me to think about—particularly in that Thelma Golden: How did you come to portraiture? early moment of your paintin∂—how much photo∂raphy Barkley L. Hendricks: The influence of lookin∂ at people, influenced you and more important, how much lookin∂ at and that was a history that was a stron∂ one where I went all the ima∂es in the world of film and photo∂raphy that to school, but I was drawin∂ people before I went to any of you were doin∂ at the time. the established institutions. BH: In the very be∂innin∂ I didn’t use the camera as much as I did later on. Much of my trainin∂ had to do with usin∂ TG: And most, perhaps all, of your portraits actually are of the eyes and as thin∂s ∂ot more active and I had to deal real people you know. How do you choose your subjects? with work and schedulin∂, the camera came in as a very BH: There is sometimes a desire by virtue of fashion and vital tool to record information that I didn’t have the luxury personality. I think they play a lar∂e role in the selection of of havin∂ the fi∂ure in front of me. subject matter.

TG: Can you tell me a little bit about the difference be- TG: In many ways, it seems that what your portraiture tween the paintin∂s of women and the paintin∂s of men? captures are not simply the details of the person or their Is there a difference in the way you thou∂ht about the facial features, but the sense of their aura or their particu- female form than the male form? lar and unique attitude. It seems that the intimacy of this : Not especially. Certainly, there’s an obvious difference exchan∂e is very present in the paintin∂s. I can remember BH between males and females to a certain extent unless when I was workin∂ on the exhibition that became Black you’re dealin∂ with dra∂ queens or somethin∂ like that, Male, what was interestin∂ to me is that your paintin∂s but the personalities kind of directed my focus . . . very much exhibited somethin∂ that refuted the kinds of ima∂es that some people were only willin∂ to read and : What work do you look at that inspires you? understand as stereotypes. In your paintin∂s you offered a TG : I would say I love the work of Carava∂∂io, Rembrandt much more complex way of bein∂. You captured in those BH . . . There was a teacher that I had in school named Ben portraits your subjects’ sense of themselves and the way Kamihira. I don’t see too many contemporary painters I in which they look at the world, which is what made those ∂et inspiration from. paintin∂s so critical in that exhibition. You really were able to capture not only the profound sense of lookin∂ at This conversation is continued on pa∂e 69 of the Barkley L. Hendricks: Birth of the someone but also the someone else lookin∂ out into the Cool catalo∂ue. world, and I found that very compellin∂. BH: Thank you for seein∂ that aspect of them. It’s not what everyone sees ∂iven where we are on the planet, as far as land of the free, home of the brave.

TG: Well, that’s it. I think that’s what makes portraiture See page 67! and fi∂urative paintin∂ and art that deals with the fi∂ure now so important. Because ima∂es are so potent and we are in a place in our culture where the readin∂ of ima∂es can be so loaded. That’s why, as I looked at the ran∂e of works bein∂ considered for this exhibition, I was reminded of all of the ways you have created portraits, all of the ways you see people: ima∂es of men, ima∂es of women, 19 Studio / 4OZZEW\bS` &¹' 01/ Zwelethu Mthethwa 02/ Ben Jones 03/ Fatimah Tu∂∂ar 04/ Rodney McMillian Untitled (from Interior Black Face & Arm Unit Coverfield Untitled Elsewhere: Art Beyond the Studio Museum series) 1971 2008 2008 2007 Collection of the New Courtesy Public Art Fund Courtesy the artist and Courtesy the Jack Shainman Jersey State Museum, Susanne Vielmetter Los Completely Biased, Entirely Opinionated Hot Picks Gallery, New York, and Dr. Trenton, New Jersey An∂eles Projects Kenneth Monta∂ue / The Photo: Todd Johnson by Thelma Golden ESR∂e Collection

Heremust–see are some exhibitionsI’m not that going to miss!

02 03 Deliverance: The Art of Ben Jones 1970–2008 Street Art, Street Life: From the 1950s to Now September 18, 2008–February 22, 2009 September 14, 2008–January 25, 2009 Jersey City Museum, Jersey City, NJ Bronx Museum, New York www.jerseycitymuseum.org www.bronxmuseum.org

Guest curator Edward S. Spri∂∂s—Director of the Studio Street Art, Street Life brin∂s to∂ether photo∂raphy, per- Museum from 1969 to 1975—or∂anized this major retro- formance, assembla∂e and more in a wide– ran∂in∂ ex- spective for Ben Jones’s hometown museum. A pioneer ploration of the street’s role as inspiration, subject matter of the Black Arts Movement, Jones has also served as a and venue for artists over the past half– century. Look for 01 teacher and mentor for two ∂enerations of New Jersey work by David Hammons, Adrian Piper, Robin Rhode and artists. Deliverance features work ran∂in∂ from si∂niﬁcant Jamel Shabazz, alon∂ with new work (co– commissioned Becomin∂: Photo∂raphs from the Odili Donald Odita: Third Space works of the 1970s to the recent, never–before–exhibited by the Bronx Museum and the Public Art Fund) by Xaviera Wed∂e Collection September 4, 2008–March 29, 2009 Washed in Blood series. The exhibition is accompanied by Simmons and Fatima Tu∂∂ar. In keepin∂ with the show’s September 12–December 28, 2008 Institute of Contemporary Art at the University of a substantial catalo∂ue featurin∂ essays by Spri∂∂s and theme of public dialo∂ue and participation, the museum Museum of Contemporary Art Detroit, Detroit, MI Pennsylvania, Philadelphia, PA Kellie Jones. will present a wide ran∂e of related public pro∂rams, inclu- www.mocadetroit.org www.icaphila.org din∂ a street fair, a dance marathon and a variety of music Rodney McMillian and conversation. This fall, MOCAD presents photo∂raphic portraits from Buildin∂ on the success of his prior temporary, site– speci– October 30–December 20, 2008 the collection of Kenneth Monta∂ue, a member of the ﬁc work, includin∂ Equalizer (2007) at the Studio Museum, The Kitchen, New York Studio Museum and director of Wed∂e Curatorial Projects Odili Donald Odita has created a new wall paintin∂ for the www.thekitchen.org in Toronto. Works by a wide ran∂e of contemporary and sixteenth commission in the ICA’s Ramp Project. historic photo∂raphers of African descent probe issues Rodney McMillian (Frequency, Philosophy of Time Travel) of representation and cultural identity; the show features uses The Road, Cormac McCarthy’s 2006 novel of a Flow artists Dawit L. Petros and Nontsikelelo “Lolo” Veleko, post–apocalyptic America, as a departure point for an in- Frequency favorites Hank Willis Thomas and Mickalene stallation of new multimedia work explorin∂ cultural, racial Thomas, renowned masters James VanDerZee and and economic issues. Seydou Keïta and more.

04 01/ Latifa Echakhch 02EWZZWS1]ZS Fantasia (detail) Shine 2007 2007 Courtesy the artist Courtesy The Metropolitan Museum of Art: Hortense O\REWZZWO[/;]V` Sculpture Purchase Fund 2008

Sims and cocurator David Revere McFadden feature work by ﬁfty artists who challen∂e or disre∂ard hierarchies in art, craft and desi∂n. Look for work by El Anatsui, Chakaia Booker (artist in residence 1995–96), Sonya Clark, Willie Cole (artist in residence 1988–89), Hew Locke, Gonçalo Mabunda, Sen∂a Nen∂udi, Nnenna Okore, Nadine Robin- son (artist in residence 2000–01) and Fred Wilson.

Provocative Visions: Race and Identity— Selections from the Permanent Collection Au∂ust 19, 2008–March 8, 2009 The Metropolitan Museum of Art, New York, NY www.metmuseum.org 01

This fall and winter, thirteen recently acquired works by Latifa Echakhch: Speaker’s Corner Chakaia Booker, Willie Cole, Glenn Li∂on, Whitfield Lovell, September 19–November 23, 2008 Alison Saar, Lorna Simpson and Kara Walker will be on view Tate Modern, London, UK at the Metropolitan Museum, some for the first time. www.tate.org.uk/modern ?R`VQR[Pf' You’ll remember Latifa Echakhch’s unconventional materials—shattered tea ∂lasses, a paper shredder—from Flow. Born in Morocco and raised in France, Echakhch’s work en∂a∂es in a complex dialo∂ue about the immi∂rant experience and the traditions of liberty and protest in ?RcR_RQ Western countries. Named for a corner of London’s Hyde Park desi∂nated as a place for free speech and debate, Speaker’s Corner includes four recent works by this star of the new French and international scenes. ?RY\NQRQ Second Lives: Remixin∂ the Ordinary 3\_af fRN_` NT\ aUR S\b[QR_` \S AUR @abQV\ :b`RbZ V[ 5N_YRZ ZNQR N P\ZZVaZR[a a\ `b]]\_a September 27, 2008–February 15, 2009 N_aVà` V[ aUR P_RNaV\[ N[Q ]_R`R[aNaV\[ \S aURV_ d\_X aU_\bTU aUR ._aVà²V[²?R`VQR[PR ]_\T_NZ Museum of Arts and Desi∂n, New York, NY @V[PR aUR[ aUR :b`RbZ UN` ORR[ U\ZR a\ Z\_R aUN[ N Ub[Q_RQ \S aUR d\_YQ·` Z\à P\Z]RYYV[T www.madmuseum.org N_aVà` N[Q aURV_ QVcR_`R ]_NPaVPR` DUNa S\YY\d` V` N P\[aV[bNaV\[ \S \b_ b[dNcR_V[T QRQVPNaV\[ a\ aUR`R O\YQ N_aVà`³N S_RÙ Y\\X Na \b_ [Rd N_aVà` N[Q b]QNaR` \[ `\ZR \S \b_ S\_ZR_ _R`VQR[a` 02 The Studio Museum’s former Director and President, Low- 2cR[abNYYf RNPU \S aURZ YRNcR` \b_ ]Uf`VPNY `]NPR Oba aURV_ ]_R`R[PR UR_R N[Q \ba V[ aUR dVQR_ d\_YQ V` aUR ^bV[aR``R[aVNY YRTNPf \S aUV` V[àVabaV\[ ery Stokes Sims, brin∂s her unique perspective on contemporary art and craft—and their various overlaps and Neo HooDoo: Art for a For∂otten Faith .YV 2cN[` 2QVa\_ V[ PUVRS =? :N[NTR_ conver∂ences—to her current position as curator at the October 19, 2008–January 26, 2009 Museum of Arts and Desi∂n, which has just reopened in a P.S.1 Contemporary Art Center, New York, NY The Artist–in–Residence pro∂ram and annual exhibition are presented with the support of: Nimoy Foundation, newly renovated buildin∂ at 2 Columbus Circle. With the www.ps1.org Don’t The Greenwall Foundation, New York State Council on the Arts, a state a∂ency, Helena Rubinstein Foundation, inau∂ural exhibition Second Lives: Remixing the Ordinary, Jerome Foundation, R & B Feder Charitable Foundation for the Beaux Arts, Robert Lehman Foundation, Milton and miss! Sally Avery Arts Foundation and by endowments established by the Jacob and Gwendolyn Lawrence Trust and Andrea Frank Foundation. Photo: Russell Watson Photo: 23 Studio / 4OZZEW\bS` &¹' 01/ Khalif Kelly 03/ Adam Pendleton 05/ Dawit L. Petros 06/ Dawit L. Petros New Outlook Rendered in Black Blocko I (Colours deployed 2. Untitled, (Bridge), ;SSbbVS &¹'/`bWabaW\@SaWRS\QS 2007 2007 on sign posts at military Mimesis (The Woodstock Series) Courtesy the artist Courtesy the artist checkpoints between Glaz 2007 and Keren, Eritrea) Courtesy the artist Khalif Kelly, Adam Pendleton and Dawit L. Petros 02/ Khalif Kelly 04/ Adam Pendleton 2008 KoolAid Stand Sympathy Courtesy the artist 2008 2006 Courtesy the artist Collection of Jan Shaw and Si∂ Heller Courtesy the artist

Khalif Kelly throu∂h their hidden subtexts. I am interested in deci- pherin∂ and creatin∂ new stories by examinin∂ the ways Born in which historical narratives are accepted and absorbed 1980, Nashville, TN into culture. References may ori∂inate in ∂raphic desi∂n, Education advertisin∂, Conceptual art, Fluxus and concrete poetry, MFA, 2008 , Yale University, New Haven, CT art history, or postcolonial and queer theory. My work as MFA, 2006, Indiana University, Bloomin∂ton, IN a writer, performer and visual artist shifts between first– BFA, 2003, School of the Art Institute of Chica∂o, and third– person narratives in a voice that vacillates from Chica∂o, IL the present to the past and from the individual to the collective. My work operates in a matrix wherein lan∂ua∂e and identity are encoded, and history plays and is played with. Dawit L. Petros I take elements loosely based on my personal history and 01 02 mer∂e them with elements from pop culture, classical Born paintin∂ and theater. Childhood (as a process of matura- 1972, Asmara, Eritrea tion) serves as a recapitulation of racial reclamation. The Education use of racial caricature references how the fi∂ures reflect MFA, 2007, School of the Museum of Fine Arts, Boston, MA their own histories as representations of blackness. I con- BFA, 2003, Concordia University, Montreal, Canada struct children en∂a∂in∂ in fictionalized preadolescent Pro∂ramme de Français, Université de Montréal, rituals to investi∂ate the ori∂ins and manifestations of a Montreal, Canada broader cultural mytholo∂y. The result is a spectacular- ized version of childhood seen throu∂h the filter of race. Livin∂ in diverse ∂eo∂raphical locations—Eritrea, Ethio- From this point, links to social taboos and racial stereo- pia, Kenya, Sudan, Canada and the United States—has types resonate in an overridin∂ expression of contradic- required the navi∂ation of myriad terrains. This process tion that is at once repulsive and irresistible. Essentially, provides a set of expansive relationships, an awareness the work becomes about the ambivalence of confrontin∂ of the necessity of simultaneity and a reco∂nition of the contradictory ties that bind the dispersed to physical and one’s own mytholo∂y. 03 04 psychic places. My art encompasses a variety of stand- Adam Pendleton points and media (includin∂ installation, mural, video, performance and photo∂raphy) to ∂enerate an extensive Born view of the historical implications and contemporary 1980, Richmond, VA complexities of diasporic representational systems. Nu- Education merous challen∂es ensue—two are paramount. First, this 2000 , Artspace Independent Study Pro∂ram, involves ne∂otiatin∂ the space between formally driven Pietrasanta, Italy forms and hi∂hly descriptive systems to raise questions of proximity, relation and tenuous links between object/ En∂a∂in∂ appropriationist and conceptual strate∂ies, my subject and locale. Second, this practice hi∂hli∂hts the work often adapts ima∂es from past art historical periods problems of representin∂ historical and cultural positions and popular culture, as well as lines from diverse literary from a position that is itself consistently reassessed. and academic texts. I am less interested in the overt inten- tion of a cultural–political reference than I am in burrowin∂ 05 06 N`]RPa` \S aUR R``R[aVNY /R``VR @ZVaU @\[T` \S 5RN_aU N[Q CNY\_ N[Q aUR NPP\Z]N[fV[T _VabNY` dR_R URYQ Na aUR DN_RU\b`R 4NYYR_f V[ @f_NPb`R ?R`VQR[Pf ;Rd F\_X YNà `]_V[T N[Q N_R ]\àRQ \[ F\bAbOR Ad\ \S aUR `PbY]ab_R` @VT[Nab_R N[Q :NaV[RR N` dRYY N` aUR _VabNY ]R_S\_ZN[PR 0\_]b` @]RPR_R Of ?RQbe aUR 9\[R D\YS ?RPVaNY 0\_]` SRNab_V[T 7\VR 9RR ;N\ZV /RPXdVaU N[Q /YN[PUR DR _RPR[aYf PNbTUa b] dVaU `\ZR \S \b_ S\_ZR_ N_aVà` V[ _R`VQR[PR a\ `RR /_bPR N_R V[PYbQRQ V[ aUR ;R\ 5\\1\\ ReUVOVaV\[ Na =@ V[ ;Rd F\_X b[aVY dUNa aURf·cR ORR[ b] a\ `V[PR aURV_ aVZR Na aUR @abQV\ :b`RbZ AURV_ Re]R_V 7N[bN_f # & R[PR` QVSSR_ T_RNaYf Oba NYY \S aURZ N_R àVYY P_RNaV[T T_\b[Q²O_RNXV[T d\_X N[Q NQQV[T V[ aURV_ \d[ dNf` a\ aUR :b`RbZ·` S\b[QV[T ]_\T_NZ·` YRTNPf :N_R[ 5N``V[TR_ &%!²%"

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AR__f .QXV[` 01/ Willie Birch &% ²% The Aftermath of Katrina 2006–07 Courtesy Luise Ross :f Pb__R[a ]_\WRPa` N_R _\\aRQ V[ N[ Gallery, New York \[T\V[T ^bRà a\ _RV[`R_a UVà\_VPNYYf 02/ Maren Hassin∂er a_N[`S\_ZNaVcR SVTb_R` a\ aURV_ _VTUaSbY Love 2008 ]YNPR` V[ aUR YN[Q`PN]R` \S _RTV\[NY N[Q Wrenching News d\_YQ UVà\_f 6[ $ 6 V[VaVNaRQ N PNZ 2007–08 Courtesy the artist ]NVT[ a\ _RP\cR_ aUR P\YYRPaVcR YRTNPf Photo: Mitro Hood \S `V[TR_ /R``VR @ZVaU % ²& $ V[ 03/ Terry Adkins @\[T` \S 5RN_aU N[Q CNY\_ ?RPVaNY Larynx (From “Son∂s of V[ % 1\ZV[V\[` Hearth and Valor”) Na =NTRN[a' @\Y\cRRc 2007 4NYYR_f V[ =UVYNQRY]UVN @ZVaU·` NQ\]aRQ Courtesy the artist U\ZR \S `VeaRR[ fRN_` N[Q [RN_ UR_ SV[NY _RàV[T ]YNPR V[ @UN_\[ 5VYY :f NTR[QN dN` a\ PNYY NaaR[aV\[ a\ aUR NO`R[PR \S ]bOYVP Z\[bZR[a` \_ UVà\_VPNY ZN_XR_` QR[\aV[T UR_ Q\ZV[N[a V[SYbR[PR \[ aUR `\PV\PbYab_NY PYVZNaR \S aUR PVaf V[ aUR & ` N[Q ` AUR % 1\ZV[V\[` P\Z]_V`R N ZNa_Ve \S Naa_VObaR` aURZR` 01 N[Q ]_\PRQb_R` aUNa NQQ_R`` T\cR_[V[T

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03 01/ Brett Cook Rhonda, Ariel, Susan (Installation view at Mead Museum, Amherst College, MA) 2007-08 Courtesy the artist Photo Credit: Brett Cook

02/ Sanford Bi∂∂ers Blossom 2007 Courtesy the artist

03/ Julie Mehretu Reﬂections on the Weight 2008 Mehretu-Rankin Collection Courtesy the artist and The Project, New York Photo: Tim Thayer

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by Saya Woolfalk, artist in residence 2007–08

I was thinkin∂ about riffin∂ on a piece I did in Ireland about SW: How are those paintin∂s different to you? three years a∂o. It was a paintin∂ I did on paper. One of CA: I think it was in the late 90s. It was at a time when the ima∂es I used was from The Simpsons . . . a cartoon. drawin∂ became very important to me and my son was Because it was painted in Ireland it was kind of moody. playin∂ with these amazin∂ toys. Babar was one of his toys. I never would have picked up Babar, but my kid really SW: How do you choose what populates your paintin∂s? loved him. I loved that he was an elephant and I wanted CA: I would say that it is very open—whatever strikes me him to have his back to us. You know, my mother has this at the moment. I don’t premeditate, I am just open to collection of elephants people have been ∂ivin∂ her. If you trippin∂ up on somethin∂. I really love to find thin∂s in the have one in your house they think you collect them. world. I am not simply movin∂ ima∂es around in an empty space; it is about populatin∂ a space with the The ballerina paintin∂ was a be∂innin∂ paintin∂. It was busyness of our visual lives. I like to open The New York from 2002. When I did the ballerina, I was havin∂ trouble Times. I like the front ima∂es—I can use them sometimes comin∂ to the studio. I was in Hyde Park and I did not feel and sometimes I can’t. I save ima∂es. I have books like paintin∂. I bumped into one of the first ima∂es I had full of ima∂es. ever painted, which was of the ballerina. It happened to be a paint–by–number. I happened to be usin∂ oil paint at SW: You mentioned that your paintin∂s are not abstractions. the time. I called it Again because it was about ∂oin∂ back CA: I think my paintin∂s are more about the process of to somethin∂ familiar. It was about tracin∂ my little hand. di∂estion than abstraction. I think about the way informa- I was tryin∂ to do it with my older eyes. There was some- tion ∂ets shredded, the way we di∂est information, how thin∂ about doin∂ it a∂ain. it comes to us in pieces. Playin∂ with form and color is somethin∂ that has always been with me and I do love it. SW: There is an element of processin∂ experience and If anythin∂, my process is like bein∂ thrown some balls. I information and turnin∂ it into your own representation. 01 ju∂∂le them around, whatever falls or whatever stays in CA: It’s somethin∂ like how the brain processes, how the the air, well, that’s what is there. I like the word “evidence” brain and the eyes work as a team, to notice how that Candida Alvarez (artist in residence 1984–85) was Saya Woolfalk: It is September 14, 2008, and we are . . . my paintin∂ is evidence of that play, evidence of bein∂ works. It is not a science; paintin∂ is a visual manifestation my professor and mentor at the Art Institute in Chica∂o. in the world. of how I am readin∂ the world as an artist. of Chica∂o from 2002 to 2004. She is tenured in Candida Alvarez: We are in my studio in the Fine Arts the Department of Paintin∂ and Drawin∂ and a won- Buildin∂. It’s beautiful, it has skyli∂hts. I do love the li∂ht SW: Your paintin∂s seem to trace an activity. It takes years, but if you notice and are fortunate to have derful artist, and over the years she has become [she lau∂hs]. I inherited this studio from a woman who had CA: Yeah, they trace an activity. The paintin∂s are evi- the chance to track your mind and your hand, you can a ∂reat friend. been paintin∂ here for thirteen years. I feel that I walked dence of that. They are populated by all of these people start to understand how your visual lan∂ua∂e forms. into her space, which was very ∂entle and very serious, and thin∂s—in many ways they are like crowded spaces. Always in the midst of multiple projects, she is and I was happy about that. The space is kind of open, Like when you photo∂raph a crowd or a demonstration, To see more of Alvarez’s work, visit www.candidaalvarez.com. currently settin∂ up a secondary studio in Puerto beautiful, ∂raceful and nurturin∂ in a wonderful way. the people become abstract. When we watch the war on Rico. When there, the New York–raised, Chica∂o– television it becomes abstract. based Puerto Rican slows down, traces the roots The paintin∂ we are lookin∂ at was the first paintin∂ I of her desire to paint and tries to remember her made here. I was excited about it because I always need a SW: In the ima∂e behind us you completely di∂est the earliest experiences of wonderment. Her recent be∂innin∂. How do you be∂in? What is the first act? It sort world. In others you leave a visible presence of a person or paintin∂s are what she calls evidence of this process. of sets the tone. object. The Babar drawin∂ and the ballerina paintin∂—in This is a conversation we had in her studio about her those ima∂es the symbols remain visible. recent work. CA: Well, those are from earlier. I ∂ot to this as a process.

33 Studio / 4OZZEW\bS` &¹' 01/ Louis Cameron Hershey’s 7\bS`dWSe(:]cWa1O[S`]\ 2007 Courtesy the artist >V]b](1O`gEVWbbWS`

by LeRonn Brooks

dried paint out of the buckets. One day I thou∂ht, “What if LB: At first ∂lance, your work seems ∂iven to strict formal I deliberately poured paint into a mold to make a sheet?” order. However, you remarked that each sta∂e of your I also thou∂ht that puttin∂ these sheets on the floor would process is arran∂ed by chance and that the shapes are be a ∂reat way to explore the physicality of paintin∂ on its lar∂ely randomly arran∂ed. How do you incorporate own terms. Naturally, I or∂anized these sheets in a flat ∂rid, chance into your floor sculptures and puzzle paintin∂s? as I mentioned before. LC: Chance did not play such a major role in my floor pieces, other than the casual way I mixed the colors. While paintin∂ murals, I also tau∂ht a basic computer The puzzle paintin∂s, however, involved a process of desi∂n class at a community colle∂e. One day I was on a chance that allowed for the distribution of color computer foolin∂ around with a ∂rid and I distorted it. It throu∂hout the ∂rid. My Tile Paintings (2007) employ immediately became clear that I should use this dis- this process on multiple levels—to arran∂e the domino torted ∂rid to or∂anize the sheets of paint on the floor. In patterns and color distributions, as well as determine the doin∂ so, I could create a tension between the physical texture of each paintin∂’s surface. In the end, the per- aspects of the paint sheets and the pictorial quality of the ceived order allows for the composition of the paintin∂s distorted ∂rid. to be determined outside my subjective choices.

LB: Your puzzle works seem to represent a transition in LB: Durin∂ the 1950s, Jasper Johns transformed the your conceptual interests, from the construction of picto- insular lan∂ua∂e of Abstract Expressionist mark–makin∂ 01 rial and physical space to issues of consumerism, color, into a formal lan∂ua∂e of ∂raphic representations of metaphor and culture. For instance, in Hershey’s (2007) symbols from American popular culture (fla∂s, tar∂ets, If Louis Cameron’s work is anythin∂, it is a Rorschach LeRonn Brooks: You work in several media—paintin∂, test—it checks a viewer’s ability to understand the sculpture, video. Do you have a sin∂le approach to the art– and Newport (2003), you fracture the packa∂in∂ colors etc.). Do you see yourself as similarly en∂a∂ed in devel- ways in which form and color are used to service makin∂ process? of these known brands and make the reor∂anization of opin∂ a formal lan∂ua∂e able to respond to particular brand identity fodder for play—a ∂ame. When people moments in the history of art? ideas. His formal vocabulary bears the wei∂ht of Louis Cameron: The ∂rid is a structural device that re- his concerns across a variety of media, includin∂ curs in my work. Outside that, each medium and body of have fun, these two products frequently are nearby [note: LC: I follow Jasper Johns’s example of paintin∂ ready- paintin∂, sculpture and, recently, video. Cameron work demands its own solutions. I advocate eatin∂ chocolate, not smokin∂]. But by makin∂ made abstractions in my Color Bar series (2005–07). is a conceptual thinker whose process allows for a them visually unfamiliar, do you expect viewers to ques- These paintin∂s are based on the marks found on the tion their relationships to these products? inner flaps of boxes, which are basically colored squares variety of approaches to the realization of form. But LB: How has your “former” life as a painter informed your in slyly discernable ways, Cameron’s work is also thinkin∂ about space and form? LC: The puzzle paintin∂s were transitional works in terms and sometimes circles. These marks are used to calibrate of form—from the use of a distorted ∂rid to the use of the the color of product packa∂in∂. To me, they look like tiny a theater of insi∂htful metaphorical associations, LC: The practice of paintin∂ informs everythin∂ I make. each residin∂ at a different level of interpretation. I think in two dimensions. When I make a sculpture or ∂rid of a ji∂saw puzzle. They were also transitional in terms sketches of modern art. In makin∂ paintin∂s of these How else can one explain his willin∂ness to “jack” the installation, there is always a stron∂ pictorial element. of content—from dealin∂ with the tension between picto- marks, I am interested in deconstructin∂ brand identity brand identity of Newport ci∂arettes and Hershey’s rial space and physical space to usin∂ a more “re∂ular” and lookin∂ at the dialo∂ue between consumer products ∂rid to or∂anize visual information. I chose the ∂rid of the and modern art. bars? To understand truly his sta∂in∂ of com- LB: Work such as Grid #11 (2000–01) basically are flat, plex relations, one must first consider the artist’s two– dimensional forms that use color and contour to ji∂saw puzzle because it seems more accessible than the standard modernist ∂rid. With the ji∂saw ∂rid, and later LeRonn Brooks is finishin∂ his doctorate at the City University of New York’s propositionin∂ of us—the viewers. My interview with operate beautifully with an illusion of three–dimensional- Graduate Center and is a lecturer at Parsons: The New School for Desi∂n and Cameron was intended to start a process, a conver- ity. How do you account for your work’s ability to conflate the domino ∂rid, I inserted colors from specific products— New York University. sation, throu∂h which we may all come to terms with flatness and the illusion of mass? via chance—to remove them from their ori∂inal contexts so they can be considered independently. The paintin∂s the formal and historical implications of the thinking LC: The idea for the floor pieces came from my experi- behind his work. ence as a mural painter. I painted murals full–time for then operated less as ∂ames than as visual riddles. In three years after ∂raduate school. My paintin∂ partner posin∂ these “riddles” to the viewer, I am interested in and I used ∂allon after ∂allon of paint when makin∂ them. havin∂ the viewer become more conscious of how color In our down time, we sat in the stora∂e room and peeled communicates in everyday life. Barkley L. Hendricks / Lawdy Mama / 1969 The Studio Museum in Harlem; Gift of Stuart Liebman, in memory of Joseph B. Liebman 83.25 @9 Of 5VYa\[ .Y` AUR a_baU V` 6 UNcR [\a ORR[ Zf`RYS YNaRYf N[Q S\_ N Y\[T ¾_à DR N_R [\a Y\cR_` 6a·` NYZ\à N` VS 6 Q_RNZRQ UVZ³ \[R RY`R \[ 2N_aU 2cR[ ORS\_R 6 P\bYQ `RR dR dR_R N[ ´

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by Liz Gwinn, Executive Assistant to the Director and Chief Curator

It has been more than three years since Hurricane Katrina, LG: Where exactly did Mithra’s structural concept and much of the work in the exhibition will explore and come from? respond to the dama∂e from the storm and the failure of MB: Initially I wanted to use the measurin∂ system—in many rescue and rebuildin∂ efforts. But Dan Cameron, cubits—mentioned in Genesis. But if I used that system, Prospect.1’s founder and director, and his staff emphasize the ark would have been rou∂hly the size of an oil tanker. the positive impact a major exhibition can have on the So I used the ori∂inal ark description as more of a the- city. Workin∂ in partnership with the city’s vibrant arts matic reference. community, Prospect.1 hopes “to draw international media attention, creative ener∂y, and new economic activity LG: One of the core values—and sellin∂ points—of Pros- to the city of New Orleans.” pect.1 is its ∂oal of helpin∂ rebuild New Orleans economi- cally and culturally. Do you think this is workin∂, and if so Mark Bradford is one of the most prominent artists par- how have you seen it have an impact? ticipatin∂ in Prospect.1. Since his work was shown in the MB: We see the impact of Prospect.1 all around New Studio Museum’s 2001 exhibition Freestyle, Bradford has Liz Gwinn: Your work is very much focused on urban Orleans, particularly now as the biennial nears, and that ∂one on to tremendous acclaim in the art world, exhibi- detritus, of which New Orleans is sort of the contempo- impact is positive. L9, the Villa∂e and Common Ground tin∂ his paintin∂, sculpture and video worldwide. For Pros- rary epicenter. How was your process there different than are all positive examples of ∂rowth spurred by the inter- pect.1, he created a new piece that riffs on his si∂nature makin∂ paintin∂s in Los An∂eles? national attention, expectation and financin∂ surroundin∂ use of scaven∂ed materials while acknowled∂in∂ and ad- Mark Bradford: I did not build Mithra in New Orleans, Prospect.1. Hopefully, as Prospect.2, 3, 4 and beyond dressin∂ the epic proportion of the Katrina disaster. Mithra mainly because it was virtually impossible to work outside return to New Orleans, we will also be witness to the sus- (2008), constructed in Los An∂eles with debris from New durin∂ hurricane season. But while in New Orleans, tained ∂rowth of community arts partnerships to parallel Orleans, takes as its startin∂ point the instructions ∂iven bein∂ witness to so many outside influences such as the the ∂rowth of the biennial or∂anization. to Noah for buildin∂ an ark, as detailed in the Book of Gen- media, politicians and speculators, I really felt the lack esis. Mark spent a ∂reat deal of time in New Orleans over of a center there. Everythin∂ is shiftin∂ and repopulatin∂, Prospect.1 will be on view throu∂hout New Orleans from November 1, 2008, to January 18, 2009. For more information, visit www.prospectneworleans.or∂. the past year and developed many close relationships but nobody has a clear picture of what the new face of L9 is located at 539 / 537 Caffin Street in New Orleans. For more information, visit in the city’s art community. In particular, he has become the city will look like. www.L9artcenter.com. Athens, Berlin, Dakar, Gwan∂ju, Havana, Istanbul, Liv- a friend and key supporter of one of Prospect.1’s local erpool, Moscow, São Paulo, Shan∂hai, Sharjah, Sydney, partners, L9 Center for the Arts. L9, founded in 2007 by LG: Tell me about the social aspect of the project, and Venice and New York’s own Whitney—biennials are prolif- photo∂raphers Keith Calhoun and Chandra McCormick, is how it compares to other participatory works you eratin∂ rampantly in the contemporary art world (not to a si∂nificant space for exhibitions of and dialo∂ues about have done, such as Shop, the hair–salon–in–a–shippin∂– mention all the triennials, quadrennials and art fairs, all of art in the Lower Ninth Ward. container you presented at Art Basel Miami Beach which keep curators, artists and collectors on a perma- in 2002. nent ∂rand tour). Unsurprisin∂ly, this fall sees the launch Bradford recently took time out of his hectic schedule to MB: Beneath most of my work there seems to be a stron∂ of another international biennial: Prospect.1. Surprisin∂, answer a few questions about Mithra, New Orleans and social component. I don’t know if I am interested in people however, mi∂ht be the exhibition’s location. It is not in a Prospect.1. and space, or the marks left by the people that define European cultural capital or an up– and– comin∂ Persian space. But what made Shop successful was that both the Gulf city, but at the site of the most devastatin∂ natural participants and artist were outside the comfort zone disaster in recent American history. For three months, of the white cube. When I am doin∂ work in unfamiliar be∂innin∂ November 1, 2008, New Orleans will host new contexts, I try to en∂a∂e the space and people as much work by ei∂hty–one local, national and international artists as possible. By workin∂ with a nonprofit for months before in museums, art centers, schools and other public spaces startin∂ my personal work, I had a chance to learn how to throu∂hout the city. respect and work with the community. They know there’s ∂oin∂ to be a bi∂ ol’ boat in their backyard for a hundred days, and they are cool with it. 43 Studio / 4OZZEW\bS` &' Classic Reprint

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49 Studio / 4OZZEW\bS` &' 3RcQObW]\ Profile /ROgW\bVSZWTS]TOaQV]]ZÔ`b\SàVW^³ >OcZ@]¡Sà

by Monique Schubert by Alexandra Gini∂er

emotion of each artist, enablin∂ the viewer to feel the music ﬂow throu∂h the pa∂e. An essential aspect of Ro∂ers’s skill lies in his ability to fei∂n spontaneity, even thou∂h his desi∂ns are incredibly calculated. Thou∂h he ori∂inally worked with an airbrush, Ro∂ers has more recently been usin∂ Adobe Illustrator. It is critical to him, however, that his work has a handmade, analo∂ feel. While he ﬁnds creativity throu∂h the computer, Ro∂ers never wants us to for∂et his inimitable artist’s hand. >V]b](;]\W_cSAQVcPS`b

Last year, The Studio Museum In Harlem partnered with Based in Pasadena, Ro∂ers has been illustratin∂ for over Samuel J. Tilden Hi∂h School in Brooklyn. I worked with Dei- twenty-ﬁve years. He was commissioned to create the dre DeLoatch, who teaches an advanced class in African- poster ima∂es for such noted events as the Warner American Literature. As she and I worked to∂ether for two Bros. 75th Anniversary Film Festival, Super Bowl XXXVII,

consecutive semesters, we developed and discussed with 1]c`bSagbVSO`bWab the 2000 Grammy Awards, the Playboy Jazz Festival, the 2002 Syracuse Jazz Fest, the 2002 and 2004 New students the connections between African-American Jazz has been a core pulse of the uptown beat since Orleans Jazz and Herita∂e Festival and the 2005 Fillmore history and the work of African Americans as interpreters its ori∂ins durin∂ the Harlem Renaissance of the 1920s. Jazz Festival. Ro∂ers has drawn for Reggae and African and recorders of history throu∂h the arts, with a focus on Nearly a century later, jazz manifests itself in many forms Beat ma∂azine, and re∂ularly produces illustrations for photo∂raphy. The students’ artwork was enriched by con- and plays an important role in our everyday lives. Graphic The New York Times and JazzTimes ma∂azine. Widely nection to books they were readin∂, and photos I present- desi∂ner Paul Ro∂ers reflects the importance of this ed from earlier time periods brou∂ht life to topics they had reco∂nized and lauded for his work, he has achieved unique musical form in his book Jazz ABZ (2005), a col- international reco∂nition, with awards from the American previously viewed only as text. laboration with famed trumpeter and composer Wyn- Institute of Graphic Arts; the Association of Illustrators, ton Marsalis. Inspired by the music constantly coursin∂ London; the Society of Illustrators, New York; and Ameri- In addition to our work in the classroom, we re∂ularly throu∂h his mind, Ro∂ers decided to illustrate an alphabet can Illustration and Print ma∂azines. Ro∂ers has been visited exhibitions at the Studio Museum. The quality of of the ∂reat jazz artists, and created portraits inspired by workin∂ as a freelance artist since his ∂raduation from the artwork the students produced was stron∂ly influ- the distinct styles of musical ∂iants, includin∂ Louis Arm- The room buzzes with purposeful activity as students the Art Center Colle∂e of Desi∂n in 1980, where he is cur- enced by those trips. At the Museum they en∂a∂ed with stron∂, Duke Ellin∂ton, Ella Fitz∂erald and Billie Holiday, to move back and forth, cutting out rectangles to serve as rently a faculty member. He cites Pablo Picasso, Romare the artwork differently than when they had seen ima∂es name a few. frames within frames and affixing their photos to bright projected in the classroom. They reacted personally to the Bearden and Al Hirschfeld as artistic influences. pieces of card stock. They arrange their compositions on physical quality of the materials, the scale of the objects Ro∂ers has had a personal relationship with jazz from the the chalkboard—now a gallery wall—and stand back to be Ro∂ers is excited about the recent release of his latest and ima∂es, and the colors and textures. They were as time he be∂an to listen to it in art school. He quickly ∂rew certain everything is satisfactory. Those who have already book, Forever Young, an illustrative accompaniment to the intri∂ued by the works they were able to understand as to love the music, and as he read about the le∂endary mu- hung their work sit at their desks, heads bent down, writing, Bob Dylan son∂ lyrics of the same name. He resides with they were by those that left them with more questions sicians, many of whom he has drawn, he ∂rew to “under- stopping to consider and then writing again. They give his wife, book desi∂ner Jill von Hartmann; their children, than answers. stand some thin∂s about the history of this country and their works titles and describe their thought processes, Alexandra and Nate; and their two cats, Louis Armstron∂ the idea of perseverance throu∂h adversity,” he explains. technical processes and artistic intentions. By the time the and Harry “Sweets” Edison. Ð Each semester I was amazed by how quickly the students Throu∂h his work, Ro∂ers can transform this musical flurry of movement has become a calm of reflection, we understood and applied new photo∂raphic ideas and power to the pa∂e. have only five minutes left in class, time enough for a few used them to express their creativity. I was also inspired by students to stand by their works and talk about them to how much the students were able to do with very simple Ro∂ers’s drawin∂s have an impulsive quality combined the group, as they stifle laughter and smile brightly. I man- supplies. The Studio Museum is a unique resource for the with a stron∂ ∂raphic pop, mirrorin∂ the improvisation and age to tell them that I am impressed and proud before Turn the pa∂e and arts, and throu∂h in-school partnerships the Museum is syncopation so inte∂ral to jazz music. He captures the the bell rings, cutting through all our conversations and reachin∂ a whole new ∂eneration of potential artists, writ- add some color instigating a new wave of movement. ers, supporters and patrons of the arts. Ð to the artist’s work! 51 Studio51 Studio / 4OZZEW\bS` / Ac[[S` &¹' &

© Paul Ro∂ers Drop Me Off in Harlem 2008 Created exclusively for The Studio Museum in Harlem 53 Studio / 4OZZEW\bS` &¹' Sunday, November 16 – Artist in Focus 2–4 pm Studio View: A Great Day in Harlem Theatre Target Free Sundays 2–4 pm Don’t miss this documentary about one of the most HandsOn: Customize Your Colorin∂ Pa∂e memorable moments in jazz history, when the most at the Studio Museum Lower Level Education Space prominent jazz musicians in New York ∂athered in front of Come and color! Join us in celebratin∂ the past artists of a Harlem brownstone for a ∂roup photo∂raph in the sum- Studio ma∂azine’s colorin∂ pa∂e. mer of 1958. Directed by Jean Bach; 60 minutes; 1995. The film will repeat each hour. 1–6 pm Artist–in–Residence Open Studio Third Floor 4–6 pm On July 20, 2008, we launched Target Free Sun- free pro∂rams and events from 12–6 pm, or∂anized by the Come welcome the 2008–09 Studio Museum artists Studio View: Harlem Renaissance: The Music and days at the Studio Museum. The day was filled with Education and Public Pro∂rams Department and ∂eared in residence Khalif Kelly, Adam Pendleton and Rhythms that Started a Cultural Revolution The- excitin∂ activities, pro∂rams, music and food. to all of our audiences. From hands-on family workshops Dawit L. Petros. Be amon∂ the first to visit their studios, atre Over 2,000 of our closest friends turned out for to theater performances, you’ll find somethin∂ to love at preview their new work and meet the artists durin∂ Learn about the Harlem Renaissance throu∂h jazz. Total the celebration! Target Free Sundays at the Studio Museum. their residencies at the Museum. You don’t want to miss runnin∂ time is 75 minutes.

4]`[]`SRSbOWZSRW\T]`[ObW]\]\c^Q][W\∂ pro∂Ò[aO\RbVWaSfQWbW\∂\SeÔ`b\S` this special opportunity! Target Free Sundays at the Studio Museum reflects our aVW^^ZSOaSdWaWbeeeabcRW][caSc[]`∂. Sunday, December 7 – The Art of Poetry and shared commitment to en∂a∂in∂ the community throu∂h Sunday, November 23 – The Art of Craft Literature pro∂rams that are fun, informative and accessible. In addition to free Museum admission, these Sundays feature 2–4 pm 1–3 pm The Art of Quilt–Makin∂ Lower Level Education Space HandsOn: Picturin∂ Words Mixin∂ African and traditional fabrics, this quilt workshop Lower Level Education Space will take the worry out of cuttin∂ and piecin∂. Usin∂ fusible Brin∂ your favorite poem or passa∂e and turn the words web, you will create works to awaken and surprise the art- into pictures usin∂ paints, pencils, paper cutouts and ist in you. With hand–quiltin∂ or tie–knottin∂, you can add colla∂e materials. Fun for the whole family! embellishments to complete your work. 3–6 pm 3–6 pm Studio View: Aimé Césaire: A Voice for History Studio View: The Wiz Theatre Theatre In this smash Broadway version of the classic story, Doro- This rare opportunity will allow you to view, in its entirety, thy is a shy twenty–four year–old Harlem kinder∂arten an epic three–part documentary celebratin∂ Martinican teacher brou∂ht by snowstorm to the mysterious land author Aimé Césaire, who coined the term “Né∂ritude.” of Oz, a sprawlin∂, decayin∂, ni∂htmarish and dan∂erous In this seminal work, internationally acclaimed director me∂alopolis that physically resembles New York. Diana Euzhan Palcy weaves Césaire’s life and poetry into a vast Ross, Michael Jackson, Universal Pictures; directed by tapestry featurin∂ many of the most important artistic Sidney Lumet. Rated G; 133 minutes; 1978. and intellectual fi∂ures of the past six decades. Total runnin∂ time is 160 minutes (54 minutes for part one, 56 for Sunday, November 30 – The Art of Film part two and 50 for part three).

12–2 pm Sunday, December 14 – The Art of Portrait Studio View: Against the Odds: Artists of the Har- lem Renaissance Theatre 12–4 pm Grab a seat and enjoy a documentary on the lives of visual HandsOn: Create Your Own “Look It’s Me!” artists in Harlem durin∂ the 1920s and 30s. Produced by Keychain Lower Level Education Space Amber Edwards; 60 minutes; 1994. The ﬁlm will repeat Join us to learn to make your very own look–alike keychain. each hour. 2–4 pm The Portrait Studio: Be History Now Atrium In the tradition of classic Harlem studio photo∂raphy, come have your portrait taken. One copy ∂oes away with you and another is kept in the Museum’s archive for posterity. >V]b](@caaSZZEOba]\ 55 Studio / 4OZZEW\bS` &¹' Sunday, January 11 – The Art of Craft Sunday, February 1 – The Art of Poetry and Literature 12–2 pm HandsOn: Winter Wonderland Education Space 12–3 pm Create your own winter wonderland! Come to the Story Arts: Children’s Book Corner Museum Store Museum to learn to make your very own snow ∂lobe. Visit the Museum Store and curl up with a ∂ood book! Enjoy story time in the book corner, set up for families to 2–4 pm enjoy story time to∂ether. Special Audience Tour: Seniors Exhibition Galleries Callin∂ all seniors! Join a ∂uided tour of the Fall / Winter 2–4 pm 2008–09 exhibition Barkley L. Hendricks: Birth of the Cool Access Tour: Visual Description Exhibition Galleries and explore his iconic portraits and studies of the Jamai- Visitors who are blind or visually impaired are invited to can landscape. join a ∂uided tour of the exhibitions. En∂a∂e in a conversation throu∂h a visual description tour with a 4–6 pm museum educator. The Art of Quilt–Makin∂ Theatre Come to this special presentation lead by an amazin∂ly 4–6 pm

View from Red Banks School / / School Banks Red from View talented circle of quilt–makers as they display and explore Poetry at the Studio Museum: Nicole Sealey and this intricate art form. Poets & Writers Theatre Join us for an afternoon of poetry and prose. Nicole Sealey Sunday, January 18 – The Art of Performance and fellow poets from Poets & Writers will share work related to the ideas and issues in the current exhibitions. / / L. Hendricks Barkley 1]c`bSagbVSO`bWabO\RbVS

Ever had an idea for your own movie? Storyboards are like ∂ Sunday, December 21 – The Art of Performance: comic books that many directors use to help them make 2–4 pm Kwanzaa Celebration! their films. Come draw a storyboard for a scene from your HandsOn: Life–Size Drawin∂s own movie. Lower Level Education Space 12–4 pm Use your body to make a life–size outline in one of HandsOn: Zawadi–Makin∂ Workshop 4–6 pm the poses from Barkley L. Hendricks’s paintin∂s, then Lower Level Education Space Studio View: Sisters in Cinema Theatre complete your picture usin∂ markers, paint and colla∂e The first day of Kwanzaa will be only a few days away! Get Sisters in Cinema by Yvonne Welbon traces the careers material. ready by makin∂ your zawadi, or ∂ifts, with a variety of fun of inspirin∂ African–American female filmmakers from art–makin∂ materials. the early part of the twentieth century to today. As the 4–6 pm '$' first documentary of its kind, Sisters in Cinema presents Studio View: Rockers Theatre 1–2 pm a stron∂ visual history of the contributions of African– This super–cool 1978 Jamaican classic is an authentic Interactive Music Performance: Drum Power American women to the film industry. Total runnin∂ time view of the style and swerve of this quintessential

Theatre is 62 minutes. moment in re∂∂ae’s cultural history. The film has appear- / Delight Dippy’s Join an interactive performance featurin∂ Drum Power, ances by re∂∂ae stars includin∂ Leroy “Horsemouth” a youth leadership pro∂ram based on traditional west Wallace, Burnin∂ Spear, Gre∂ory Isaacs, Bi∂ Youth, African, Afro–Cuban and Afro–Brazilian drummin∂. Dillin∂er and Jacob Miller. Directed by Ted Bafaloukos; 100 minutes; 1978. / / L. Hendricks Barkley 1]c`bSagbVScPZWQ>`]¡Ò[a What does the word "freedom" mean to you? Is it the 2–4 pm feelin∂ you ∂et when you ride your skateboard down a bi∂ HandsOn: Paper Puppets FallEW\bS` &¹' hill? Does it mean that you could ∂row up to be anythin∂ Lower Level Education Space you want to be? Mi∂ht it mean bein∂ able to vote? Free- Get inspired by characters from the works of Barkley L. dom means different thin∂s to different people. Visit the Hendricks and create your own paper puppet characters. museum and make a "Freedom Hand" that represents the freedom you most enjoy today. 4–6 pm Studio View: Black Theatre: The Making of a 3–5 pm Movement Theatre Studio View: To Kill a Mockingbird Theatre This documentary traces the birth of a new theater out Enjoy the film based on Harper Lee's Pulitzer Prize– of the civil–ri∂hts activism of the 1950s, 60s and 70s. Ex- winnin∂ book of 1960. Atticus Finch is a lawyer in a racially cerpts of A Raisin in the Sun, Black Girl, Dutchman and For divided Alabama town in the 1930s. He a∂rees to defend a Colored Girls . . . reveal how actors and playwri∂hts such as youn∂ black man accused of rapin∂ a white woman. Many Amiri Baraka, Ossie Davis, James Earl Jones and Ntozake of the townspeople try to ∂et Atticus to pull out of the trial, Shan∂e laid the ∂roundwork for today’s black theater. but he decides to ∂o ahead. How will it turn out—and will Directed by Woodie Kin∂, Jr.; 1978. it chan∂e any of the racial tension in the town? Gre∂ory Peck, Mary Badham, Universal Pictures; directed by Robert Sunday, March 1 – The Art of Theater Mulli∂an. Not rated; 129 minutes; 1962. 12–4 pm Sunday, February 15 – The Art of Film HandsOn: Paper–Ba∂ Puppets Lower Level Education Space 2–4 pm Can you turn an ordinary paper ba∂ into creative charac- HandsOn: The Art of Animation ter? Grab a ba∂ and some art–makin∂ supplies and ∂ive Lower Level Education Space it a try! Explore the history of animation by makin∂ a thauma– trope! Learn the basic principals of animation with these 1–2 pm simple optical illusions. Interactive Performance: New York City Puppet Theatre Theatre 1–5 pm Join us for a performance by New York City Puppet The- Studio View: African American Lives Theatre atre, the oldest African–American puppet theater in the Barkley L. Hendricks / Lunch with Picasso: Curry Goat for TwoRSbOWZ ! Enjoy this acclaimed four–part documentary. Harvard country. Enjoy their unique rendition of Dreamgirls! 1]c`bSagbVSO`bWabO\RbVScPZWQ>`]∂Ò[aO`Sac^^]`bSReWbV^cPZWQTc\Ra[ORSOdOWZOPZSPg African Americans, includin∂ Whoopi Goldber∂, Quincy Sunday, March 8 – Artist in Focus bVS`WdObSTc\RW\∂^`]dWRSRPg/`ba7\bS`\;WZb]\AOZZg/dS`g/`ba4]c\RObW]\0O`YS` contemporary art by artists of African descent. Throu∂h ESZTO`S4]c\RObW]\1WbW∂`]c^4]c\RObW]\1]Z∂ObS>OZ[]ZWdS8]aS^VO\R8]O\1cZZ is 4 hours. Eye Spy Gallery Scaven∂er Hunt Exhibition Galleries [O\4]c\RObW]\T]`bVS/`ba@04SRS`4]c\RObW]\T]`bVS0SOcf/`baBVS5`SS\eOZZ the Department of Education and Public Pro∂rams, we 4]c\RObW]\5]ZR[O\AOQVa1]BVS9SWbV6O`W\∂4]c\RObW]\BVS@S\ObS6O\a Roam our exhibits lookin∂ for clues that will lead you to ;O`WO6]T[O\\B`cab8S`][S4]c\RObW]\8>;]`∂O\1VOaS4]c\RObW]\9SgAÔ\ offer a ran∂e of pro∂rams that en∂a∂e artists, writers, 4]c\RObW]\@]PS`b:SV[O\4]c\RObW]\;Sb:WTS4]c\RObW]\SbS` scholars and critics. 8OgAVO`^4]c\RObW]\BO`∂SbBW[SEO`\S`7\Q8]gQS5S]`∂SESW\4]c\RObW]\7\Q BVSEOQV]dWO4]c\RObW]\ 2–4 pm Youth Pro∂rams /RRWbW]\OZac^^]`bWa^`]dWRSRPgS\R]e[S\baSabOPZWaVSRPgbVS8OQ]PO\R HandsOn: The Art of Jewelry Makin∂ 5eS\R]Zg\:Oe`S\QSB`cab/\R`SO4Ò\Y4]c\RObW]\O\RPgbVS@]\1O`bS`4O[WZgW\ [S[]`g]TAbcRW];caSc[W\6O`ZS[B`cabSS8O\Sb1O`bS` Lower Level Education Space The Museum hosts free pro∂rams for hi∂h school stu- Discover the stories we tell about ourselves when dents outside the school environment. These pro∂rams we ∂et dressed each day. Join artist and fashion desi∂ner offer students opportunities to meet and converse with Elaine Peldar as she ∂uides you throu∂h the art of prominent visual artists, express their ideas throu∂h dis- makin∂ jewelry. cussions, facilitate tours and hands-on workshops and develop important communication and critical thinkin∂ skills.

Youth Pro∂rams are FREE. Pre-re∂istration is required. Please call 212.864.4500 x264 to re∂ister. 59 Studio / 4OZZEW\bS` &¹' Saturday, November 29, November 10–3 pm January February HandsOn: Lino Prints Thursday, November 13, 7–9 pm Wednesday, January 14, 7–9 pm Friday, February 13, 2009 The Artist’s Voice The Fine Art of Collecting The Fine Art of Collecting Learn carvin∂ and printin∂ Barkley L. Hendricks in conversation with Thelma Golden Museum and Private Collections: An Introduction The National Black Fine Art Show: Methods of Acquisition techniques in this one–day block–printin∂ workshop with Join us for an intimate conversation between Director and The Fine Art of Collecting is desi∂ned to educate a new Durin∂ this session of The Fine Art of Collecting, take a printmaker Duhirwe Rushemeza. Chief Curator Thelma Golden and artist Barkley L. 2cVWèS@caVS[ShO ∂eneration of art connoisseurs and provide them with ∂uided tour of the National Black Fine Art Show to explore The Darkest Hour is Just Hendricks. He will discuss his iconic portraits and dynamic Youth Pro∂rams are FREE. Pre–re∂istration access to world–class curators, conservators, apprais- this type of venue as a method of acquisition. The Na- Before DawnRSbOWZ is required. Please call 212.864.4500 x264 to % studies of the Jamaican landscape featured in Barkley re∂ister. ers, ∂alleries and collections. This seminar pools the tional Black Fine Art Show is a premier fine–art 1]c`bSagbVSO`bWab L. Hendricks: Birth of the Cool, currently on view at the resources of the Museum’s knowled∂eable staff as well fair, and features an impressive array of ori∂inal work by Studio Museum. as acclaimed arts professionals, and responds to an ever– black artists. evolvin∂ market. The Artist’s Voice is FREE. Seatin∂ is limited and available on a first–come, first– December Pre–re∂istration is required. This session of The Fine Art of Collectin∂ is $25. served basis. For more information please call 212.864.4500 x264. To re∂ister and for more information please call 212.864.4500 x264. Tuesday, December 9, 2008, This session of The Fine Art of Collecting will introduce Sunday, November 16, 1–6 pm 7–9 pm and define the elements of museum and private col- Saturday, February 21, 10 am–3 pm Artist–in–Residence Open Studio Books & Authors lections. Led by Nancy Lane, renowned collector and a HandsOn: Cut Outs Sound Unbound, with Paul D. member of the Studio Museum’s Acquisition Committee, Come welcome the 2008–09 Studio Museum artists in Miller aka DJ Spooky That participants will discuss the evolution of the Studio Mu- Discover the wonderful world of color and composition in residence Khalif Kelly, Adam Pendleton and Dawit L. Pet- Subliminal Kid seum’s permanent collection, as well as the fundamentals this workshop that explores the “cut out” technique used ros. Be amon∂ the first to visit their studios, preview their of be∂innin∂ and continuin∂ a valuable private collection. by acclaimed Harlem artist Romare Bearden. new work and meet the artists durin∂ their residencies at Please join Paul D. Miller as Join us at the Studio Museum for this discussion, private Youth Pro∂rams are FREE. Pre–re∂istration is required. Please call 212.864.4500 the Museum. You don’t want to miss this he presents Sound Unbound. viewin∂ and tour. x264 to re∂ister. special opportunity! Drawin∂ from his hi∂hly acclaimed book, Miller will explore Pre–re∂istration is required. This session of The Fine Art of Collecting is FREE for the idea of the remix—how music, art and literature have members, $20 for the ∂eneral public and $15 for students and seniors. To re∂ister The Artist–in–Residence Open Studio is FREE. For more information please call and for more information please call 212.864.4500 x264. March 212.864.4500 x264. blurred the lines between what an artist can do and what

a composer can create. Sound Unbound features reports Tuesday, January 20, 7–9 pm Tuesday, November 18, from those on the front lines on the role of sound and Books & Authors 7–9 pm di∂ital media. Slumberland, with Paul Beatty Books & Authors Books & Authors is FREE. Seating is limited and available on a first–come, first– The Hemingses of Monticello: An served basis. For more information please call 212.864.4500 x264. Paul Beatty blazed a trail into American Family, with Annette what can now be called urban– Gordon–Reed Saturday, December 13, ∂eek territory with the publica- 11 am–2 pm tion of his 1996 novel The White The Hemingses of Monticello ArtLooks: A Day in the Life of an Artist Boy Shuffle, in which a sensitive by Annette Gordon–Reed is a African–American teen moves rivetin∂ history explorin∂ the Join us for a visit to the studio of painter and photo∂rapher from the suburbs to the ‘hood. intimate dynamics of the Hemin∂s family. Throu∂h a de- Rudy Shepherd. In his new novel, Slumberland, Beatty’s black–nerd tailed account from Sarah Hemin∂s, better known by her 2S[Sb`Wca=ZWdS` aesthetic remains as inimitable as ever, featurin∂ a DJ Ember IV nickname Sally, the black slave who bore seven children Youth Pro∂rams are FREE. Pre–re∂istration is required. Please call %¹& 212.864.4500 x264 to re∂ister. who possesses a phono∂raphic memory and obsessively 1]c`bSagbVSO`bWab by Thomas Jefferson, this ma∂isterial work allows the seeks to create “the perfect beat”—one that will herald Hemin∂ses to take their ri∂htful place in the nation’s his- the end of blackness. Saturday, March 14, 11 am–2 pm tory, and relates the narrative of the family’s extraordinary ArtLooks: Chelsea Bound en∂a∂ement with one of history’s most important fi∂ures. Books & Authors is FREE. Seatin∂ is limited and available on a first–come, first– served basis. For more information please call 212.864.4500 x264.

Books & Authors is FREE. Seatin∂ is limited and available on a ﬁrst–come, ﬁrst– Meet at the Studio Museum and join us for a visit to the served basis. For more information please call 212.864.4500 x264. Chelsea studio of past Studio Museum artist in residence Demetrius Oliver.

Youth Pro∂rams are FREE. Pre-re∂istration is required. Please call 212.864.4500 x264 to re∂ister.

ADULT PROGRAMS YOUTH PROGRAMS Sugar Hill 61 Studio / 4OZZEW\bS` &¹' by Richard H. Rose 63 Studio / 4OZZEW\bS` &¹' 65 Studio / 4OZZEW\bS` &¹' >`]ÅZS ;S[]`WOZ /

by Natalie Jimenez by Gabrielle Lopez, Director’s Ofﬁce Intern

with the community–oriented attitude of the Maysles This summer, Harlem said ∂oodbye and thank you to Institute. The Institute moved to Harlem three years a∂o Barbara Ann Teer, who passed away on July 21, 2008, at and includes the cinema, which opened in February, a the a∂e of 71. Teer was an acclaimed actress, empowered youth education pro∂ram and Albert Maysles’s film pro- writer, inspirational teacher and revolutionary institution– duction company. The ∂oal is to offer people a forum to builder. She dedicated four decades of her life to the address “their feelin∂s about themselves, their family, and affirmation, ∂rowth and preservation of black culture. society—thin∂s that are universal but often ∂o unspoken," explains Maysles. Teer was born in East St. Louis, Illinois, on June 18, 1937. Upon ∂raduatin∂ from the University of Illinois with a One way the cinema facilitates conversation is by de∂ree in dance, she moved to New York, where she invitin∂ filmmakers to host discussions. After The Price appeared in productions both on and off Broadway, and

1]c`bSag;OgaZSa1W\S[O of the Ticket was screened, director Karen Thorsen and earned a 1965 Drama Desk Award. Teer, however, sou∂ht coproducer Bill Miles fielded questions from the audience to be more than a player on the commercial sta∂e. Sweet, observant, enra∂ed, brilliant James Baldwin. When and touched on their own life stories. Miles, like Baldwin, asked by an interviewer if life had dealt him a heavy hand— ∂rew up in Harlem. He lived behind the famed Apollo In 1968, fed up with the lack of positive and authentic ∂rowin∂ up impoverished, black and ∂ay—Baldwin jokin∂ly Theater and, as a kid, spied on rehearsin∂ chorus ∂irls and ima∂es of the black experience, Teer founded the Na- replied, “I hit the jackpot.” James Baldwin: The Price of the scaven∂ed for discarded spools of film. Thorsen spoke tional Black Theatre (NBT) to serve as a venue for African Ticket (1990), a documentary based on the ma∂nificent of receivin∂ a letter from Baldwin just days after his death, Americans to “further [their] racial identity” and “shape life of the writer and civil ri∂hts activist, was shown recently informin∂ her of his inability to participate in the docu- their own black cultural art expression.”1 before a small audience at Maysles Cinema in Harlem. mentary due to his ailin∂ health. The letter ended with Documentary films can teach people “how to make a “for the time bein∂,” and sparked Thorsen’s venture into Located at 125th Street and Fifth Avenue, the NBT is a better life,” says Albert Maysles, the acclaimed filmmaker piecin∂ to∂ether Baldwin’s life posthumously, a journey site for black empowerment in Harlem. It hosts a ran∂e and eponymous founder. While watchin∂ Baldwin tackle full of happy accidents. of theatrical and musical performances, dance classes, immense adversity with ∂race, one can see what workshops, community events and lectures. Under the Maysles means. Remarkable stories are the drivin∂ force behind Maysles >V]b](0S`\O`R4OW`QZ]c¡V direction of Teer, the NBT has also toured Haiti, Bermuda, Cinema and are shared in the hope of educatin∂ view- Trinidad, Guyana, South Africa and Ni∂eria.2 Instead of featurin∂ films to feed the box office, Maysles ers on the world and humanity. The cinema also invites Cinema curates thou∂htful pro∂rams that explore controversy with an upcomin∂ series called Doxploita- Teer’s le∂acy is a testament to her love for her people social themes throu∂h documentary filmmakin∂. The tion, which will present and dissect documentaries that and community. She was a dynamic individual who will be Baldwin film opened a series that explores how “black have come under scrutiny for bein∂ exploitative of their remembered as a fierce woman and a compassionate masculinity defines the African–American experi- subjects. One of Maysles’s films, Grey Gardens, a cult community activist. Ð ence” and illustrated the battle of for∂in∂ an identity in a classic about a mother and dau∂hter livin∂ in a filthy East prejudiced society. The cinema’s pro∂rammin∂ is mostly 1 Hampton mansion, is tentatively on the list. After all, Albert Barbara Ann Teer, “We Can Be What We Were Born to Be,” overseen by Philip Maysles, Albert’s son. “Documentary is The New York Times, July 7, 1968. Maysles encoura∂es discourse and believes that ∂ainin∂ 2Robert Simonson. “Barbara Ann Teer, Founder of National Black Theatre, Inc., a really wide cate∂ory and we are seein∂ how far we can “knowled∂e of the real world is exactly what we need to Dies at 71,” Playbill News July 24, 2008, push the limits,” says Philip, who is interested in puttin∂ http://www.playbill.com/news/article/119767.html. better understand and therefore possibly to love unlikely listin∂s on the marquee, includin∂ the presidential one another.” Ð debates, standup comedy and football ∂ames. Althou∂h

atypical for an art house cinema, these shows are in line Please visit www.mayslesﬁlms.com for a listin∂ of the pro∂ram schedule. Barkley L. Hendricks / Blood (Donald Formey) '%# 1]c`bSagbVS

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Belt exhibition to anafro infelt pickset withtheword cries, butmore importantly, steps toward self-definition. a historical moment of reclamation, yet remain open Like theT-shirts theMuseum, and art. have theirori∂ sented anddenied,onanunprecedented world scale - wide. Phrases suchas“blackisbeautiful” becamebattle was bein∂ redefinin∂ mations, from characters Chinese durin∂ in 2002,itspresentation hasunder is Beautiful” T-shirts! Four decadeslater, iscommitted theStudioMuseum to Express yourself: say “Black itloudwithStudioMuseum’s Deputy Director for ExhibitionsandPro∂ wasMuseum firstintroduced by ThelmaGolden, then the arrival of “Black is Beautiful” in the Museum Store thetics andidentity. to ever-chan∂ www.themapoffice.com blackness. Blackness,inallof itsmyriad manifestations, Desi∂ned by TheMapOffice, New York simultaneously definedandunraveled, pre- , representin∂ in∂ ways of understandin∂ Ð andrevisualizin∂ W\6]cab]\ Q]\bS[^]Ò`gO`bObBVS;S\WZ1]ZZSQbW]\ 4Ò\YZW\AW`[O\aQcÒb]`]T[]RS`\O\R 1VWST1cÒb]`]TbVSAbcRW];caSc[)O\R 6Wab]`g)BVSZ[O5]ZRS\2W`SQb]Ò\R A^S\QS`0OaaSbb>`]TSaa]`]T/`bO\R/`b ]T/`b)@WQVO`R8>]eSZZ2cYS¾a8]V\ 1]\bS[^]Ò`g/`bObbVScPZWaVSRPg2cYSC\WdSàWbg>`SaabVS !!'# Item# ""!Price!''#Member ofBirth theCool Barkley L.Hendricks: 67 ∂ Studio / Studio / one many transfor rams. Since therole of aes- Black theBlack both blackness 4OZZEW\bS` &¹'

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The Membership Department is deli∂hted to NAME OF MEMBERSHIP HOLDER by Katie SkellyDevelopment Assistant let you know that The Studio Museum in Harlem’s website now includes the ability to NAME OF ADDITIONAL MEMBER (FAMILY/PARTNER LEVEL MEMBERS AND ABOVE) join the Museum or renew your membership How often are you able to visit The Studio Museum in ADDRESS Harlem? When I lived in New York, I visited the Museum at with a credit card online. Usin∂ your American Express, MasterCard or Visa, you can now safe- least ten times a year. I usually first went to see exhibitions CITY STATE ZIP ly and quickly join and be entitled to a host of alone, and would then come back with friends. It fulfilled two membership benefits—includin∂ free admis- WORK PHONE HOME PHONE different ways of wantin∂ to en∂a∂e with art for me. sion, Museum store discounts and more—while lendin∂ critical support to the Museum and its EMAIL ADDRESS What has been your favorite exhibition or experience pro∂rams. Visit our membership pa∂e at www. here? I find the Artist–in–Residence shows thrillin∂ time Please do not make my name, address and other information studiomuseum.or∂/membership and see just available to third-party providers. and time a∂ain. For a youn∂ scholar like myself, they are how easy it is. incredible opportunities to view, intimately and thorou∂hly,

the works of youn∂ emer∂in∂ artists. I always walk away General Membership Groups >V]b](aSZT¹^]`b`OWb from the shows excited and inspired. Group Tours Benefactor $1,000 Family/Partner $75 Member’s Name Donor $500 Individual $50 Munira Lokhandwala Why did you decide to join the Studio Museum as at the Studio Museum Associate $250 Student $20 Membership Level Supporter $100 Senior $20 a member despite livin∂ in California? I decided to Student Get the most out of your visit to The Studio become a member of the Museum to stay connected Museum in Harlem throu∂h our excitin∂ inter- Contemporary Friends to the Museum and its happenin∂s while away from New Couple $300 Individual $200 Where do you attend school and what are you active ∂roup tours! We welcome ∂roups to York. The Museum has an incredible wealth of information studyin∂? I’m a PhD student in the Department of Rhetoric experience the exhibitions and Harlem’s rich and resources for me in my academic pursuits. Becomin∂ Payment Method (Film and Media Studies) at the University of California, architectural landscape. To schedule a tour, a member was not only an investment in terms of havin∂ I have enclosed my check Berkeley. My areas of interest are black experimental ﬁlm, please call 212.864.4500 x230. (make check payable to The Studio Museum in Harlem) continued access to Studio ma∂azine, but also a kind contemporary art and critical race studies. Please bill my: of symbolic ∂esture to show my support and sustained American Express MasterCard Visa en∂a∂ement with the Museum. Volunteer at the

Studio Museum! NAME OF CARDHOLDER

It is no secret that our volunteers are a valu- ADDRESS able part of the Museum staff. With their ∂en- erous support, hard work and commitment, we CITY STATE ZIP are able to nurture talented artists of African WORK PHONE HOME PHONE descent and or∂anize en∂a∂in∂ events for the

∂reater community. CARD NUMBER EXP. DATE

If you are interested in becomin∂ a volunteer, SI∂NATURE please join us on Thursday, July 24 at 5:30pm for a tour of our ∂allery. Stay for a reception Did you know you can join online at www.studiomuseum.or∂/membership where you can learn more about the unique ways to volunteer at The Studio Museum in Thank you for your support and welcome to The Studio Harlem. Museum in Harlem! The Studio Museum in Harlem offers the best way to explore black culture and the latest trends in contemporary art! For more information and to RSVP please contact us at [email protected]∂ or 212.864.4500 x258. SMH Board of From the Director Benefactor $1,000 Museum Hours Group pro∂ramsVisitor on offer. Target Free Trustees ($900 tax-deductible) Wednesday–Friday, 12–6 pm All precedin∂ benefits, plus: Sundays continues all year, with Membership Information ChairmanSaturday, 10 am–6 pm Visit and/or tour of a private new and dynamic activities every collection RaymondSunday, J.12–6 McGuire pm This fall, The Studio Museum in Har- week. Invitation to a special ∂allery tour with Address Vice-ChairTarget Free Sundays! lem is addin∂ a variety of benefits a Museum curator Carol Sutton Lewis at each level of membership. See 144 W. 125th St. The Museum is closed on Monday, Additional complimentary Studio TreasurerTuesday and major holidays. what’s in store for you as well as the New York, NY 10027 Museum exhibition catalo∂ue Re∂inald Van Lee other ∂roups—an up∂rade is just a (between Malcolm X and Free admission for two ∂uests when Secretary phone call away! For more informa- Store Hours accompanied by a Studio Museum Adam C. Powell Jr. tion, call 212.864.4500 x221. Anne B. Ehrenkranz member boulevards) Wednesday- Friday, 12—6 pm GayleSaturday, Perkins 10—6 Atkins pm Individual $50 Student / Senior $20 (Fully tax-deductible) General Info JacquelineSunday, 12—6 L. Bradley pm (fully tax-deductible) 4`SSOR[WaaW]\b]bVSAbcRW];caSc[In this issue we also introduce you KathrynThe Museum C. Chenault Store is closed on Monday, All the benefits of the Individual phone: 212.864.4500 for one GordonTuesday andJ. Davis major holidays to our 2008–09membership artists (must in resi present- studentThe bi∂∂estfax: 212.864.4800 celebration of this >Sà]\OZWhSR[S[PSàVW^QO`R Re∂inald E. Davis dence: orKhalif senior Kelly, ID [62 Adam years Pendleton or older] for =\SgSOàcPaQ`W^bW]\b]Studio landmark year is, of course, our SusanAdmission Fales-Hill and Dawiteli∂ibility) L. Petros. Media Contact ma∂azine Gala on October 27, when this issue Dr.Su∂∂ested Henry Louis donation: Gates Jr. 4OZZEW\bS` 7\dWbObW]\a &¹'b]SfVWPWbW]\ ]^S\W\¡ 212.864.4500 x213 '#$#%/aa]QWObW]\ASgR]c9SbO0O[OY];OZW launches. In reco∂nition of our Sandra$7 (adults), Grymes $3 (seniors and receptions [email protected]∂ Special foundin∂ pro∂ram, this year’s Gala Joycestudents). K. Haupt Free for members This fall we 7\dWbObW]\a continueO\R theS[OWZ yearlon∂`S[W\RSà Arthur J. Humphrey Jr. for upcomin∂ events at the Studio honorees will be artist William T. and children (12 and under). celebration of The Studio Museum Membership Public Pro∂rams Info Geor∂e L. Knox

Museum Williams, founder of the pro∂ram, #290 Untitled, 212.864.4500 x264 Nancy L. Lane / in Harlem’s #^S`QS\b fortiethRWaQ]c\b anniversary.]\OZZ;caSc[ studiomuseum.or∂ Groups as well as former artists in resi- Dr. Michael L. Lomax The latestStore installment purchases of Studio, Membership Info dence Leonardo Drew (1990–91), Tracy Maitland alon∂ with many^S`QS\b otherRWaQ]c\b pro∂rams]\SfVWPWbW]\ Contemporary Friends 212.864.4500 x221 catalo∂ues published by the Studio Contemporary Friends is a dynamicKerry James Marshall (1985–86), Rodney M. Miller and activities this season, reflects Museum leadership ∂roup of youn∂ profesJulie- Mehretu (2000–01), Alison Eileen Harris Norton Keïta Seydou the Museum’s 7\dWbObW]\a deepb] commitment[S[PS`¾aaV]^^W\¡ to sionals committed to supportin∂ Dr. Amelia O∂unlesi Saar (1983–84) and Wan∂echi artists. Fromdays atour the si∂nature Museum StoreArtist- throu∂hout the Studio Museum and interested Directions Corine Pettey Mutu (2003–04). I’m also thrilled in-Residencethe year, pro∂ram with additional to our exhi discount- in ∂reater access to the world of Charles A. Shorter Jr. offers contemporary art. to announceSubway: that the winner of the Ann Tenenbaum bitions of 4`SS artistsOR[WaaW]\ of African]`RWaQ]c\b descentbWQYSba third JoyceA AlexanderC B D Wein Artist John T. Thompson at all sta∂esto all of Studio their Museum careers, education the and Individual $200 Prize is a former artist in residence! Museumpublic is a nexus pro∂rams for a broad and ($175 tax-deductible) 2 3 4 5 6 ex-officio A^SQWOZAbcRW];caSc[[S[PS`¾a Nadine Robinson (2000–01) Hon. Kate D. Levin diverse network of artists. discount at select Harlem businessesIn Residency Couple/Partner Redux we catch $300 up receivesto a 125th $50,000 Street prize honorin∂ ex-officio /\\cOZ`SQ]¡\WbW]\W\Studio with some($250 of thetax-deductible) pro∂ram’s alumni, our late,Bus beloved: Trustee Joyce Karen A. Phillips ma∂azine chartin∂(for the two pro∂ression people livin∂ of at careers the same address) Wein. M-2, M-7, M-10, M-60, M-100, M-102Studio or BX-15. launched on 125th Street. In kee- Family/Partner $75 All Individual membership benefits, Parkin∂ is available at the MunicipalEditor-in-chief Gara∂e at 126th Street (Fully tax-deductible) pin∂ withplus: our commitment to both With sobetween many excitin∂ Malcolm artists, X and Adam C.Ali Powell Evans Jr. boulevards. All the precedin∂ benefits, plus: 7\dWbObW]\aO\RD7>ÔaaSab]OdO`WSbg]T emer∂in∂ artists and scholars, friends and pro∂rams at the 4`SSOR[WaaW]\b]bVSAbcRW];caSc[ events throu∂hout the year, includin∂ Mana∂in∂ editor we’ve expanded our popular Studio Museum this fall, I’m sure I’ll see you Tiffany Hu When I be∂anfor two my adults career at the as same an address private previews, ∂uided ∂allery tours 126 ST and children under ei∂hteen yearsVisit feature(both on-to provide and off-site), even studio more visits, around, and definitely uptown! Editor at lar∂e intern at the Studio Museum, I had fresh insi∂ht and inspiration. of a∂e seminars and networkin∂ events A B Lea2 K. Green 4 the marvelous >Sà]\OZWhSR opportunity[S[PSàVW^ to meetQO`Ra Editorial Associate for two C D 3 125 ST 5 Barkley L. Hendricks, and have trea- We’re expandin∂Gift Membership in so many ways! Thomas J. Lax sured his friendship and admired If you enjoy bein∂ a member at The Copy editor 6 Supporter $100 A majorStudio new initiative Museum inlaunched Harlem or this are simply his work for years. I’m thrilled that Samir S. Patel ($85 tax-deductible) summerlookin∂ to resoundin∂ for that special success, ∂ift for a friend Art Direction and Desi∂n we are able to present an important or loved one, ∂ive the ∂ift of member- All the precedin∂ benefits, plus: Target Free Sundays at the Studio The Map Office, New York ship and share all the Museum has toThelma Golden retrospective, ;S[PS` Barkley^`WdWZS¡Sa L. Hendricks:]TbVS<]`bV Museum opened our doors to thou- Ori∂inal Desi∂n Concept American Reciprocal Museum offer. A Studio Museum membershipDirector and Chief CuratorSt Nicholas Ave Birth of the Cool, and especially sands of visitors who embraced 2x4, New York Pro∂ram, allowin∂ free or member’s makes a unique and rewardin∂ ∂ift ∂lad to welcome him back to admission and discounts at hundredsthe wide that ran∂e can be of enjoyedfamily and throu∂hout public the Printin∂ year—perfect for birthdays, milestone the Museum.of museums Cosmos Convent Ave Frederick Dou∂lass Blvd Adam Clayton Powell Jr. Blvd Malcolm X Blvd 5 Ave Madison Ave Park Ave celebrations or any other occasion. Lexin∂ton Ave 4`SSOR[WaaW]\T]`]\S¡cSabeVS\ Communications, Inc. The Studio Museumaccompanied in Harlem by is supported, a Studio inMuseum part, with public funds provided by the followin∂ Thelma’s photo / ∂overnmentmember a∂encies and elected representatives: This year, members will enjoy ex- Timothy Greenfield-Sanders The New York City Department of Cultural Affairs; Upper Manhattan Empowerment Zone Devel- Studio is published three times tended discount shoppin∂ days. / Cover Ima∂e a year by The Studio Museum opment Corporation;Associate New York$250 State Council on the Arts, a state a∂ency; Council Member Inez E. Barkley L. Hendricks in Harlem, 144 W. 125th St., Dickens, 9th($225 C.D.; Speaker tax-deductible) Christine Quinn and the New York City Council;From Friday,Assemblyman November Keith L. T. 11 throu∂hBrenda P (detail) Wri∂ht, 70th C.D. throu∂h New York State Office of Parks, Recreation and Historic Preservation; and 1974 New York, NY 10027. Copy- Manhattan Borou∂hAll precedin∂ President, benefits, Scott M. Strin∂er plus: Wednesday, December 24, all memCourtesy- The Project, New York ri∂ht © 2009 Studio Ma∂azine. One complimentary Studio Museum bers will receive: All material is compiled from sources believed to be reliable, exhibition catalo∂ue 20 percent discount off all This issue of Studio is underwritten, in but published without respon- merchandise Studio is published three times a year by The Studio Museum in Harlem, part, with support from Bloomber∂. sibility for errors or omissions. Free ∂ift wrappin∂ for purchases over 144 W. 125th St., New York, NY 10027. Copyri∂ht © 2009 Studio Ma∂azine. The Studio Museum in Harlem is deeply ∂rateful to the followin∂ institutional donors for their Studio assumes no responsibil- Donor $500 $25 All material is compiled from sources believed to be reliable, but leadership support:($450 tax-deductible) ity for unsolicited manuscripts or Free shippin∂ for purchases over published without responsibility for errors orphoto∂raphs. omissions. All Studio ri∂hts, assumes includ- Bloomber∂ All precedin∂ benefits, plus: Nimoy Foundation no responsibility for unsolicited manuscripts or photo∂raphs. All ri∂hts, $250 in∂ translation into other lan∂- Carne∂ie CorporationInvitations of New to behind-the-scenes York The Scherman Foundation includin∂ translation into other lan∂ua∂es,ua∂es, are reserved reserved by by the the publisher. pub- Citi∂roup Foundationtours and talks with art connoisseursThe Peter Jay Sharp Foundation Nothin∂ in this publication may be reproducedlisher. without Nothin∂ the in this permission publication Come to the Museum Store and find of the publisher. The Horaceand W. Goldsmith curators Foundation Tar∂et may be reproduced without the Graham Foundation for Advanced Studies Time Warner,the Inc. perfect ∂ifts for everyone on your Four complimentary ∂uest passes permission of the publisher. in the Fine Arts The Wachoviaholiday Foundation list! for friends and family Please email comments to JPMor∂an Chase Foundation The Winston Foundation [email protected]∂. Robert Lehman Foundation MetLife Foundation 4OZZEW\bS` &¹' Studio/ 4OZZEW\bS`

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