Future Designs on Harlem

The Studio Museum in Harlem Ma∂azine/Fall•Winter 2007

02 What’s Up / Kori Newkirk /Jacob Lawrence / Glenn Ligon / Labor, Love, Live / Harlem Postcards 12 Projects on View / My Barbarian / Keneth Wingard 14 Upcoming Exhibitions / Flow / Charles Ethan Porter 16 Artist in Residence / Leslie Hewitt / Tanea Richardson / Saya Woolfalk 18 Elsewhere / Martin Puryear / Aaron Douglas / Quisqueya Henriquez / Berni Searle / Gee’s Bend / New Photography / Mark Bradford / Kara Walker /Unmonumental/ London Is the Place for Me/ International Slavery Museum / Otabenga Jones & Associates / Robin Rhode / Infinite Island / Francis Alÿs / Cinema Remixed and Reloaded/ Blacks In and Out of the Box/ Robert Colescott/ William Pope.L/ Elizabeth Catlett / Artis Lane 24 Studio Visit / Felicia D. Megginson 25 3Q’s / Brenna Youngblood/ Brain Keith Jackson 32Feature / Jacob Lawrence/ Future designs on Harlem / Black is the New Black 46 Education & Public Programs 54Profiles / Open Call for Submissions/ The Ghetto film School / Performa / Kenneth Wingard / Frank Morrison 58 Colorin∂ 60 New York University Host Here&Now 61 Overheard / 48 Hair Wars 66 Staff Picks / The Langston Hughes House 68 Development News / Fabulous Faces / Members 2006—07 / 74 Museum Store

Go with the Flow see page 14

Adel Abdessemed/ Practice Zero Tolerance, 2006/ Courtesy the artist/ Photo: Marc Domage

sm018_10_05_07.indd 1 10/6/07 1:37:09 PM 3 Studio / Fall•Winter 2007 01/ Kori Newkirk Hutch What’s Up 2004 Collection of the Orange County Museum of Art, Kori Newkirk: 1997—2007 Newport Beach, CA Courtesy The Project, November 14, 2007—March 9, 2008 New York

Called the “absolute essence of the thing, cool, subtle and totally inside,” 1 Kori Newkirk (b. 1970) consistently makes work that grabs one’s attention and engages the mind. Whether a neon sign, a photograph of a part of his body or a brightly beaded curtain depicting a landscape, his work makes one stop and think while giving something visually stunning to look at.

Kori Newkirk: 1997–2007 presents work produced after Newkirk received his MFA from the University of California at Irvine through today. Newkirk is a celebrated multimedia artist whose practice is based on transforming everyday materials into loaded signifiers and making viewers think not only about concepts of African-American culture and beauty, but also of new and ever- changing ways of making art. This exhibition illuminates how the varied but interrelated strands of Newkirk’s practice have converged and developed over time. Newkirk, who was born in the Bronx, raised in Cortland, New York, and currently lives and works in Los Angeles, creates work informed by his whole life and experience. This exhibition is designed and installed to create a dialogue between the disparate aspects of Newkirk’s practice. It allows for an understanding of his larger projects through informed juxtaposition of various bodies of work. 

Kori Newkirk: 1997–2007 is initiated and sponsored by the Fellows of Contemporary Art. This exhibition is also made possible, with major support from Altria Group, Inc. and The Horace W. Goldsmith Foundation.

1Peter Goddard, “Beads Speak of Suburban Dreams and Delusions,” Toronto Star, January 29, 2005.

sm018_10_05_07.indd 2-3 10/6/07 1:37:10 PM 5 Studio / Fall•Winter 2007

FPO

sm018_10_05_07.indd 4-5 10/6/07 1:37:11 PM 7 Studio / Fall•Winter 2007 Previous Page/ 02/Kori Newkirk 04/ Kori Newkirk Kori Newkirk Closely Guarded Par Catalo∂ue Excerpt Take What You Can 2000-01 2004 2002 Collection of Lois Plehn Courtesy The Project, Courtesy The Project, Courtesy The Project, New York Kori Newkirk: 1997—2007 New York New York 01/Kori Newkirk 03/ Kori Newkirk Channel 11 Testing the Wind (detail) 1999 2004 Collection of Barry Sloane, Courtesy The Project, Los Angeles New York Courtesy The Project, New York

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sm018_10_05_07.indd 6-7 10/6/07 1:37:11 PM 9 Studio / Fall•Winter 2007 01-02/ Jacob Lawrence 03/ Odili Donald Odita in front The Migration Series of Give Me Shelter at the Italian What’s Up Panels 51, 45 The Studio Museum Inau∂urates Pavilion Venice Biennale 1940-41 2007 Casein tempera Courtesy of Jack Shainman Jacob Lawrence’s Migration Series: on hardboard 18 x 12 in. Our New Project Space Gallery, New York The Phillips Collection, 04/ Elizabeth Catlett-Mora Washington, D.C., Acquired 1942 Separation © Artist Rights Society, New York* On view from November 14, 2007 Selections from The Phillips Collection 1954 The Studio Museum in Harlem; November 14, 2007—January 6, 2008 gift of the artist 72.9.5

Celebrated for his paintings, which tell some of the This fall season will witness the opening of the new greatest stories in American history, Jacob project space in the Museum’s renovated lower level. Lawrence (1917–2000) is one of the most prominent Accessible through the main gallery and adjacent to the and revered American artists of the twentieth century— new theatre, the space is a dynamic new gallery well-known as an artist, teacher, and of course, some- dedicated to site-specific works and other projects and one who spent years living and working in Harlem. The installations. The project space will be inaugurated by “Migration Series” (1940–41) consists of sixty panels Equalizer (2007), a wall-to-wall site-specific installation and depicts the mass movement of African Americans by painter Odili Donald Odita. Odita’s work is on view in from the rural South to the industrial North beginning the Italian pavilion at the Venice Biennale through during the First World War. The Phillips Collection, November 21, and he will create a work for the Cincinnati which owns all of the odd-numbered panels, has Art Museum that will open this November. The new organized a selection of seventeen for this exhibition. project space continues the Museum’s commitment to These panels depict all stages of the journey from the activating multiple spaces throughout the building with South to the North—images of movement, family, labor, projects such as Harlem Postcards and StudioSound in life, segregation, struggle and hope. the lobby, Glenn Ligon’s Give Us a Poem (2007) in the atrium and David Hammons’s Untitled (African-American The “Migration Series” was featured in a 1941 issue of Flag) (2004) on the Museum’s facade.  Fortune magazine and an exhibition at the Downtown Gallery in New York. As a result of that solo show, twenty- four-year-old Lawrence became the first African Ameri-

can to be represented by a modern New York gallery. 03 The exhibition also helped to cement Lawrence’s reputa- tion as a creator of visual masterpieces that would stand for generations to come.  Labor, Love, Live: Collection in Context Jacob Lawrence’s Migration Series: Selection from The Phillips Collection has been organized by The Phillips Collection, Washington, DC. 01 January 9—March 9, 2008 This exhibition has been made possible through a grant from the National Endow- ment for the Arts as part of the American Masterpieces program, with additional support from MetLife Foundation and the Henry Luce Foundation. Labor, Love, Live: Collection in Context presents an intimate selection of works on paper from The Studio Museum in Harlem’s permanent collection. These drawings, prints and photographs depict scenes from the everyday lives of African Americans throughout the twentieth century, such as family gatherings, workers resting after a hard day’s labor and people in quiet moments of reflection.Labor, Love, Live features works by modern and contemporary artists including Benny Andrews, Elizabeth Catlett-Mora, Valerie Maynard, 02 Barthélémy Toguo and Hale Woodruff. 

sm018_10_05_07.indd 8-9 10/6/07 1:37:23 PM 11 Studio / Fall•Winter 2007 What’s Up Harlem Postcards November 14, 2007—March 9, 2008

Zoe Strauss Born 1970, Philadelphia, Pennsylvania Lives and works in Philadelphia, Pennsylvania Furniture Store on 125th Street, 2007

I’m very honored to have been asked to participate in the 2007 Harlem Postcards, and was thrilled with the opportunity to get to know Harlem a little. In my work as a photographer and installation artist, I’m interested in representing the beauty and struggle of everyday life, and that’s how I approached making this photo. Kambui Olujimi Born 1976, Brooklyn, New York Represented, revered and recognized by people Danny Simmons Lives and works in Brooklyn (Bedford-Stuyvesant), around the world, Harlem is a continually expand- Born 1953, Queens, New York New York ing nexus of black culture, history and iconography. Lives and works in Brooklyn (Clinton Hill), New York Going Postal, 2007 Venerable landmarks, such as the Abyssinian Baptist Harlem gots Da Blues, 2007 Church, Apollo Theater, Hotel Theresa, Audubon Ball- Computer work by Sameeh Alderazi Cory Arcangel room and 125th Street, remain popular emblems Cartoon images by R. Crumb Born 1978, Buffalo, New York of important historic moments and moods. The Studio Lives and works in Brooklyn, New York Museum’s ongoing series, Harlem Postcards, invites Many of the traditional black neighborhoods in New York contemporary artists of diverse backgrounds to reflect Computers, Internet, 2007 are being lost to gentrification. While Harlem remains the on Harlem as a site for artistic contemplation and production. Installed in the Museum lobby and available to spiritual and historical capital of Afro-America, many of This was my first attempt at “street photography,” visitors, Harlem Postcards present intimate views and its residents are becoming casualties of economic and and I found my interests are the same both on and fresh perspectives on this famous neighborhood.  cultural aggression. No wonder Harlem gots Da Blues . . . off the street (computers, internet, etc., etc.). I should get out more.

sm018_10_05_07.indd 10-11 10/6/07 1:37:25 PM 13 Studio / Fall•Winter 2007 Projects on View 01-02/Courtesy Kenneth Wingard Inc. StudioSound More-in-Store My Barbarian Kenneth Wingard, Inc. November 14, 2007—March 9, 2008 November 14, 2007—March 9, 2008 by Corey E. Walker by Liz Gwinn, Executive Assistant to the Director and Chief Curator

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This fall, More-in-Store gets a fresh look from San they get home from work. I like trying to bring a little bit of Francisco designer Kenneth Wingard. Wingard art into people’s houses so they can enjoy it all the time,” Superheroes in Canadian-flag garb sing in French and element yields playful didactics that confound cultural issues. creates surprising interpretations of everyday products he says. English to a crowd of onlookers from a wooden stage. My Barbarian recently appeared in Amsterdam, invoking mul- and unique design accessories, always encouraging his In a forest, anachronistically costumed singers wax poetic tiple historic eras in its performance-as-critical-commentary customers to be inventive and flexible in incorporating Wingard’s design philosophy encourages individual expres- about squirrels. Another song, “Unicorn L.A.,” has the on Dutch colonialism. The troupe invited audience members his designs into their homes and lifestyles. sion. He loves to see his clean, modern pieces mixed with mythical creature as a lyric and visual motif. These are some to become slaves. Foregoing chains or scarification to invoke family treasures, work by other designers and thrift-store of the delightfully off-center images in My Barbarian the alienation of personhood inherent in the trade, My Barbarian Wingard founded his company, Kenneth Wingard, Inc., in finds. Several of his signature pieces depend on the purchas- music videos. Malik Gaines, the group’s codirector, explains instructed them to dance using 1960s girl-group moves. 1997 after a successful career at Williams-Sonoma. He er’s creativity: the MO-BI-LE-O line consists of flat shapes that the group’s name is evocative of the “barbarian” In the performance, the Dutch involvement with the slave trade opened his first store in San Francisco selling overstocks that interlock in infinite combinations to form room dividers in Western literature—a challenge from the outside. melded into a commentary on its current sex and drug trade. and seconds, but the outlet proved so popular that he now or wall hangings, and the person who hangs the cubes of each The group decided to endear the term, hence My Barbarian. showcases his new designs and works by his favorite col- Cube Clock can arrange them to their liking. Says Wingard, They make the idea stick with elaborate costumes, live My Barbarian used its performance, in that instance, to obliter- leagues in two Bay Area locations. “I like to give people some tools, some ideas, and then let shows and three-part vocals. ate time while intensifying its bearing on contemporary issues. them go to town!” This season’s StudioSound, My Barbarian’s “Non-Western: Wingard earned a degree in architecture from Princeton My Barbarian is a group of performers who were born into Our Western,” is a western that takes place in colonial-era University in 1986 and then traveled the world developing More-in-Store is the Studio Museum’s new collaborative, a diverse design palette. Many of his latest designs are installation-based project that invites local retailers and multiracial, multicultural 1970s California. Their upbringings Los Angeles and will be performed in Madrid. As to be expected influenced by mid-twentieth-century buildings, including artisans to share their creations with visitors to our store. exposed them to experimental theater, hippie-collectives from the troupe’s penchant for the unexpected, theatrical California tract homes by Joseph Eichler, George and Robert By presenting the aesthetic and retail treasures found in and high art in rock operas. They are, therefore, a performance appearances will be made by the Virgin Mary, the U.S. Marines Alexander and Jack Meiselman. In addition to clean lines and the Harlem community, More-in-Store gives Museum troupe that sings. Or a group of musicians that perform theat- and a pterodactyl from the La Brea Tar Pits. bold colors, Wingard is drawn to the idealism that the mid- visitors access to creativity right here in the neighborhood. rics. Gaines, Alex Segade and Jade Gordon have translated century look evokes: “I really love the aesthetic of the 1950s Kenneth Wingard Inc. products are featured in the Museum their talents into genre-defying performance. “Most of us My Barbarian has a presence on YouTube and MySpace. and 60s. It was a period when anything was possible; there Store this season.  were self-trained in music and we taught ourselves to sing They will be performing in the Whitney’s PERFORMA07 was no limit to what the future could bring!” He is also “crazy adequately well,” says Gaines. “It was nothing we learned in on November 9 and Joe’s Pub on November 10.  about” the recent revival by major retailers of the mid-century school, so that contributes to a dedicated-amateur quality.” All quotes from email interview with the author, August 26, 2007. ideal of affordable, accessible design. More-in-Store is organized by Ali Evans StudioSound invites musicians, producers and musical innovators to create original compositions inspired by the works on view. From Daniel Bernard Roumain’s My Barbarian’s creative process is as organic as the group classically inspired interpretation of Chris Ofili’s watercolors to DJ Scientific’s In addition to vases, pillows, lamps and other accent is original. Sound pieces become video pieces that become remix and reinvention of Harlem sounds, this commissioned project activates pieces, Wingard’s product line includes wall art and reprints the Museum’s lobby and adds a parallel dimension to the art and artists on view. gallery installations that in turn become what could be StudioSound is organized by Ali Evans. of vintage photographs available in larger quantities and recognized as musicals. at lower prices than original art. While he maintains a All quotes from email interview with the author, August 26, 2007. deep respect for fine art (and loves going to museums), Among the members’ many interests, Gaines explained, he believes that mass-produced pieces are great solutions “We take seriously the playful element of culture, mythology for everyday living. “A Calder mobile is amazing, but it’s not and history building.” Under the powers of My Barbarian, that something that everyone can have in their living room when

sm018_10_05_07.indd 12-13 10/6/07 1:37:26 PM 15 Studio / Fall•Winter 2007 01/ Trokon Nagbe, 03/ Adel Abdessemed 05/ Charles Ethan Porter Upcomin∂ Exhibitions Never fully do you Birth of Love (video still) Cherries understand, you just 2006 1885 take, absorb and move Courtesy the artist Courtesy The Harmon on, and there are no and Harriet Kelley Flow mistakes from that 04/ Grace Ndiritu, Foundation for the Arts 2007 Still Life (video still) Courtesy the artist 2006 06/ Charles Ethan Porter April 2—June 29, 2008 Courtesy the artist Flies on a Plate 02/ Olalekan B. Jeyifous c. 1878 Collective Dwelling: Collection of Charlynn Indegene Outpost and Warren Goins 2007 Courtesy the artist

Charles Ethan Porter: African-American Master of Still Life April 2—June 29, 2008

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Charles Ethan Porter (c. 1847–1923) is under-recognized dozens of Porter’s still lifes, landscapes and portraits, and today but was revered in his own time by well-known introduce audiences to this shadowy painter who worked contemporaries such as Henry Ossawa Tanner and deftly combined the American luminist tradition with that Edmonia Lewis, who worked in a more popular, figurative of the French Barbizon school. Accompanied by a new 03 04 tradition. His paintings are masterpieces of American scholarly publication, the exhibition will elucidate Porter’s Flow is the first twenty-first-century exhibition focusing on specific installations among other media. The artists, who still-life tradition. Porter, who began painting in the after- skill and the unsettled biography of an artist whose bril- art by a new generation of international artists from Africa. hail from eleven African nations, reside mainly in Europe math of the Civil War and worked well into the twentieth liance is only now being inscribed into the annals These artists are uniquely conscious of, and responsive and North America and travel to and from Africa regularly. century, was celebrated in his day as a skillful colorist and of American art history.  to, recent African history, global economics and the The majority of them have never been included in major U.S. was one of the first black artists to exhibit at New York’s National Academy of Design. This exhibition will feature Charles Ethan Porter: African-American Master of Still Life has been organized by idiosyncratic culture of the new millennium. Presenting museum exhibitions and are virtually unknown in this the New Britain Museum of American Art in Connecticut approximately seventy-five works in all media by approxi- country. Modeled after Freestyle, our landmark 2001 mately twenty emerging international artists under the exhibition, which was followed in 2005 by Frequency, Flow age of forty, this exhibition will feature models of imaginary will illustrate the individuality and complexity of the visual architecture, wall sculptures of beads and decorative ele- art produced by a dynamic generation of young artists, ments, digital photography, new video, paintings and site- this time with a global perspective. 

sm018_10_05_07.indd 14-15 10/6/07 1:37:30 PM 17 Studio / Fall•Winter 2007 01/ Leslie Hewitt 03-04/ 05/ Saya Woolfalk Untitled (readytobattle) Tanea Richardson Sweethearts, (video still) Meet the 2007—08 Artists in Residence 2005 Untitled 2004 Courtesy the artist 2007 Courtesy the artist Courtesy the artist Leslie Hewitt, Tanea Richardson 02/ Leslie Hewitt 06/Saya Woolfalk Untitled (capsule) Ethnography of No 2005-06 Place, Chapter 1: Self Courtesy the artist and Landscape and Saya Woolfalk (video still) 2007 Courtesy the artist

Leslie Hewitt Saya Woolfalk Born Born 1977, St. Albans, New York 1979, Gifu, Japan Education Education 2004, MFA, Yale University, New Haven, CT 2006, Whitney Independent Study Program, 2000, BFA, The Cooper Union, New York, NY Whitney Museum of American Art, New York, NY 2004, MFA Sculpture, The School of the Art I focus the lens acutely within the vernacular of the Institute of Chicago, Chicago, IL everyday, revealing several perspectives at once. I am 2004, Skowhegan School of Painting and Sculpture, moved by my material, and the history embedded in Skowhegan, ME sculptural forms affirms my attraction to the mundane. 2001, BA Visual Art and Economics, Brown University, I find myself moving between the illusion of photography Providence, RI 01 02 and the undeniable presence of a sculptural object. I want to strengthen and build upon the relationship between My work explores personal relationships to the ideologi- artist and active viewing audience. For me, this echoes cal systems that produce subjectivities. Using a craft- a sort of call and response: each project is a call to the based approach, I create all-encompassing imaginary audience on an intimate but imperative level. spaces where I playfully attempt to rework naturalized forms of race, gender, sexuality and power. Populated by Tanea Richardson painting, sculpture, costume, performance and video, Born these spaces harness the kinds of strategies used to so- 1977, Los Angeles, California cialize children, mount carnivalesque street spectacles Education and sell mass-market commodities. 2007, MFA Painting and Printmaking, Yale University, New Haven, CT 2000, BS Mathematics, Stanford University, Palo Alto, CA 1999, BA Art, Stanford University, Palo Alto, CA 03 04 Visit the My work explores family traditions, the reconciliation of collective and personal histories, and human artists’ studios! compulsive tendencies. I use stuffing, wrapping and November 18 hanging to infuse everyday materials with physical see page 49 and psychological concerns.

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sm018_10_05_07.indd 16-17 10/6/07 1:37:34 PM 19 Studio / Fall•Winter 2007 01/ Martin Puryear 02/ Aaron Douglas 03/ Berni Searle 04/ Quisqueya Deadeye The Founding of Approach, (detail) Henríquez Elsewhere: Art Beyond the Studio Museum 2002. Chicago 2006 Brand New Shit Private collection. circa 1933 Courtesy the artist 2002 Courtesy McKee Gallery, Spencer Museum of Art, and Michael Stevenson Courtesy the artist, Completely Biased, Entirely Opinionated Hot Picks New York The University of Kansas Gallery, Cape Town David Castillo Gallery Photo: Michael Korol, Museum purchase: and The Bronx Museum New York R. Charles and Mary of the Arts Margaret Clevenger by Thelma Golden Fund

Here are some must-see exhibitionsI’m not that going to miss!

02 Aaron Douglas: African American Modernist Spencer Museum of Art, Lawrence, Kansas September 8–December 2, 2007 www.spencerart.ku.edu

www.aarondouglas.ku.edu 03

I was thrilled to learn of this exhibition featuring Harlem Berni Searle: Approach Renaissance great and Kansas native Aaron Douglas. Krannert Art Museum, Champaign, Illinois Bringing together for the first time nearly one hundred August 31—December 30, 2007 works from public and private collections, the retro- www.kam.uiuc.edu spective will illuminate his Midwestern roots and investigate his powerful visual legacy. Aaron Douglas will New Photography 2007: travel to the Frist Center for the Visual Arts, Nashville Tanyth Berkeley, Scott McFarland, (January 18—April 13, 2008); The Smithsonian American Berni Searle Art Museum, Washington, DC (May 9—August 3, 2008); and the Schomburg Center for Research in Black The Museum of Modern Art, New York Culture, New York (August 30—November 30, 2008). September 30, 2007–January 1, 2008 www.moma.org

01 You’ll remember Berni Searle from the Harlem Post- Martin Puryear card she made for the spring 2007 series, as well as her inclusion in significant recent exhibitions such asGlobal The Museum of Modern Art, New York November 4, 2007–January 14, 2008 Feminisms at the Brooklyn Museum (2007), DAK’ART 7 www.moma.org (2006) and the Fifty-First Venice Biennale (2005). This fall, the Krannert Art Museum presents Approach, featuring In 2001, Martin Puryear’s The Cane Project was a hit at the Studio Museum. seven of Searle’s large-scale installations. You can also see In November, The Museum of Modern Art presents a thirty-year retrospective 04 her “About to Forget” series of photographs in the latest of Puryear’s sculpture, exploring in depth his use of natural materials, Quisqueya Henríquez: The World Outside edition of New Photography, The Museum of Modern Art’s annual showcase of significant recent work in the medium. commitment to traditional building methods and rich vocabulary of psycho- Bronx Museum, New York logical and intellectual references. Martin Puryear will travel to the Modern September 16, 2007—January 27, 2008 Art Museum of Fort Worth, Texas (February 24–May 18, 2008); the National www.bronxmuseum.org Gallery of Art in Washington, DC (June 22–September 28, 2008); and the San Francisco Museum of Modern Art (November 1, 2008–January 25, 2009). The World Outside surveys more than fifteen years of constructions, installations, videos, sound art, photographs and performances by the Cuban-born, Dominican Republic-based Henríquez.

sm018_10_05_07.indd 18-19 10/6/07 1:37:38 PM 21 Studio / Fall•Winter 2007 05/ Mark Bradford 07/ International Slavery 09/ Robin Rhode Bread and Circuses Museum. Soap and Water 2007 Photo: Lee Garland. 2007 (detail) Courtesy Perry Courtesy Whitney 08/ Still from lecture by Rubenstein Gallery, Museum of American Amiri Baraka at Texas New York and carlier | Art, New York Southern University gebauer, Berlin 1970 06/ Marc André Robinson Film by William Colville Myth Monolith Courtesy Menil 2002 Collection Archives. Courtesy the artist

07 08 06 05 International Slavery Museum Lessons from Below: Neither New nor Correct: Unmonumental: Otabenga Jones & Associates The Object in the 21st Century Liverpool, United Kingdom New Work by Mark Bradford www.liverpoolmuseums.org.uk/ism The Menil Collection, Houston Whitney Museum of American Art, New York New Museum of Contemporary Art, New York September 14–December 9, 2007 September 14–November 25, 2007 December 1, 2007–April 6, 2008 www.menil.org www.whitney.org www.newmuseum.org The International Slavery Museum is an exciting project featuring a center for the study of international slavery In the spirit of landmark exhibitions like Raid the Icebox The first exhibition at the New Museum’s new building Its title archly commenting on a description (“new and new galleries, which opened on August 23, 2007— (Andy Warhol, RISD Museum, 1969) and Mining the Mu- on the Bowery will explore the use of assemblage in the and correct”) he found on an eighteenth-century map, Slavery Remembrance Day in the bicentennial year of seum (Fred Wilson, Maryland Historical Society, 1992– twenty-first century. Unmonumental will begin as a Neither New nor Correct offers an exciting glance at the abolition of the British slave trade. Expanding on 93), The Menil Collection and Curator Franklin Sirmans sculpture exhibition, but the curators will expand and the latest work by Mark Bradford, who you will remember the content of the former Transatlantic Slavery Gallery invited Otabenga Jones & Associates to ransack the mu- supplement the initial installation with additional collage, from Freestyle (2001) and the 2006 Whitney Biennial, seum’s storage areas and archives for raw material for an sound and new-media works. Look for works by Mark at the Merseyside Maritime Museum, the International where he was the recipient of the prestigious Bucks- exhibition. Gathering objects ranging from slave-trade André Robinson, Shinique Smith, Mark Bradford and Slavery Museum has a mandate to investigate the legacy baum Award. Bradford’s new large-scale collages build documents to African masks to paintings by Warhol and on his fascination with urban archaeology, mapping and Wangechi Mutu. of transatlantic slavery; explore freedom, identity and human rights issues today; and combat racism and racial Yves Tanguy, and incorporating a working classroom with historical memory. lectures by Deborah Willis, Jihad Abdulmumit and Terry hostility through its educational programs. Adkins, Lessons from Below is a unique fusion of installa- London Is the Place for Me tion, performance and education. Kara Walker: My Complement, Institute of International Visual Arts, London My Enemy, My Oppressor, My Love October 5–November 24, 2007 www.iniva.org Whitney Museum of American Art New York Check it You will remember David Adjaye’s electrifying design October 11, 2007–February 3, 2008 out! for the new Rivington Place building from Making Public Robin Rhode: Walk Off www.whitney.org Buildings (2007) at the Studio Museum. Rivington Place Haus der Kunst, Munich is the new home of the Institute of International Visual September 16, 2007–January 6, 2008 Arts and Autograph ABP—a permanent center from www.hausderkunst.de which to profile international issues and perspectives in contemporary art and photography and lead the Robin Rhode’s first major solo show in Europe will debate on diversity. The first exhibition in the new space, highlight the artist’s recent forays into sculpture, as well London Is the Place for Me, takes its name from a 1950s as drawings, photographs, films and a new wall draw- British calypso album and reflects on how our sense of 09 ing created with Jean-Baptiste André during a perfor- home is shaped by the ever-changing cultural landscape. mance set to music by Thomas Larcher.

sm018_10_05_07.indd 20-21 10/6/07 1:37:45 PM 23 Studio / Fall•Winter 2007

10/ Hew Locke 11/ Francis Huys 12/ Pamela Sunstrum 13/ Carrie Mae Weems El Dorado Fabiola, n.d. Sometimes I Answer “You Became a Scientific 2005 Photo: Francesca Esmay (video still) Profile”fromFrom Here I Saw West Collection, Oaks, 2005 What Happened and I Cried Pennsylvania Courtesy the artist 1995-96 From an original daguerreo- type taken by J.T. Zealy,1850. Peabody Museum, Harvard University. Copyright: President and Fellows of Harvard College, 1977. All rights reserved. Collections of Peter and Eileen Harris Norton, Santa Monica

10 11 12 Infinite Island: Francis Alÿs: Fabiola Cinema Remixed and Reloaded: Black Women Contemporary Caribbean Art Dia Art Foundation at the Hispanic Artists and the Moving Image Since 1970 Brooklyn Museum Society of America, New York Spelman College Museum of Fine Art, Atlanta August 31, 2007–January 27, 2008 September 20, 2007–April 6, 2008 Part I: September 14–December 8, 2007 www.brooklynmuseum.org www.diaart.org Part II: January 24–May 24, 2008 www.hispanicsociety.org www.spelman.edu/museum 13 The Caribbean’s modern diaspora and unique mix of peoples, a mix created by slavery and colonialism, Our uptown neighbor initiates a three-year collaboration The Spelman College Museum of Fine Art presents the Blacks In and Out of the Box have shaped a dynamic culture incorporating distinct with the Dia Art Foundation this fall. Fabiola is the first in first-ever exhibition of video art by black women. This California African American Museum, Los Angeles histories and artistic traditions. Organized by Tumelo a series of contemporary art projects commissioned by two-part exhibition is organized by the museum’s September 13–December 30, 2007 Mosaka, Infinite Island focuses on the themes of history Dia for the Hispanic Society’s grand Beaux-Arts galleries. Director, Andrea Barnwell Brownlee, and Valerie www.caamuseum.org and memory, politics and identity, ritual and belief, and Francis Alÿs, a Belgian artist living in Mexico City, combed Cassel Oliver of the Contemporary Arts Museum This exhibition explores and celebrates Californian myth and popular culture in and inspired by this vibrant, international flea markets, antique shops and private Houston. It features video art by more than forty artists, African-American photography and its relationship with historic and diverse region. The exhibition includes collections to gather nearly three hundred copies of a including Howardena Pindell, Adrian Piper, Tracey Rose, the socio- and art-historical past. Blacks In and Out of nearly eighty recent works by forty-five emerging and lost nineteenth-century portrait of Saint Fabiola, patron Kara Walker, Carrie Mae Weems and former Studio Mu- the Box features historic works from the collection of established artists who live in the Caribbean and abroad, saint of abused wives. Installed in the Hispanic Society’s seum artists in residence Wangechi Mutu (2003–04) Steve Turner, philanthropist and founder of the William including Hew Locke, Jean-Ulrick Désert and 1999–2000 nineteenth-century painting galleries, Fabiola engages and Maren Hassinger (1984–85). H. Johnson Foundation, alongside contemporary art by Studio Museum artist in residence Nicole Awai. and challenges this collection of Iberian and Latin-Amer- ican art in a provocative new way. artists based or trained in California, including Kianga Ford, Lyle Ashton Harris, Rodney McMillian and Hank Willis Thomas. William Pope.L: Art After White People: Time, Trees, & Celluloid . . . Also at California Santa Monica Museum of Art, African American Museum m Santa Monica, California September 8—December 23, 2007 A Woman’s Journey: www.smmoa.org The Life and Work of Artis Lane Robert Colescott: Troubled Goods California African American Museum, Los Angeles September 27, 2007–March 2, 2008 Sarah Moody Gallery of Art, I Am: Prints by Elizabeth Catlett www.caamuseum.org The University of Alabama, Tuscaloosa University of Iowa Museum of Art, Iowa City November 8—December 7, 2007 October 20, 2007—January 6, 2008 www.as.ua.edu/art/moody.html www.uiowa.edu/uima

sm018_10_05_07.indd 22-23 10/6/07 1:37:46 PM 25 Studio / Fall•Winter 2007 01/ Felicia D. Megginson 01/ Brenna Youngblood Nerfertiti Smith Scene Studio Visit 2005 3Qs: New Acquisition 2007 Courtesy the artist The Studio Museum in Harlem; purchase Felicia D. Megginson Brenna Youngblood with funds provided by the Buddy Taub Foundation 07.11 Photo: Margo Leavin

by Lauren Haynes, Curatorial Assistant by Christine Y. Kim, Associate Curator

When I arrived at Felicia D. Megginson’s studio in the Fort Greene section of Brooklyn, I was surprised to find that it was in her third- floor, walk-up, one-bedroom apartment on a tree-lined residential block. But it was a pleasant surprise, especially after seeing the quality of her work and the excitement she has for her current project.

Megginson’s work space is in her living room. She has a large table perfect for drawing. It’s equipped with a light and holds jars of ink and paint, pens, packets of gold leaf and spray finish. Sketchpads, stacks of vellum and pages of notes filled with possible titles for her “Meditations on Medusa” series are scattered across the table. Works that were shown in Black Girls United, the group show she was in this past winter at Rush Arts Gallery, take up a section 01 of the table. Wrapped wood panels, square and circular, Christine Y. Kim Where do you create or find the between painting and photography. I rarely work with sit against a wall, waiting their turn to be drawn on and gold-leafed. Megginson’s larger works from the series are photographs and images of lightbulbs, leather seats, a plan, but rather build from a previous work or an on rolled-up pieces of vellum that sit on the back of the vehicles and furniture that you incorporate in your undeveloped idea. I enjoy the handmade process of table. On the floor, there are flat storage boxes filled with paintings? How do their original meanings and histories addition, subtraction, layering and peeling. It’s always more drawings and others containing photographs that she change as you crop, manipulate and reconstruct a surprise. The hand makes mistakes and that’s what shot in Chinatown during her residency at the Abrons Art them to work within your ominous abstractions, interiors, keeps me excited. I think the conversation becomes Center at the Henry Street Settlement. still lifes and landscapes? engaging when the handmade mingles with the 01 Brenna Youngblood I always have my camera with me mechanically reproduced. In her artist’s statement about “Meditations on Medusa,” so I can capture images in my home and in the homes Megginson writes, “Through my drawings, I wish to inves- of family members and friends, as well as in public CYK Intuitively, I feel like there are literary and cinematic tigate notions of beauty, sexuality, social identity and the Born in Los Angeles, Megginson received her BA from the University spaces. I am particularly drawn to photographing narratives and gestures in your work, such as a reference sundry other ‘mythologies’ that get attached to and of Virginia and her MA from New York everyday objects. Lightbulbs often reoccur in my to Ralph Ellison’s Invisible Man in the dark, empty room tangled in a woman’s hair.” Megginson says that inspiration University/International Center for for this series developed in 2004 while she was an associ- Photography Master’s Program in collages. Photographed images don’t always lose their with lightbulbs in Scene (2007). Are you influenced by Photographic Studies. ate artist at the Atlantic Center for the Arts in New Smyrna original meanings. A lightbulb is still a lightbulb, but literature, music, architecture and/or film? Do you incor- Beach, Florida; she was having trouble deciding what to do when placed alongside dripping paint in a seemingly porate any specific narratives in your imagery? with her hair and began thinking about the issues associated out-of-control environment, the mood shifts. I’m most BY The collage Scene was indeed partially influenced with hair, especially African-American hair. These thoughts interested in disrupting the familiar. by both Jeff Walls’s work After “Invisible Man” by Ralph blended with her fascination with Medusa (from her artist’s Ellison, the Prologue (1999–2000) and William Egg- statement, “I have always been intrigued by Medusa—her CYK Didn’t you study photography in your MFA program leston’s image of a red ceiling with a light bulb. power, her gruesomeness—and by how that writhing crown at UCLA? I remember your early compositions included of hair reinforced her myth.”) and developed into her first photo-collages of body parts and furniture. How, when “Meditations on Medusa” drawing. Although she misses the and why did you transition into painting? easy duplication that photography offers, Megginson ap- BY I started out in the program strictly as a photogra- preciates the control that drawing allows her. She has begun pher. But I had access to a large studio space and making the drawings on wood with gold leaf, and hopes to get involved with printmaking as a way to deal with the fact was surrounded by other artists working in different that, as she puts it, “Once a drawing is gone . . . it’s gone.” media, so I soon became interested in exploring. The transition was natural. I work in a bricolage fashion and am especially interested in the relationship

sm018_10_05_07.indd 24-25 10/6/07 1:37:48 PM 27 Studio / Fall•Winter 2007 Studio Fiction He The Man, 1804 or Amour de soi Amour-propre by Brian Keith Jackson

We are proud to present this first-ever inclusion of The Man was dressed in a three-piece linen suit and fiction in Studio. We invited award-winning author brown leather shoes. His shirt was crisp white, so much and Harlem resident Brian Keith Jackson to respond so that hints of blue were caught by the sunlight. A brown to a work of art from our permanent collection. and gold cravat fell perfectly about his neck. A brown He chose the earliest work in the collection, Portrait leather case sat beside him and what looked like three of Sarah Maria Coward (c. 1804) by Joshua Johnson pieces of wood lay next to that. For Ella, at that moment, (1763-1832). Johnson was one of the first known African-American artists in America to earn a living words failed. as a professional portrait painter. The fiction that “How do you do?” repeated the Man. A slight smile follows is inspired by Johnson’s work. pierced the corner of his mouth. A lesser eye would have considered it a smirk, but no, it was, indeed, a smile. “What you doin’ out here?” asked Ella, finally finding I her words. “What eva it is you wantin’, you need to come “How do you do?” asked the Man, nodding his head, his ‘round back.” eyes remaining squarely on Ella’s. She came out on the “As you wish,” said the Man. The smile remained. porch, catching the screen door before it slammed. He “I assure you I have seen the front doors of the best and had not called or made a stir. He stood there, the moist the worst. Still, it takes more than one exposure to provide Bermuda grass under his feet, waiting, merely humming, a draft. If the backdoor is where I must go, as present as a bird flapping its wings at a trumpet vine; so be it. I am but a guest.” head up, nose forward. Word had shifted from the fields This confounded Ella. The words sailed out his mouth to the house that the Man was “out front,” and that Ella like the sweet smell of Massa’s tobacco. She’d never heard had better “go see on it. Look like trouble,” had said one tale of a, An, a, coming up to the door, the Front door, call- of the hands. ing himself a “guest.” “What bid’ness you got here?” asked Ella. The Man bent down to pick up his belongings. “Massa ain’t lookin’ for Facing Page/ Joshua Johnson Portrait of Sarah Maria Coward, c.1804 The Studio Museum in Harlem; Museum purchase and no help ‘round here. That I know for sho’.” a gift from E. Thomas Williams and Audlyn Higgins Williams 97.9.16

sm018_10_05_07.indd 26-27 10/6/07 1:37:49 PM 29 Studio / Fall•Winter 2007

“Ma’am, to that point you are not correct. I will meet the Man, raising his voice ever so slightly, then returning to “The finest vessels out there,” the men in attendance can be slaves in this area now, and all of their heads are not like the you at the back door.” The Man said no more. He began regular tone, honeysuckle, “I would be much obliged if you heard saying as they rub their rotund bellies over after dinner hummingbird’s, so surely two words squeezed together do not walking toward the back of the house. Ella was still stuck would advise him of my arrival to partake of said commis- drinks and cigars, while the women retreat to another room, translate to the worth of an entire sentence or even of the period on being referred to as “Ma’am,” but she watched his sion. I would like to start at sunrise tomorrow. If you would to speak of how they hope to acquire a portrait of their little so at the end of it. If one believes Rousseau and I’m inclined to say journey through the windows of the house; she inside, he be so kind, please have Miss...... available. I will return then,” and so or, dare she say, herself. I do, painting noble savages is a skill I cannot not deny. Legal out. His stride remained constant. He passed the window and after a pause, “At this door.” The Man again nodded I am fully aware of crystal and porcelain chatter and the tender. Call me what you may is what I often tell myself while of the sitting room, then that of the dining room, then of his head, picked up his leather case and pieces of wood. surrounding spectacle. I have been party to it in Baltimore, drinking that one, just one, cup of sour mash near the waters the pantry and lastly the kitchen. She reached the screen He started to depart. throughout Maryland and thereabouts, where a portrait is or in the woods. I will let the paintings speak for me. door just as he reached the steps of the back porch. Again, “Who should I say came callin’?” asked Ella. The ques- used as a distinction of the well from the to do. I know what it Until I get home. he made no overture. He stood there, humming, that same tion was more out of curiosity than of reporting back. is like to be trapped in time and move within it, one brush stroke smile on his face. The Man stopped. His back was toward her. The query at a time. When away from home there is no opportunity “Why you smilin’?” asked Ella, coming onto the porch, lacked the punch to spin him around. He kept his focus on toward vanity; a private transformation, not a public presenta- III catching the door before it slammed, now feeling mocked the horizon, the sun slowly dipping over the fields, a lovely tion. I paint private portraits. How they are used after they are by the corner of his mouth. palette. He removed a handkerchief from his jacket pocket completed, neither my hand nor brush can dictate. Every morning, for months, at sunrise, the Man arrived “I smile to be free and in spite of it,” said the Man. and wiped his brow, ridding it of late spring perspiration. I consider this when negotiating my purse, a part I cherish, and set up his easel behind the barn. He would be waiting “As for the reason of my presence, I am to do a portrait of “Please tell him I have arrived,” said the Man, to no always in writing, from my desk, built form a cherry tree I, when Ella brought out Miss...... He always wore a Miss . . . . . Based on this letter, received by me, I’m ex- one, himself and everyone. The slight smile gradually left admittedly, did not chop down. I am fully myself at home. the same outfit. It was never soiled. pected.” his mouth and rested in his hazel eyes. He placed the I never negotiate unless I am there, at that desk. I cherish that Miss...... stood on the side of the barn for days, Ella, Ella was taken aback. An involuntary sound found its handkerchief back in his pocket. “He will know my name.” part of the exchange. The paper, the ink, the wax seal, then the catering to her every whim. She made sure the muslin of way from her gut, up through her chest, toward her neck sending of the letter, traveling for another to cohere. Some men her dress fell just so, brushing her hair when the warm over her tongue and out her mouth. It was not a laugh, on the receiving end are surprised, not by words, rather the breeze off the water had had its way. rather a knot of unknown rising. II purse asked. It is not uncommon for me to receive a letter in “Now, I wantcha to do it right, you hear?” Ella had kept Massa had told her to expect a “gentleman,” that was his return stating, saying. The Man would nod. exact word, and that he would be coming to paint the third, In the hours, days, weeks, months since my arrival, word “You are no Charles Peale Polk, sir.” To this I reply, “I don’t know why you got her standin’ by this beat up yet only child. Ella had learned even white children die due has swirled around Fells Point, Maryland, and its surroundings “You are correct. I am an admirer of his work and highly barn,” she said. “That don’t seem like no right place.” to the times. She’d seen the sterling lockets, holding strains about l’il ‘ol me. Mr. Joshua Johnson. A Freeman. How I have recommend him. However, should you remain interested in “It doesn’t matter, Ms. Ella,” said the Man. “It’s about of hair, hanging close to the Missus’ heart; two lockets on been seen at the shore late night, watching boats sail by, always a Joshua Johnson, as previously stated by your letter of . . . , what you see.” one chain, for children, gone. Yes, even white folk lose sticking to myself. How when I do happen to walk through I must now raise my fee an additional two silver dollars.” Upon The Man looked up from the canvas and smiled. children due to the times, 1804, when man is just that and town, I simply nod my head to those who’ve managed to come receipt of the confirmation, a slight smile appears upon my face He seemed to look at her more than he did Miss...... He his potions, or the capacity to pay for them, fail to cure the within my proximity. — never a laugh, or a clap or a stomp, just a slight smile. Should and Ella had shared very few words over the last couple strangeness coursing inside. Miss...... was to be painted, For company, I prefer the power of the waters and the whis- someone happen to be in that feather bed, they will share in that of months, just polite exchanges, but she had warmed to with hopes of a future suited her. pers of the woods, so I sleep near the one or amongst the other. smile too. Vanity is a private matter. The road is my penance. him. She liked how he referred to her, “Ms. Ella.” She had But how could This Man be there to paint her little One highlights my humming, the other shadows its vibrations. I have been called words, which imagination can fill here come to believe, that he was a “gentleman.” Often she Miss...... , a girl she had raised, nurtured, as if her own. Once situated for the evening, I have one, only one, or conscience can ignore there, in the rooms of stately homes had swatted down the words that were flying out of the Though the Missus had lost two, Ella had lost three. Girls. cup of sour mash. as well as the rows of toilsome fields. Regardless of the lips by mouths of the field hands. Gone before the first nip of her breasts, no locket was I travel with little. The rest I leave at my ample dwelling which they are spat, my ears burn equally. My smile creeps “That name callin’ ain’t needed. Jus’n cuz you calls needed to remind her. miles and miles from here, where no one waits in my feather away for a time, becoming similar to those in my portraits, yaself that don’t mean it’s fit for him.” She defended the “Does Massa? Does Massa know youse a . . . ?” Ella bed, but many have lain. For that, the road is my penance. regardless of their age or innocence, forever in plush surround- Man without saying a word to him. But he knew. stopped, not quite sure what to call him. I always refuse any accommodations in local inns or on the ings, yet faces, stern. Solemn. With that I toss those words. “Jus’ some leftovers from lunch,” Ella had said, a few “Yes, Mr...... knows as much as needed pertaining to my land offered me by the men who commission my services. I again place my focus on stretching the canvas for the vastness days after he started working. Then every day there after business with him. I am here for a reason, the reason for Dinner parties, of which I no longer attend, are had to of the subject, not the simplicity of the noun. My ears soon cool, she would bring him victuals wrapped in brown paper. my being here.” discuss the fact that the...... girl, the third child, “may the others losing their redness. It became a coy ritual for the two. The Man would be “We’ll you kin jus take yo riddles on ‘way from here cuz rest in peace,” is having her portrait painted by me and how That is not to say I use my Freeman status to negate my packed to go and she would walk out the back screen door, he ain’t home right now, so you’ll have . . . ” Mr...... ,’s no, “P……’s” schooner business must be doing well. craft, nor do I ignore the allure. There are more free blacks than catching it before it slammed. “I need not see him until my work is completed,” said

sm018_10_05_07.indd 28-29 10/6/07 1:37:49 PM “I know,” said the Man, taking the package, with This surprised Ella. In the time he’d been there, the The Man took her hands and he held them in that place When the last guest departed and the Massa and that same smile.“Just something left over from lunch.” Man had not let hide nor hair near the painting, not even between firm and gentle. He kissed her, gently. Missus had retired, Ella began cleaning, but she stopped. Later, he’d unwrap the victuals and enjoy them with one, Massa. Ella twisted the hem of her apron in her hands. Is it “Mr...... will love it. You’ll see.” He kissed her again. She wasn’t in a hurry. She sat down at the dining room just one, cup of sour mash, while watching the sailboats done? Is the Man really gonna let me see it? Befo’ Massa? “But . . . ” table. She’d never done that before. She looked through or the leaves dance; the portrait at his side. “I don’t think that would be right.” “Sh, sh, sh,” said the Man, just above a “sh” and she the pocket doors at the portrait hanging on the wall of The Man kept his word. He had not seen Mr...... his “What is right, Ms. Ella?” calmed down. the sitting room. She started to hum. Miss...... looked like entire seventy- some days there. “I mean, I don’t . . I jus’ don’t . . ” “Every painting I have ever done has, at some point, she appeared; her eyes blue, her skin its color of origin. “Massa was wonderin if you would like to have a drink As she hemmed and hawed, the Man took her by her looked like this. I sit with it for days and think of all the Yet, from that day forth, when Ella passed the portrait the with him,” and after a pause, “in the house,” said Ella, time elbow and walked her toward the easel; the hem of her little children who will never be painted. For a time, this slightest smile would appear in the corner of her mouth. and time again. One could see that she could hardly believe skirt tighter in her grasp. With each step she leaned back is not Miss...... , it is a child waiting to be seen. The skin is A lesser eye would have considered it a smirk but, no, the words coming out of her mouth, pride rested in saying as they neared the painting she looked in the direction of always the last thing I do. It is the least important to me. it was, indeed, a smile.  them. Her joy was short lived. The Man always declined. the Big House like being led to the gallows where nothing Ms. Ella, Black is the beginning of all true things. It is Brian Keith Jackson is the author of three novels including The Queen of Harlem There came a day when Miss...... was no longer needed good dwells. water and the trees at night, even in a portrait. The rest (2002). He frequently writes about Art and Culture. to pose. Ella’s time with the Man was shortened. Yet three When she found herself in front of the painting, her is just surface.” days before he was to depart, she walked out to the side of hands quickly released the apron and sprang to her mouth. Ella looked at the Man. He kissed her once again then the barn to see him. He wasn’t working, just sitting, staring She didn’t see the old barn that Miss...... had stood in front released her hands. at the portrait. of, but lush trees, rolling hills and a stone wall. The empire- “You’d better run along,” he said. But Ella stood firm. “You have any children?” asked the Man. Immediately, waist muslin dress looked far more pristine. The roses in She looked at Him, at him. “Go on. I have work to do.” She he could feel the nerve endings take over her body. hand, where did they come from? backed away. Then said, There hadn’t been any dragonfly either. That would have The Man sat in his chair and picked up his brush. “I beg your pardon.” certainly frightened Miss...... And then those shoes. These He returned to his work. Ella had disappeared from his Ella could think of nothing to say. She said what she thoughts ricocheted through her mind and were quickly view, but moments later, he knew she had made it to the knew, “Can I get you anythang?” disregarded. What she focused on was the arms, chest, and Big House because he heard the screen door. This time “A glass of water would be much appreciated, thank face of Miss...... she didn’t catch it before it slammed. you, kindly,” said the Man, softening his tone, honeysuckle. Ella’s hands slowly fell. She cupped them to her breasts, A few days later, Joshua Johnson finally met with Mr……. “And when you return, I’d like to show you something.” like holding lockets with strains of hair. He stood in the very spot he’d stood humming on that first The Man had never been familiar. He had never been “But she’s . . She’s . . ” day, the Bermuda grass, a bit less green, under his feet, and mean or untoward. “Yes, she is,” said the Man. The arms, the chest and yes, presented the portrait. She left the house holding a full glass of water, but when even the face, were the color of Ella. Though the face favored “Very nice. Very nice, indeed,” said Mr...... she made it to him a quarter of it had spilled. The Man Miss...... , Ella saw what could have been one of her own “I’m pleased that you are pleased.” stood from his chair and walked toward her. She handed children, girls lost, due to the times. 1804. It wasn’t the Mr...... handed him a leather pouch. Joshua Johnson did him the glass. He received it, placed it on the ground. same in texture as the rest of the painting. She had never not examine its contents. He merely nodded, keeping his “What do you see?” asked the Man. seen anybody her color captured; in this way. eyes focused on Mr...... ’s. “The side of an ‘ol barn,” said Ella. She kept staring at the painting and began to cry. “We are having a celebratory dinner this evening to “And when Miss...... is standing in this very spot, what She wept, for what seemed like a long time, but was not unveil, you must attend.” do you see?” long enough. “I thank you for the kind invitation, however, I am Ella didn’t understand the question. The Man didn’t “What’s going on out there?” screamed the Missus, to be otherwise engaged. I’m sure you recognize, time is wait for her to answer. He picked up the glass of water from the back of the house. Ella sprang from the Bermuda of the essence.” from the ground. He drank from it. Not the whole thing; grass, where she had fallen in her tears. “Ella?” “Very well, then. I leave you to it.” a single swallow. “Nothin’ Missus...... I be right there.” A screen door Joshua Johnson gathered his belongings for the last “What color is this water?” asked the Man could be heard slamming in the distance. Ella wiped her time on the property of Mr...... The dinner went on without “It ain’t no color. Is clear.” face with her wrinkled apron then turned to the Man. fail. By all in attendance, a job well done was noted and “Is it? Even clarity has color.” “You gotta fix it,” she said, with a sense of panic, coming Mr...... no, “P...... ” was slapped on the back. The Missus “Lawd, you and yo’ riddles,” she demurred. “You jus’ to her senses, forgetting its familiarity. “You gotta fix it. beamed, as she grasped the lockets near her breasts. too smart for yo’ own good.” You don’t know Massa.” “Would you like to see the portrait?”

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JACOB LAWRENCE Jacob Lawrence’s Migration series is a masterpiece of narrative painting portraying the movement of African Americans from the rural South to the industrial North beginning in World War I. Capturing racial ruptures of the day, Lawrence chronicles the search of a people for greater economic and social justice. Soon after its completion in 1941, the series was published in Fortune magazine and exhibited at the Downtown Gallery in Manhattan. With this solo show Lawrence became the first African American to be represented by a modern New York gallery.

Photography by Jack Delano Jacob Lawrence with a panel from The Life of Frederick Douglass series (1939) Migratory workers on their way from Florida to New Jersey, 1940 Library of Congress, Farm Security Administration Collection Courtesy The Phillips Collection, Washington, DC

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Jacob Lawrence was only 24 when he received unprecedented interracial acclaim for the Migration series. Lawrence explained that the Migration series was his story. He called himself a child of the Great Migration and a student of the people of the Harlem community. He heard their words; he observed their gestures in the streets and in the pool halls; he distilled their motives and intents into something emblematic, just as the actors and the comedians mirrored the life of the community in the Apollo Theatre. He utilized techniques learned from teachers at the Harlem Art Workshop, who recognized his prodigious talent and encouraged him to paint decisively and simply by dividing the picture plane with patterns derived from his observations of everyday life.

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“If I think in terms of the role that the series might play,… I hope it would be…showing what human beings can endure and survive. ”

01-10/ Jacob Lawrence The Migration Series Panels 1, 9, 11, 17, 29, 31, 33, 47, 49, 55 1940-41 Casein tempera on hardboard 18 x 12 or 12 x 18 in. The Phillips Collection, Washington, D.C., Acquired 1942 © Artist Rights Society, New York 09

sm018_10_05_07.indd 40-41 10/6/07 1:38:47 PM 43 Studio / Fall•Winter 2007 FUTURE DESIGNS ON HARLEM

01 02 by John T. Reddick

While laboring to envision the future architectural environ- African-patterned facade that attracts subsidized and ment of Harlem, I was continuously haunted by an image market-rate home ownership. Other local organizations of Ron Norsworthy’s Reparation Tower exhibited in the not only have made youth and education their agendas, Studio Museum’s harlemworld: Metropolis as \Metaphor but also have invested in building state-of-the-art schools exhibition in 2005. A towering image in the form of a and facilities. One distinctively modernist example is Prom- clenched fist rising at an urban crossroads, it clearly defined ise Academy on 125th Street, built by the Harlem Children’s Harlem’s emotional and architectural dilemma. By appro- Zone. The Museum of African Art, Malcolm Shabazz priating this radically defiant African-American symbol and Mosque and other cultural and religious institutions have rooting it in the Harlem landscape, Norsworthy put forth the established development partnerships to assist in under- challenge that faces both the community and its architects. writing their facilities’ expansion and support their What program, client or architectural form would truly longevity and service to the Harlem community. satisfy Harlem’s reparations agenda? The Apollo Theatre, through public and foundation dollars, By focusing one’s emotions only on the negative challenges not only has reinvigorated its cultural legacy, but also has of Harlem’s changing landscape, we do ourselves a disser- sought to preserve and improve its theater facilities, facade vice. That stance refuses to acknowledge the hand Harlem and illuminated signage. Meanwhile, The Dwyer, a residential citizens have played in defining some of the positives and cultural complex originally slated for the historic Dwyer that are also being advanced. Unlike the nineteenth-century Warehouse, rebounded after that building’s collapse. architecture that Harlem’s African Americans came to The new building it occupies evokes the original landmark inhabit, twenty-first-century Harlem architecture has profile and has attracted a tenant roster of African-Ameri- evolved. Much of it exists in response to community needs, can social and cultural players that is destined to establish growing professional expertise and increased neighborhood it as a twenty-first-century rival to Harlem tales of A’Lelia

desirability. In the 1980s, local development corporations— Walker’s Dark Tower of the 1920s. 03 04 off-shoots of Harlem institutions—established agendas, built partnerships that acquired land and properties, If one wants to focus solely on bold and apparently 01 / Roberta Washington 03/ Roberta Washington and built and rehabilitated hundreds of housing units, uncompromising architecture—a potential visual rival to Architects PC Architects PC commercial facilities and institutions. 1400 Fifth Avenue at 1400 Fifth Avenue at Reparations Tower—then it is worth remembering that, 116th Street 116th Street (detail) typically, patrons and institutions with deep resources and 02/ Ron Norsworthy 04/Beyer Blinder Belle Firms such as Roberta Washington Architects PC have keen architectural design agendas produce them. Reparation Tower Architects & Planners LLP worked with these corporations and have moved from 2005 The Apollo Theatre John T. Reddick works on architectural preservation, planning and public art in New Façade/Marquee Restoration rehabbing tenements for Harlem families to designing York City. He serves on Community Board #9 in Manhattan and is the Associate Vice West 125th Street 1400 Fifth Avenue and other large developments. President of Education & Programming for the Central Park Conservancy. Kalahari, by Frederic Schwartz and designer Jack Travis, is an ecologically “green” building with a striking

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Black 01 Is the New

Black 02 03 by Naomi Beckwith, Assistant Curator

The revolution is back, even if it will not be televised. the Black Panther Party’s Minister of Culture, edited And what of this new iteration of black pride? Why through the cultural aftermath that lies buried under Nor will it be on MySpace, no one will blog about it and by white West-Coast artist Sam Durant, who has a now? At first glance, it may look like a romantic revival piles of recession, blazing ghettos, Reaganomics, urban it may not even be live. But it is fashionable; on urban keen interest in how images of black people and of a bygone era when change seemed imminent and revitalization and the shock waves of globalization streets a certain flat-footed yet endearing black-pride revolutionary aesthetics came to disrupt idealizations the Black Panther Party was, in a word, sexy. Sexiness to rethink what blackness meant then and what sloganism is peppering chic apparel all over. In a pop of the American polity. Coco Fusco’s 2004 video proj- is easily encapsulated in fashion but what is more it can be today. send-up of Milton Glaser’s “I√NY” logo, T-shirts with ect, a/k/a Mrs. George Gilbert, resuscitates a circa- interesting and nuanced with these art projects is “black people” where “NY” should be can assert either 1970, be-froed Angela Davis who, though an astute their insistence on a certain layer of fiction over their Recently I wore my Studio Museum “black is beautiful” solidarity, when worn by those who are the object of academic even then, was more notorious for her links enterprises—the stories are made up but the problems T-shirt and almost had to read the riot act to the affection, or unironic favoritism, when worn by non- to politically radical groups and for making the FBI’s Ten are real. Some artists today are investigating an unam- bevy of men who understood the only quasi-unin- black people from Tacoma to Tokyo. More exclusive Most Wanted Fugitives list. Fusco’s video intersperses biguous, undeniable assertion of difference to open tentional double entendre written across the chest new rebus T-shirts announce that the owner “√s [bee]- period documentary footage, contemporary faux-sur- up a whole new discussion about blackness. And this of a black woman. Most striking, though, was that the ing black,” with a recently imperiled honeybee following veillance shots and video clips of Angela Davis look- gesture is especially bold when, oftentimes, the cultural response came mainly from older black men, those the heart. Olympic medalists Tommie Smith and John alikes, all set to the confession of a fictional FBI agent. world is at a loss for words when speaking about identity. for whom such a phrase would evoke nostalgia. These Carlos, and their audacious raised fists, have been gentlemen, unlike Otabenga Jones, were alive during revived and immortalized on jersey cotton crew necks; The male counterpart to Fusco’s Davis is Otabenga Besides, the blackness of late-1960s–early-1970s urban the age of black radicalism and had first-hand experi- hip-hop artists are given the same iconic treatment as Jones, the collective ego ideal of at least four artists— America was nothing to be nostalgic about. The civil ence with the civil unrest. Today we have to deal with Alberto Korda’s Che Guevara; and even the Studio Dawolu Jabari Anderson, Jamal Cyrus, Kenya Evans and rights struggle wasn’t a youthful fantasy cause but a the aesthetic questions of blackness and beauty to Museum’s adoption of the “black is beautiful” slogan Robert A. Pruitt—who claims “to mess with whitey” as matter of life and death. Davis was imprisoned on mur- come to a deeper understanding of what “√ing” black hearkens back to street rallies full of afros like halos, his raison d’être. Otabenga Jones & Associates’ instal- der charges. The fictional “Spook,” who lends Otabenga people really can mean. fists in the air and brown-skinned people demanding lations vacillate between something fictional and Jones & Associates their mission statement, lived in a

freedom by any means necessary. something anthropological, combining what appear to nonfiction militarized zone where, when the smoke 01/ Coco Fusco 02/ Courtesy be ephemera from the black-pride movement, African cleared, the landscape was freshly littered with black Sightings 4 ShadowFlack Apparel (B/W photos from a/k/a Black is even beautiful inside the gallery space. Take, sculptural objects, refuse from riots and craft materials bodies shot by police. The above artists are sifting Mrs. George Gilbert), 03/ Otabenga Jones (detail) and Associates for example, the new monograph on Emory Douglas, that evoke your grandmother’s living room. 2004 Photo: Leslie Hewitt Courtesy the artist

sm018_10_05_07.indd 44-45 10/6/07 1:38:50 PM 47 Studio / Fall•Winter 2007 November 2007 Education S M T W TH F S Education and Black Thought? Public Pro∂rams Fall/Winter 2007 by Romi Crawford, Curator and Director of Education and Public Programs

ADULT PROGRAMS SENIOR PROGRAMS The Studio Museum in Harlem has a long tradition of Calling all seniors! It’s time to get out and socialize! Spend presenting programs that address prevalent issues a Saturday afternoon at the Studio Museum during December 2007 in contemporary art by artists of African descent. these exclusive tours and programs that explore our S M T W TH F S Through the Department of Education and Public current exhibitions. Programs, we offer a range of programs that engage writers, scholars and critics. Tours for Seniors are FREE. Space is available on a first-come, first-served basis. Pre- registration is required. Please call 212.864.4500 x264 to reserve a space. Ray Llanos Ray Photo:

The work of our Department of Education and Public Programs FAMILY PROGRAMS Senior Programs are supported, in part, by New York State Council on the Arts, a is to create a context for the ideas and thematics that circulate Are you looking for something fun to do with your kids? state agency, and the Renate, Hans and Maria Hofmann Trust. around art-making by those of African decent. While the exhibi- Bring the family to the Studio Museum and experience art YOUTH PROGRAMS tions provide a version of these ideas, the education and public in new and exciting ways! programs realm offers a means by which to showcase the rich The Museum hosts free programs for high school students outside the school environment. These and complex ideas that emanate from the works. This is not Family Fun @ the Studio! a matter of setting them in stone or making the ideas too The Studio Museum offers free admission to all visitors on the first Saturday of each programs offer students opportunities to meet and precious. Rather, since we deal in the abstract matters of black month through its Free First Saturdays! program. Family Fun is a special program of- converse with prominent visual artists, express their thought, we can’t know for certain where our inquiries and fered on select Saturdays for children and their parents or guardians to experience January 2008 the fun of exploring art together. This monthly program features festive activities ideas through discussions, facilitate tours and hands-on investigations will lead. S M T W TH F S for children ages four to ten and their families. workshops and develop important communication and critical thinking skills. Our fall season is rife with intrigue, suspense and the confusion Family programs are FREE. Pre-registration is required. that results from presenting events and projects to new audi- Please call 212.864.4500 x264 to register. Youth Programs are supported by The Peter Jay Sharp Foundation; MetLife Founda- ences and in ancillary spaces.What contradictions and insights Family Programs are funded, in part, by public funds from the New York State Office tion; Time Warner Inc.; Citigroup Foundation; the Jacob and Gwendolyn Lawrence will spring from the Here & Now: African and African-American of Parks, Recreation and Historic Preservation, made available through the office of Trust; New York State Council on the Arts, a state agency; Bank of America; and the Film and Art conference? How will Harlem residents receive Assemblyman Keith L. Wright. Eathon Hall Memorial Fund. Dave McKenzie, four years after the first performance, as he traipses around 125th Street in his Clinton-head mask?

31 Perhaps I’m most curious about what might, or might not, happen when we bring the Long March Project to Harlem? As part of this undertaking, black and Asian artists, curators and scholars will activate the plaza across the street by performing a discus- February 2008 sion of their work and projects. S M T W TH F S

And you tell me—how will third-graders from the Thurgood Marshall School do as docents to senior citizens for tours of the Jacob Lawrence exhibition? The opportunity to create a mean- ingful interaction between the generations around the subject of Lawrence’s Migration series is well worth the risk of a nine- year-old clamming up.

Finally, we attempt a reading-room area, which provides an installation-al approach to Kori Newkirk’s work, incorporating his influences, his words and shouts out from his fan club. March 2008 Black thought is for us an open (and unwieldy) source. We don’t S M T W TH F S need to know what it is, definitively, we just need to probe it, regularly. Like DADA “it is neither madness, nor wisdom, nor irony,…”1

1Tristan Tzara, “Monsieur Antipyrine’s Manifesto,” (1916) in Seven Dada Manifestos and Lampisteries (London; John Calder, 1977). Photo: Ray Llanos Ray Photo:

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Wednesday, November 7, 6:30–8 pm Copresented by Long March, PERFORMA and The Artist’s Voice is FREE. Seating is limited and available on a first-come, Lecture: David Adjaye the Studio Museum first-served basis. Please register for the conference to RSVP for this pro- November 2007 gram. Call 212.864.4500 x264 or visit the website, www.hereandnownyu. Wood Auditorium, Avery Hall (lower level) com, to register and reserve a space. S M T W TH F S Long March Project: Harlem School of New Social Realism is one of four projects Columbia University presented by Long March Project for PERFORMA07 The Artist’s Voice is made possible, in part, by an endowment Respondent: Thelma Golden, Director and Chief Curator established by the Ron Carter Family in memory of Studio Museum of The Studio Museum in Harlem Wednesday, November 14, 5:30-7 pm Trustee Janet Carter. Dave McKenzie, All Together Now Here & Now is sponsored by the Department of Photography & Imaging, Department This lecture is presented in association with the Graduate School of Archi- of Art & Public Policy and the Kanbar Institute of Film & Television of the Tisch School tecture, Planning and Preservation (GSAPP) at Columbia University as part Babel (2000–06) will be performed in the theatre of of the Arts; the Department of Art and Art Professions of the Steinhardt School of of the GSAPP Wednesday Night Lecture Series. The Studio Museum in Harlem. Other portions of Dave Culture, Education, and Human Development; and the Institute for African American Affairs at New York University. Sponsors outside New York University include the W.E.B. McKenzie’s All Together Now will be performed on Du Bois Institute for African and African American Research at Harvard University, November 1, 18 and 20. The Studio Museum in Harlem and the Whitney Museum of American Art. Books & Authors This program is co-presented with Books & Authors is designed to introduce works by liter- Sunday, November 18, 1–6 pm Thursday, November 1, 3–6 pm Artists-in-Residence Open Studio ary masters, established living authors and emerging Thursday, November 15–Sunday, Dave McKenzie, All Together Now writers. This program also features new titles that explore November 18 Welcome 2007–08 Studio Museum artists in residence black culture locally, nationally and internationally. Each Here & Now: African and African-American Art Leslie Hewitt, Tanea Richardson and Saya Woolfalk, and program is followed by a book signing. and Film Conference be among the first to visit their studios. This is a great op- New York University portunity to preview their new work and meet the artists. Tuesday, November 13, 7–9 pm Someone Knows My Name, with Lawrence Hill Here & Now: African and African-American Art and Film The Artist-in-Residence Open Studio is FREE. Space is limited and avail- Conference focuses on contemporary expressions in able on a first-come, first-served basis. Please call 212.864.4500 x264 to reserve a space. art and cinema from multiple perspectives within the realm of African and African-American visual culture. The Artists-in-Residence program and annual exhibition are presented with the support of Nimoy Foundation; Elaine Dannheisser Foundation; The Greenwall Foundation; This three-day conference looks at how African and New York State Council on the Arts, a state agency; Helena Rubinstein Foundation; African-American artists interpreted, documented, Jerome Foundation; Milton and Sally Avery Arts Foundation; and endowments established by the Jacob and Gwendolyn Lawrence Trust and Andrea Frank Foundation.

Courtesy the artist chronicled and created images over the last twenty

Photo: Lisa Sakulensky Photo: years. For a complete listing of events and locations, Sunday, November 18, 12–6 pm I’ll Be There (2007) will be performed at the Adam Clay- Aminata Diallo is an African, a South Carolinian, a New please visit www.hereandnownyu.com. Dave McKenzie, All Together Now ton Powell Jr. State Office Building Plaza on 125th Street Yorker, a Nova Scotian, a Londoner and, as Lawrence Hill Private Dancer (2007) will be performed in the theatre and Adam Clayton Powell Jr. Boulevard. Other portions of imagines her, traveling from continent to continent and The conference is free, but space is limited. Call the Studio Museum at 212.864.4500 x264 or visit the website, www.hereandnownyu.com, of The Studio Museum in Harlem. Other portions of Dave McKenzie’s All Together Now will be performed on from freedom to enslavement in Someone Knows My to register. Dave McKenzie’s All Together Now will be performed on November 14, 18 and 20. Name, the embodiment of the African diaspora. November 1, 14 and 20. The Artist’s Voice This program is copresented with Books & Authors is FREE. Seating is limited and available on a first-come, first-served basis. Please call 212.864.4500 x264 to reserve a space. Finally, an opportunity to be a part of the conversation! This program is copresented with These evenings of interaction with artists will get you (November 1–20) is the second biennial Books & Authors is made possible, in part, by the New York State Council PERFORMA07 talking. The Artist’s Voice provides a forum for artists to on the Arts, a state agency. Tuesday, November 20, 1pm of new visual art performance presented by PERFORMA, explain the philosophies underlying their work and for a nonprofit multidisciplinary arts organization dedicated Dave McKenzie, All Together Now Wednesday, November 14, 3-5 pm audiences to ask questions. to exploring the critical role of live performance in the Long March Project We Shall Overcome (2004) will be performed on 125th history of twentieth-century art and to encouraging new Harlem School of New Social Realism Friday, November 16, 6:30–7:30 pm Street. Other portions of Dave McKenzie’s All Together directions in performance for the twenty-first century. To Adam Clayton Powell Jr. State Office Building Plaza, Kori Newkirk, in conversation with Now will be performed on November 1, 14 and 18. find out more information aboutPERFORMA07 visit 125th Street and Adam Clayton Powell Jr. Boulevard Carrie Mae Weems www.performa-arts.org. This program is copresented with For this exciting event, twenty leading international art- Cantor Film Center, This program is FREE. Seating for theatre performances is limited and ists, writers and thinkers from the black and Chinese art New York University available on a first-come, first-served basis. Please call 212.864.4500 community, will gather for a provocative and performa- x264 to reserve a space. Presented in association with Here & Now: African and tive dialogue to negotiate the possibility of a new dimen- African-American Art and Film Conference. Join us for sion of social realism connected to the production of a moderated discussion between renowned artists Kori contemporary art. ADULT PROGRAMS FAMILY PROGRAMS SPECIAL PROGRAMS Newkirk and Carrie Mae Weems.

SENIOR PROGRAMS YOUTH PROGRAMS

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Tuesday, November 20, 12pm “Migration Series” Family Programs Mommy and Me @ the Studio! January 2008 Saturday, December 1, 10 am-12 pm S M T W TH F S New and expecting moms, dads and grandparents are in- Footprints and Pathways, vited to come out to meet other parents, view the current Exploring “Migration Series,” Part I exhibitions and enjoy art-making and other activities that encourage creative time and bonding. In the first session of this two-part program focused on Jacob Lawrence and “Migration Series,” explore Wednesday, November 28, 7–9 pm how Lawrence used color to tell a story. Then join Books & Authors an exciting workshop where you become the artist and create a migration-story painting. Each child will The Story of the Cannibal Woman, receive a special copy of The Choice Is Yours: An Art with Maryse Condé and moderated 31 Activity Handbook for Young Artists, Highlighting by Elizabeth Nunez the Art and Life of Jacob Lawrence, published by The Saturday, January 5, 2-3 pm Phillips Collection. Exploring Jacob Lawrence’s Migration Series:

The Story of the Cannibal Woman is both contemporary Llanos Ray Photo: Selections from The Phillips Collection and international, following the lives of an interracial, inter- Saturday, December 1, 10 am–3 pm cultural couple in New York, Tokyo and Capetown. Maryse Sunday, December 2, 10 am–3 pm Seniors, don’t miss this opportunity to participate in a guided tour of Jacob Lawrence’s Migration Series: Condé is known for vibrantly lyrical language and fearless, Saturday, January 5, 10 am-12 pm Hands On: Footprints and Pathways, Selections from The Phillips Collection, lead by a dynamic inventive storytelling. Footprints and Pathways, An oral-history and printmaking workshop group of third-graders from Thurgood Marshall Academy Exploring “Migration Series,” Part II for teens and seniors Books & Authors is FREE. Seating is limited and available on a Lower School. first-come, first-served basis. Please call 212.864.4500 x264 to In the second session of this two-part program This two-part, multigenerational workshop for teens and reserve a space. focused on Jacob Lawrence and “Migration Series,” seniors led by Rwandan-born artist Duhirwe Rushem- Wednesday, January 30, 7–9 pm explore how Lawrence’s work took shape. We’ll have eza will teach participants how to conduct oral-history Books & Authors Books & Authors is made possible, in part, by the New York State Council on the Arts, pencils and paper ready for an interactive tour in interviews and use real-life stories of migration to create Against Which, with Ross Gay a state agency. which you will explore and sketch the shapes and works of art. patterns present in Lawrence’s series. Then, in an art-making workshop, use your shapes, Saturday, December 1, 12-3pm patterns and other fun materials to make World AIDS Day a Lawrence-inspired picture! The Studio Museum in Harlem’s World AIDS Day program is an opportunity for you to learn and help December 2007 Martin Desht Photo: S M T W TH F S distribute information about HIV and AIDS. Check out Gay’s poems are an exploration of the various ways information sessions led by our friends from Harlem language can help us transcend both the banal and the United Community AIDS Center and learn about free unusual cruelties that are inevitably delivered to us, and and confidential testing. that we equally deliver unto others. Against Which combs through violence, love, fear and loss, exploring the com- Thursday, December 13, 7–9 pm mon denominators in each, and seeks the ways human Books & Authors beings might transform themselves from participants in a Intersection of Art and Poetry with Cave Canem Fellows thoughtless and brutal world to laborers in a loving one. (Patricia Spears Jones, Roger Bonair-Agard, Samantha Books & Authors is FREE. Seating is limited and available on a Raheem Thornhill and Simone White) first-come, first-served basis. Please call 212.864.4500 x264 to reserve a space. This program is copresented with the Cave Canem Foundation Inc. Books & Authors is made possible, in part, by the New York State Council on the Arts, a state agency. Saturday, December 15, 10 am–1 pm Jacob Lawrence The Migration Series Panel 19 Kuumba=Creativity! Kwanzaa Celebration 1940-41 Casein tempera on hardboard Families! Friends! Neighbors! Join us at The Studio 18 x 12 or 12 x 18 in. The Phillips Collection, Museum in Harlem as we celebrate Kwanzaa! Participate Washington, D.C., Acquired 1942 in hands-on workshops, enjoy interactive performances © Artist Rights Society, New York and have a great time with other families during this festive holiday season! Jacob Lawrence’s Migration Series: Selections from The Phillips Collection has been made possible through a grant from the National Endowment for the Arts as part of the American Masterpieces ADULT PROGRAMS FAMILY PROGRAMS SPECIAL PROGRAMS program, with additional support from MetLife Foundation and the Henry Luce Foundation.

SENIOR PROGRAMS YOUTH PROGRAMS

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The Fine Art of Collecting February 2008 The Studio Museum developed The Fine Art of March 2008 DIY Art Activity S M T W TH F S Collecting program to educate a new generation S M T W TH F S of art connoisseurs and provide them with access Homemade Paint to world-class curators, conservators, appraisers and by Shanta Scott, School and Family Programs Coordinator collections. The program will address many key topics, including the fundamentals of collecting contemporary art and purchasing art over time. Add a splash of color to family time by engaging the family in a fun-filled paint-making experience! Did you know that Thursday, February 14, 7–9 pm Jacob Lawrence made his own paint to create the “Migration Series”? He prepared bright, vibrant colors with a mixture of The Black Market, with Bridgette McCullough, powdered paint, skim milk and lime. Create Lawrence- Sarah Clunis, Leslie Willams and David Driskell inspired paints and paintings with this easy recipe.

This season we have assembled a dynamic panel that Here’s what you’ll need: will discuss historical and current trends among Small bowls, 1 cup condensed milk, food coloring Saturday, February 2, 10 am–12 pm African-American collectors and the acquisition of and a paintbrush Books & Authors Kids! contemporary art from African-American artists and Saturday, March 1, 10 am-12 pm traditional African art. Creative Space!: Exploring Kori Newkirk 1997–2007 Here’s what to do: Families, join us for story time with a notable author as we highlight a children’s book that will set your imaginations The Fine Art of Collecting is $20 for the general public and How do you make a painting without paint? Check out free! Explore your creativity in a hands-on art-making $15 for members, seniors and students. Pre-registration artist Kori Newkirk’s pony-bead paintings and see how it’s workshop and have your book signed! is required. Space is available on a first-come, first-served basis. done! In a guided tour you will see how Newkirk uses posi- Please call 212.864.4500 x264 to register or for more information. tive and negative space to create colorful landscapes and cityscapes. Get creative in a hands-on workshop and February 16, 10 am–1 pm make a “painting” of your own! ArtLooks: Harlem Bound with Jeff Sonhouse Saturday, March 1, 2-3 pm Get on the inside with this rare opportunity to see an Exploring Labor, Love, Live: Collection in Context Divide the condensed milk evenly in the small bowls, artist in action! Meet up at the Studio Museum at 10 am based on the number of colors you want to make. sharp and join us for a visit to the studio of this Spend a Saturday afternoon at the Studio Museum extraordinary artist. during this exclusive tour that explores our current exhibitions. Wednesday, February 27, 7–8:30 pm Hosted by Jason Bernard Saturday, March 1, 10 am-4 pm Hoofers’ House Hands On: Fabrics with Robert Paige Kori Newkirk/ Channel 9 1999 In honor of the important place of tap dancing in Har- “Writing with wax” is how many people describe the art of Courtesy the artist lem’s history, the Studio Museum now partners with The batik. Learn this ancient technique of using wax and dye and The Project, New York to make patterns on fabric from master textile designer Kitchen to create a home for hoofers. This summer we will In each bowl, mix the condensed milk with several showcase the fine footwork of a few dancers who are sure Robert Paige. Saturday, February 2, 2–3 pm drops of food coloring to make a bright, glossy paint. to burn up the floor! Tap dancers show your shoes to get Exploring Kori Newkirk: 1997–2007 in free. Spend a Saturday afternoon at the Studio Museum during this exclusive tour that explores our Hoofers’ House is $7 for the general public and $5 for members, seniors and students. Space is available on a first-come, first- current exhibitions. served basis. Please call 212.864.4500 x264 to reserve a space.

Paint a picture! This paint will work best on white construction paper.

Store covered in the refrigerator (paints will last a few days).

For more exciting, hands-on art activities, be sure to come to Family Fun @ the Studio! programs on the first Saturday of each month. This project was adapted from Family Education Network at fun.familyeducation.com.

ADULT PROGRAMS FAMILY PROGRAMS SPECIAL PROGRAMS

SENIOR PROGRAMS YOUTH PROGRAMS Photo: Ray Llanos Ray Photo:

sm018_10_05_07.indd 52-53 10/6/07 1:39:00 PM 55 Studio / Fall•Winter 2007 -  Sunday, November 18, 12–6 pm 12–6 18, November Sunday, (2007) Dancer Private The Theatre The Studio Museum in Harlem 1 pm 20, November Tuesday, (2004) Shall Overcome We The Studio Museum in Harlem

Kori Newkirk Flank 2004 Courtesy The Project, New York Send printed photographs and essays to: to: and essays photographs Send printed The Studio Museum in Harlem Department Public Relations Ali Evans, Attn: 125th Street 144 West NY 10027 New York, - materi loss or damage to for assume responsibility do not The editors be returned. cannot and essays photographs Submitted published photographs for responsibility legal any assume supporters financial or staff editors, the do Nor submitted. als and staff editors, the of views the represent necessarily not do magazine the in published Materials magazine. the in or publication. print guarantee submissions do not and essay financial supporters. Photograph / Dave McKenzie hursday, November 1, 3-6 pm November hursday, formed in front of an audience for only the second time. McKenzie mentions this piece as “the mentions only the second time. McKenzie of an audience for in front formed all of his work,” a bridge between the artist’s concerns. starting for past and present point act of dancing, the group involves and is an attempt is a new work that Dancer, Private The third, performance. formed dance as a fully examine to on another new work, I’ll Be There , which is based a small will expand McKenzie Lastly, interventions. potential for dates hand-stamped has artist the which in planner day preprinted performances. actions into turn the viewers’ ordinary this work to will reinterpret McKenzie 01 Babel 2000/06 Courtesy the artist it will be per this iteration, For as a video performance. The second work, Babel, originally existed The Studio Museum in Harlem by copresented 2007; and 19–20, 14–15 November McKenzie; Dave , by Now All Together and PERFORMA07. a PERFORMA, by presented performance art visual new of biennial second the is 2007) 1–20, (November PERFORMA07 of history the in performance live of role critical the exploring to dedicated organization arts multidisciplinary nonprofit century. the twenty-first for in performance art directions new encouraging and to twentieth-century Schedule of Events: Schedule of T I’ll Be(2007) There Jr. Powell Clayton Adam Plaza, Building Office State Clayton Adam and Street 125th Boulevard. Powell pm 14, 5:30–7 November Wednesday, Babel (2000–06) The Theatre The Studio Museum in Harlem - 01 01 [2007]) I’ll Be There [2007]) and [2007] Dancer [2004], Babel [2000–06], Private Shall Overcome We Requirements for electronic submissions electronic for Requirements Profile PERFORMA * Submit essay to [email protected] with “Critical essay” essay” “Critical with [email protected] to essay Submit * in the subject * Include author’s information phone number and contact email address, with the essay’s letter or abstract title and a short* Include a cover statement credits captions and photo citations, * Include proper if applicable reproduction, suggested* Include list of for photos Open Call For Open Call For Submissions Studio magazine submissions to call for Open your off show to chance your Now’s Harlem Postcards. seen and loved You’ve any have you Do publication. for photographs your looking for are We eye. writers! undergraduate Attention Studio magazine submission to call for Open visual African-American examine that essays critical seeking currently is Studio in African-American art or topics culture history. Coordinator , Public Programs Brooks Kalia by Assistant and Public Programs , Education and Rebecca Matalon - in collabora Now (2007) All Together will present 1977) (b. artistMcKenzie Brooklyn-based Dave works consists of four . The project tion with The Studio Museum in Harlem and PERFORMA07 ( the with intervention and performance on based practice current and past artist’s the at look that is the second biennial of new 2007, 1–20, November , which will run from public. PERFORMA07 - PERFORMA.the organiza in 2005, visual artarts nonprofit Created by performance organization through arts visual the in practice performance-based of knowledge public expand to seeks tion Together All curators. spaces and independent with artists,collaboration museums, alternative he where Museum, Studio the at residency McKenzie’s of anniversary four-year the mark will Now on the past, present . As a meditation Shall Overcome four pieces, We the first of conceived of objectives the reiterate to seems Now All Together practice, of his performance and future PERFORMA. guide that perpetuation and preservation thing compelling hanging on your walls or collecting dust in your albums? What albums? What or collecting dust in your walls thing compelling hanging on your it and way our it Send camera? digital your on snapped scene striking a about Studio . editions of could be published in future submissions electronic for Requirements with [email protected] to * Email JPEGs in the subject eye” your off “Show and work the submitted listing the title of letter * Include a cover the photographer’s information contact its location describing the photo, * Include a short statement taken it was and the date

sm018_10_05_07.indd 54-55 10/6/07 1:39:01 PM 57 Studio / Fall•Winter 2007 

 Turn the page and add some Turn the artist’s work! color to Gang, and has been in movies, videos and magazines for his dancing skills. The movement and and movement The skills. dancing his for magazines and videos movies, in been has and Gang, down vivacious, and animated are figures the illustrations; his in seen easily is dance of language street, the down Walking depicting. is he motion what matter doesn’t It hair. their of tips the to page. the off jump figures the dancing, or still standing as an artist.evolution of Harlem as a major influence in his work and the vibrancy Morrison cites Morrison considers many artists so many today, for the way who paved of the past greats Aware the opportunities have lucky to he does. extremely and feels of them as his mentors working is currently he addition, In 2008. in released be will on worked artist the that books Two his “Harlem” series. His work can be viewed on original work from on a one-man show featuring or bookstores local at purchased be can books his and www.morrisongraphics.com, website, his amazon.com. at / Brian Neris and Maxxi Prather mplementing a standard industry practice, Hall has exposed his students to stars such as Spike Spike as such stars to students his exposed has Hall practice, industry standard a mplementing 01 Photo: Claudio Sergiacomo holding the camera and boom and interviewing Hall. I was later told by a professional assisting the a professional by told Hall. I was later and boom interviewing holding the camera - their relation Alums continue talks. and Jim Jarmusch during set visits craft Daniels Lee Lee, Formerly housed in a city parks facility, GFS has a new, somewhat poetic location. The space, which poetic location. somewhat GFS has a new, housed in a city parks facility, Formerly industry that Mr. Hall ardently hopes to influence, the Ghetto Film School, like the New Wave, might Wave, the New Film School, like influence, the Ghetto hopes to Hall ardently Mr. industry that will be converted into a production studio outfitted with the latest technology in sound and video with the latest studio outfitted a production will be converted into universities, film students will not shoot footage until the sophomore year. What’s more, the films more, What’s year. the sophomore until footage will not shoot film students universities, I ship with GFS through the Digital Bodega, GFS’s production house that serves real clients and clients real serves house that Bodega, GFS’s production the Digital ship with GFS through in film history. movement a vital for soon be the moniker shoot that post-production graphics will illustrate the to-be-completed GFS headquarters. headquarters. GFS to-be-completed the illustrate will graphics post-production that shoot exposes alums to the film industry. industry. film the to alums exposes editing, was formerly a piano factory. I arrived there as three GFS alums worked with Hall and a and Hall with worked alums GFS three as there arrived I factory. piano a formerly was editing, for the school. The GFS alums were video on a promotional filmmakers couple of professional With four hundred graduates entering exceptional film programs and gaining attention from the the from attention gaining and programs film exceptional entering graduates hundred four With are shown at the GFS Annual Public Screening at Lincoln Center. at Public Screening the GFS Annual shown at are - 01 nd the name stuck. The Ghetto Film School (GFS), founded in 2000 by community organizer community organizer in 2000 by School (GFS), founded Film nd the name stuck. The Ghetto by Corey E. Walker Corey by tool for any subject they are taught in high school. school. high in taught are they subject any for tool media and visually driven information. GFS teaches students from fourteen to twenty-one twenty-one to fourteen from students teaches GFS information. driven visually and media - In the pro during the school year. two summers and Saturdays across stretches that program first summer, they have shot one to three hours of footage that they will edit into a six-minute a six-minute will edit into they that footage hours of to three shot one have they first summer, and colleges some at significant; is creation early This voice-overs. or dialogue without film years old, mostly from New York’s underserved areas, that producing film can be an analytical analytical an be can film producing that areas, underserved York’s New from mostly old, years fellowship fifteen-month free, a in process filmmaking the of step every students teaches GFS gram, students learn both the technical and artistic aspects of filmmaking. By the end of their their of end the By filmmaking. of aspects artistic and technical the both learn students gram, Profile School Film The Ghetto Profile Morrison Frank Brown Elizabeth by raw grit - to the the fine artLouvre styles, from in the different many by Morrison is inspired Frank recalling the six “urban mannerism,” Morrison defines his style as on the streets. tiness of graffiti teenth-century movement, Mannerism, that directly followed the Renaissance of the thirteenth thirteenth the of Renaissance the followed directly that Mannerism, movement, teenth-century Mannerism by artistsPontormo, famous Parmigianino and such as Made centuries. fifteenth to Morrison’s movements. impossible and colors vivid features, exaggerated by characterized is with his unique urban style. combine these characteristics illustrations sees and writer, graffiti a was he teenager a As experiences. his by influenced is work Morrison’s can still be seen in Tags themselves. artists express to disadvantaged for this artas a way form in this children’s (2006). He used graffiti are Laughing work, such as in MyMorrison’s current Feet art. of form unconventional an demonstrate to and atmosphere urban an create to book which voice, and individuality his maintains Morrison way one is work his in graffiti Including has an artDancing met at Morrison when they show in Chicago. to stressed Mayhew Richard Hill Sugar The and Sybil singer R&B the for danced He life. artist’s the of part major a been also A Joe Hall of the South Bronx, is bringing education up to speed in our culture of lightning-fast of lightning-fast speed in our culture up to is bringing education Joe Hall of the South Bronx, “We don’t want some kinda ghetto film school” some kinda ghetto don’t want “We

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sm018_10_05_07.indd 58-59 10/6/07 1:39:04 PM 61 Studio / Fall•Winter 2007 01/ Hank Willis Thomas Branded Head Here & Now: 2003-05 Overheard The Studio Museum in Harlem; museum purchase made possible African and African-American Art by a gift from Anne Ehrenkranz, New York 05.9.1 and Film Conference, November 15—18, 2007 by Kalia Brooks, Public Programs Coordinator by Shanta Scott, School and Family Programs Coordinator

Here & Now: African and African-American Art “The majority of my work is definitely influenced by litera- and Film Conference focuses on contemporary ture. . . . I think of each scene like a silent film or a scene expressions in art and cinema from multiple perspec- out of a movie. Oftentimes the photographs, for me, are tives in the realm of African and African-American cinematic—a still of a movie that plays in my head. That’s visual culture. This three-day conference looks at why there’s movie-like or dream-like imagery . . .” how African and African-American artists have Wardell Milan II, on his influences and why there is a interpreted, documented, chronicled and created im- sense of drama in his work ages over the last twenty years. By reexamining visual history through the voices of artists, art historians, “I can’t pretend that this work in particular doesn’t address filmmakers, photographers, activists, editors, writ- race—it does. It’s an opportunity to throw it out there and ers, collectors and gallerists, Here & Now encourages have a real conversation about it. But everything I do is not diverse perspectives on the imagery created in the like that . . . as long as people are willing to dialogue about twenty-first century. The steady emergence of new Llanos : Ray Photo it that’s fine. . . . It’s not a problem if they say the art deals exhibitions, performances, media, writings and films For nine months out of the year, The Studio Museum with race. It’s a problem if that’s where they stop.” are a strong indication of the transformative impor- in Harlem’s artists in residence are busy in their Titus Kaphar, in response to a question about a New tance of art and film over the past decade. studios, fleshing out new ideas and churning out new York Times listing that suggests there is a mandate for young black artists to actively confront race and The conference is sponsored by the Department works of art for their highly anticipated exhibition. art history of Photography & Imaging, the Department of Art & Public During a recent Artist’s Voice program, 2006–07 Policy and the Kanbar Institute of Film & Television in the artists Titus Kaphar, Wardell Milan II and Demetrius “Part of it is appropriating the power that one is investing Tisch School of the Arts; the Department of Art and Art Oliver sounded off about the residency experience, in a particular image and reusing the trust the audience Professions in the Steinhardt School of Culture, Educa- audience response to their work and plans for moving has in the image. I use that for myself, and for what I want tion and Human Development at New York University. forward. Sitting in on the conversation with the to create.” Sponsors outside of New York University include the buzzing audience, here are a few gems I overheard: W.E.B. Du Bois Institute for African and African-American Wardell Milan II, in response to a question about how Research at Harvard University, The Studio Museum in the artists use source material 01 Harlem and the Whitney Museum of American Art and “The painting is sort of like a patient, and I’m dissecting it, “It’s something we’re still defining, what we’re doing and Friends of MoMA  trying to find something that maybe you didn’t see before. what we’re about. . . . We want to mimic what happened It’s necessary to go underneath to get to the bones of the in our studios. We’ll still keep our individual practices, but painting to see what’s there . . . after that, it’s like a Franken- also from time to time work together.” stein thing. You just see what happens . . .” Demetrius Oliver, on Blur, an upcoming project in Titus Kaphar, in response to a question about the Berlin that all three artists are curating, and whether physical aspect of his paintings they are a collective “In all the work I do, whether it’s photography, sculpture or projections, there’s an interest in using the body, particularly my body. . . . I try to use the body such that it starts to activate the materials. So for me it’s more of a catalyst . . .” Demetrius Oliver, on why performance is a big part of his work

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Remote controlled hairy-copters, an eight-foot wide hawk, advanced styling techniques, countless pounds of human a birthday cake spouting confetti, a working barbeque grill, hair extensions, and irrepressible imagination, these Hair a Bible made of hair—these are just a few of the creations proudly outrageous coiffures take the time-honored tradi- featured in Hair Wars, David Yellen’s jaw-dropping tion and culture of African American hairstyling out of the collection of portraits taken at the touring American show- beauty parlor and onto the runway. case of the same name (see page 74). Since discovering Hair Wars at a spectacular event at Harlem’s Apollo Theatre Founded by David Humphries, a.k.a. “Hump the Grinder,” in in 2004, Yellen has traveled across the country to document the nightclubs of Detroit during the mid-80s, these “hair enter- Wars the hairstylists and the styles that they create. Combining tainment” events had professional stylists battle each other

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with wildly innovative designs. Just as colorful as their creations, 01/ Stylist: Ms.’Color Me’ Vic 04/ Stylist: Charlie Maehongbey the stylists sport eccentric signature looks and eclectic stage 02/ Stylist: Dave Ray 05/ Stylist: Little Willie names. Hair Wars stylists push themselves to create bigger, bolder and more bodacious ‘dos at every show. But this is not 03/ Stylist: Ali D’Shua & Big Dickie 06/ Stylist: Kevin Carter 04 05 a competition—it is a showcase of some of the most incredible talent and design this country has ever seen. 

Photography by David Yellen/ Courtesy powerHouse Books

sm018_10_05_07.indd 64-65 10/6/07 1:39:12 PM 67 Studio / Fall•Winter 2007 01/ Tuf Komerera Staff Picks 2001 Courtesy of the artist, Africa e Mediterraneo, The Lan∂ston Hu∂hes House Bologna andCEFA – Il seme della solidarietà, Bologna

by Jovan C. Speller, Development Assistant

More and more frequently, as I walk community. To broadcast the art and the artists of seams. Rhymes and music ricocheted off the walls, ceiling from my east Harlem residence west this community to a global audience utilizing new and floor in the most powerfully pleasant way. Chairs were Ask a Museum Guard Leonard Smalls, Deputy Fire Safety Officer to The Studio Museum in Harlem, media outlets.” cleared to form a dancing and mingling space, and the I find myself surrounded by recon- after-party commenced. struction and development of the Their mission is accomplished through several Harlem community. Harlem real programs and events. In Hughes House Youth Ensemble, Overall, I found the Langston Hughes House to be a great estate is sought after more than ever, and mainstream middle school and high school students come together place for cultivation of camaraderie and for sharing retail businesses are fast making their way toward to form a jazz ensemble taught and mentored through new thoughts and ideas. It is one of Harlem’s historic 125th Street. workshops led by Cary and other talented jazz musicians. sites, and for Chance and Cary it is an active reclamation Free Thought Thursdays is an open-mic night where and preservation of notions formulated during the Amid all the change, it was with great interest that I learned inspired attendees share their poetry, music, art and Harlem Renaissance. about the Langston Hughes House at 20 West 127th Street. thoughts. Multimedia tours and class trips can be What is the most compelling thought a visitor Langston Hughes, famed poet, novelist, columnist and arranged to experience a presentation about the has left you with? playwright of the Harlem Renaissance, lived and created in Harlem Renaissance and Langston Hughes, along with I recently explained the exhibitions on view to a this location for a great portion of his life. The three-story a question-and-answer session and poetry reading. visitor and she told me that I discussed them so well brownstone has now been restored by the dynamic duo of that I should be a tour guide! Founder and Director Shon “Chance” Miller and Vice Presi- I had the pleasure of experiencing a Free Thought dent and Music Director Marc Cary, who came together Thursday, which was hosted by La Bruja. The tone of the What’s the most important thing you’ve learned while working at the Museum? to form the Langston Hughes House after several musical event remained upbeat, mellow and respectful during po- collaborations. The top two floors of the brownstone are etry readings, rappers, singers and a violinist’s performance I’ve learned that Harlem is still a cross section of the world—full of life. Art brings people with different reserved for office space, leaving the first floor, which con- of Stevie Wonder’s “Knocks Me Off My Feet.” The audience nationalities and backgrounds to Harlem everyday. sists of two adjoining, living-room-sized, T-shaped rooms, itself was amazingly diverse and multitalented. To bring to function as an easily transformable gallery/lounge/stage/ the evening to a close, Chance took the stage to perform. Which exhibition has had greatest effect on you listening space. Before long, the energy in the room was bursting at the and why? Africa Comics (2006) reminded me that I love

The missions of the Langston Hughes House are C. Speller Jovan Photos: comic books, and those works allowed me to look “To honor the legacy of Langston Hughes and the Harlem at comics as an art form for the first time. I’ve Renaissance. To serve as a catalyst for a new Renaissance started buying comics again and trying my hand at making them. Movement. To function as an educational resource for the youth, focusing on poetry, music and art. To become a center to experience, share and explore art in the Harlem

sm018_10_05_07.indd 66-67 10/6/07 1:39:16 PM 69 Studio / Fall•Winter 2007 Development News Fabulous Faces

We were thrilled that hundreds of our friends joined us for the opening party of our summer 2007 exhibitions and projects. We were especially happy to see so many of our former artists in residence who came and showed their faces once again at The Studio Museum in Harlem. As always, the faces at the Studio Museum are fabulous, fresh and fantastic! 

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Members Shea Owens Mr. & Mrs. Peter J. Cohen Gertrude F. Erwin Richard W. Crowley Mark Price Floyd & Yvonne B. Coleman Toni G. Fay Lana Turner 2006—07 Robert L. Reffkin Ronald & Linda Daitz Ruth Fine Melvin Washington Deborah Robinson Laura Donnelley James Fonsville George A. Williams Jr. Charmaine Shelton Waldo & Rita Falkener Christopher Forster Karen Williams Alaina Simone Arthur Fleischer Jr. & Linda Galietti Mildred Yearby Janera Solomon Susan L. Fleischer Vanessa Gamble Family/Partner Frederieke S. Taylor Barbara G. Fleischman Lois Garland-Patterson Brenda Aiken Thompson, MD & Derrick Thompson The Museum’s Membership Program has played an Harold P. & Artholian Freeman Arthur A. & Carol Goldberg Kenneth L. Thompson Stanley D. Trybulski Ira Goldberg Vernon W. Griffith important role in the institution’s growth for forty years. Elizabeth Alexander Mirande Valbrune Marc Gross & Susan Ochshorn Mary Gurney Rodney & Daryl R. Alexander Thank you to all the following who helped maintain our Yael Varnado-Rhodes Homer M. Hasbrouck Michael Harris Joshua Alvarenga ambitious schedule of exhibitions and public programs Tiana M. Webb-Evans & Sylvia Heisel Sanjeanetta Harris Gloria & Madeline Antonini Guka Evans Lois Henderson during the 2006-07 season.  Horacio J. & Julia P. Herzberg Lisa Applebaum & George Haddad Emil Wilbekin Charles B. Hobson & Maren Stange Sondra A. Hodges Lorinda Ash Ezersky & Ayesha Williams John O. Hopkins III & Edward D. & Patricia L. Holder Peter Ezersky Ebony Wiresinger Members (June 30, 2006 to September 1, 2007) Claudia L. Hopkins Dorothy D. Holloway Gordon & Sherrie Bell Harvey Lichtenstein Mary Vann Hughes Henry E. & Louise H. Bessire David Maupin & Rachel Lehmann Corporate Answorth A. Allen, MD & General Ann N. Jackson Mya Boston Diane & Adam Max Membership Rae Wright-Allen Membership Zella C. Jackson Nancee O. Bright & Bridget Moore & Edward DeLuca Al-lyce James Henrik Langsdorf Altria Group, Inc. Paola Antonelli & Larry Carty Benefactor Sheila Odle Albert Jones Jr. Burtt Brown & Steve Bell American Express Company Averlyn Archer Douglas Baxter Gene-Ann Polk Charla Jones Howard Carter Philanthropic Program Jamilah Barnes J. Max Bond Jr. & Jean C. Bond Marla Prather & Jonathan Schiller Cynthia G. Jones Evelyn Clarke Credit Suisse First Boston Amy Barnett Mary S. Cronson David Resnicow Robert M. Jordan Common Ground Goldman, Sachs & Co. Lauren & Jerry Bias Anne Delaney & Steve Stuso Vivian D. Robinson Robin D. Kelley Management Corporation JPMorgan Chase Lisa Caputo & Rick Morris Carolyn Greene Nan Rosenthal & Henry Cortesi Janet M. King Judith Corrente Moody’s Corporation Mia Enell & Nicolas Fries Timothy & Karin Brent Sikkema Sherry & Joel Mallin Charlotte Crawford Pfizer, Inc. Anthony K. Frempong-Boadu & Greenfield-Sanders Virginia J. Simmons, MD Larry Mangel Alvaro A. Dalton UBS Gwen Pehrson Jean-Pierre & Rachel Lehmann Virginea Stuart Lester J. & Joanne E. Mantell Paul & Joyce Hanly Eric T. McKissack, CFA & Kevin M. Davis & Erin M. Texeira Miriam & Kenneth Sutherland Robert & Joyce E. Marcus Steven P. Henry Cheryl McKissack Laurence B. & Penny Deitch Angela Vallot & James Basker Osby McMillan Jr. Special Michelle Hord Harvey S. Miller Andi E. & Robert R. Ditkoff, MD Jeanette Wagner Karen B. McNair Membership Tracey & Kendall James Peter Norton Rita M. Ewing Gwen & Arnold Webb Marcus Mitchell Bruce W. Ferguson Director’s Circle Melanie Lawson & John Guess Granville & Jeanette E. Rogers Stanley & Muriel C. Weithorn Angeline Monroe-Mayo Pamela D. Ferguson Michelle Carlson Daniel & Margaret Loeb David Teiger Monica Parham Sara A. Fisher Pamela Harper Marci McCall Francis H. Williams Supporter Omar Otieku & Monica Otieku Timothy Baum Victoria Parker Nigel Freeman & Peyton Jefferson halley k. harrisburg & Donor Glenn Rice Aaron & Geraldine Bell Robert E. Penn Lewis Friedman & Lynn E. Passy Michael Rosenfeld Mogolodi & Hope Bond Brendon Riley Llanos Ray Photo: Aaron Belson Nancy D. Portnoy Natasha Friedrichs & Raymond Learsy & Gladys Brown Annette & Wendell Scott Rosemary Blake Alvin Reed Carlos Whitaker Melva Bucksbaum Ezra Chowaiki Moriba Jackson Nanne Dekking & Frank Ligtvoet Kenneth Soehner & Frances F. Bowes Cynthia J. & William Rivelli Rodney Gardner & Valerie Brett Pierre and Maria Gaetana Garfield Clunie Carolyn Jones Marieluise Hessel Artzt & Ed Artzt Nathalie Angles Karen D. Brame Harriet J. Roaman Richard Gerrig Matisse Foundation Valerie Cooper Kelly Jones Barbara T. Hoffman Geoffrey & Orna Stern Sherry B. Bronfman Reginald Roberts Eddie I. Gibbs Mr. & Mrs. Henry W. McGee III Kathleen A. Dill Leon P. Kirkland Kerry F. Inman Roger C. & Sheryl H. Tucker Alvin H. & Yolanda C. Brown Samuel Roberts Lyle & Eleanor Gittens Denise M. Murrell Kianga Ellis Aishetu Kolo Sean & Mary Kelly Katrin Zimmermann & Juanita Brown Arcola H. & Levi A. Robinson Warren & Charlynn Goins Clarence Otis & Jacques Etienne Kelli Lane Carolyn Maitland Michael J. Downie William R. Brown Vibert Ross Constance & Alan Green Jacqueline Bradley Daniel Fountenberry Lucy J. Lang Madeline Murphy-Rabb Reginald Browne Mildred B. Roxborough Jo-Ann W. Hamilton Stephen J. & Barbara Sweeny Natalie Goldberg Toya Liverpool Marquita J. Pool-Eckert & Mary Sabbatino CF Individual Gary & Carol Calnek Susan Harris Lana Woods Alexis Gorden Phaedra Long Knut Eckert Debra T. Abell Elaine Carter Barbara J. Salander Saidiya Hartman James O. Gordon Yina Luo Ellen Stern & Jerome Stern Sharyn Church Kenneth Sills Greg E. Hendren & Ruth Eisenberg Curator’s Circle Onika Abraham Ella T. Gorgla Kelly MacNeal Velma L. Cobb Laura Skoler Martin J. & Judith Hertz Jacqueline Adams Beverly M. Anderson Djena N. Graves Lovanese Malone Associate Lisa G. Corrin & Peter Erickson Bernadette C. Smith William W. Hines III Ria A. Davis Elyse Anderson Lea K. Green Thomas E. Martin Diane L. Ackerman Raymond C. & Lynda D. Curtis Jim Sokol & Lydia Cheney Michelle Hobart & Justin Peyser Shannon Hales Cassandra Aquart Thomas Guss Sheila McDaniel Cynthia D. Adams D. Daniel-Parkes Clara R. Stanton Cynthia F. & Stephen C. Johnson Ginger McKnight-Chavers & Julia Bennett Cynthia Gyamfi Douglas E. McIntosh Barbara E. Anderson Tyrone M. Davenport Renee H. Sutton Pamela & Paul Johnson Kevin Chavers Larry Bentley Tania V. Hamilton Janice L. McNair Ellen Banks-Feld Andrew Davis Salim I. Talib Denise A. Jones & Ruthard C. Murphy II Jemina R. Bernard Angelique Hancock Monica Mehta Jo Ann Baylor Gayle Davis Wilbert & Susan Tatum Dennis M. Jordan Veronica Pollard & Joel Dreyfuss Jon Bolton Patrice Harris Myah M. Moore Wayne Benjamin, AIA Sylvia de Cuevas Julian & Jacqueline Taub Barry Kaplan & Jill Rowe Alicia Bond Reginald D. Harris Lori S. Moses Donna Blackwell & Diane D. Dean Sherlan Thomas Christine Kendall & Rob Mooij CF Couple Jenna Bond-Louden Shellie Hart Luba Mosionzhink Richard Franklin Kay Deaux & Sam Glucksberg Jack Tilton William B. King III Andrew Alexis, MD & Sheila Bridges Malika Hinkson Dwayne Nash, Esq. Melissa E. Bonaldes Saul & Ellyn Dennison Rebecca E. Trezevant Harry Kipper Ama Alexis, MD Elizabeth Brown Hallie S. Hobson Shani Nembhard Ellen Brathwaite Arthur R. & Helen E. Elcock Sharleen E. Trowers-Crowley & Gordon & Charlotte Kipping Valerie S. Brown Helen Hostin Jumaane E. N’Namdi Timothy & Terri Childs

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Allan F. Kramer II Lee Autry Kenneth Graham Sharon McFarland Connie Stewart Seymour C. Heck Joshua Chambers-Letson The following individuals were inadvertently Rita Krauss Tinuade Awe Cristina Grajales Julie McGee Margaret E. Stokes Marvin Hoffman Karilyn Crockett left off of the Supporter List in the summer Amy Kuhn & Stuart L. Rosow Jacqueline A. Bailey Cheryll Y. Greene Allie McGhee Jennifer P. Streaks, Esq. Dolly Holland Nicholas A. Enright 2007 issue of Studio. The Studio Museum in Roderick E. & Kimberly P. Lane Hilary M. Ballon Denise L. Greene Harriet McGuire Mark Taff Isaac Hunter Robeson Frazier Harlem wishes to thank them for their support. Michael Lantz Dolores H. Bedford Marguerite D. Greene Christine McKay Patalia D. Tate Thelma E. Jack Fatmata Gbondo Bernard & Frances Laterman Barbara A. Benton Joan Greenfield Sonia Mendez Jackson Jim Taylor Esther Jackson Pearl Gill Paola Antonelli & Larry Carty Tilden J. & Margaret Lemelle Tracy Berkley Marlene Guy Patrick Michel Susann Thomas Faith R. Jacobs Uraline S. Hager Amy Barnett Jerome M. Lewine Betty Bizzell Jenny Ham William M. Miles Joseph Thompson Olga C. Jenkins Aaron Higgins Lauren & Jerry Bias Markus Linnenbrink & Cynthia Blanchard Monica A. Hand Jeanne-Marie A. Miller Lloyd E. Thompson Ernestine Johnson Ahkilah Johnson Jon Bolton Cindy Rucker Elizabeth T. Bolden William A. Harper Gloria Mitchell Anthony Todman Louise Jones Sophia Johnson Alicia Bond Thomas W. Lollar Clara J. Branch Deborah L. Harris Maceo W. Mitchell Loretta Tolliver Natalie B. Jones Deborah Kagan Jenna Bond-Louden Frank C. Mahon Bertha Brandon Ruth Harris Frederick J. Moehn John D. Treadwell William E. Jones Marjorie Levy Kathleen A. Dill Sheila A. Mason-Gonzalez Lavonnie Brinkley Nicole C. Haynes Barbara B. Mooney Steve Turner Ernece B. Kelly Monique Long James O. Gordon Cerisa Mitchell Ghurron S. Briscoe Erika Hecht John L. Moore Susanna Vapnek Julia Keydel Nomaduma Masilela Helen Hostin, MD Michelle Moore Eulalia Brooks Herb Henry Frank Morrison Sametta Vick Regina M. King Michelle E. Merritt Lori S. Moses Barbara Morgan & Victor Herbert Marie D. Brown & Mark Hickson Eunice H. Murphy Clara C. Villarosa Beth Lawrence John Murillo Jumaane E. N’Namdi Joel & Isolde M. Motley McKinley Dabney Linda A. Hill Eileen Newman Monique Vogelsang Susan Lawrence Alexis Neider Mark Price Elizabeth Murray & Robert Holman Mckinley Brown Ellie Hisama James Nova Elizabeth Walker Valerie Leiman Mark S. Nyon Saidah Nash Heather R. Byer Dolores Holder Alberto O. Ojo Celestine Ware Alfred Lobl Khari Parson Anne Newman & Jules Bacal Joetta C. Caldwell Camara Holloway Motonobu Otsu Ernestine Washington Frances P. Logan Carol Pereira Joy Osborne & Simon Lawrence Donald F. Callender Liz Hopfan Jane Patten Jeri L. Waxenberg Carmen Matthew Shani Peters William Palmer Lennon B. Cameron Victoria Horsford Patricia H. Peju Griffin Marc Weuker Shirley McCain Frank Roberts Alvin Patrick & Cathleen Campbell Edgar Howard Olivia E. Perkins John R. Weyrich Rosemary McCann Erica Sewell Beverly Jocelyn-Patrick Ellen P. Cason Consuelo Hudgins Twila Perry Doris D. White Beatrice McCullers Langdon Soares Mary Frances Perkins Linda Cheatham Louis Jackson Naomi E. Pharr Khadijah White Erich Meyerhoff Hope Tumukunde Meg Perlman & Doug Garr Kenny Clark Debra A. James Eddy Pierre Pierre Derek Williams Neil J. O’Connell Monique van Putten Gloria C. Phares Sherman Clarke John F. James Muriel Pivalo Gilbert S. Williams Jr. Ademola Olugbefola Stacy Williams Martin Puryear Cleveland Museum of Art Bert Jeffrey & Doris Jeffrey K. M. Powell James Williams & Paul O’Neil Mabel O. Wilson Trevor Rainford, CPA James Cole Jr. Barbara Johnson Anne Radcliffe Eleanor Williams Valerie Ostrower & Teneia Wooten Jody & Peter Robbins Annviona Coleman Patrick Johnson Ann Ranniar Deborah Willis Victor Ostrower Virginia Robinson Neill Coleman Suzanne Johnson James Ransome Jeanne Willis Elizabeth Patton Arthur J. Rouse, MD Janet Collins Ben Jones Mary E. Riley Barbara T. Wilson & Rochelle Perlman Mr. & Mrs. Wolfgang E. Saxon Joyce Conoly-Simmons Lawrence W. Jones & Sandra Robinson Fikisha Combo Robert Phillips Norma Shaw-Hogan Nedra J. Cook Tina M. Jones Verraine Rock Betty Wilson Jane Ratcliffe Patterson Sims Lorraine M. Cox Patricia S. Jones Nada Rowand Samuel Wilson Jr. Margaret A. Robbins Carra Sleight Oba Cullins Beryl Jones-Woodin Lawrence H. Rushing Thomas H. Wirth Floree Roberson Bethany Soule & Daniel Reeves David A. Damane Dorothy E. Kennedy Martine Sam Senior Vernon Sears The Studio Museum in Harlem makes every effort to ensure Ellen Sragow Adrienne Daniel-Grist Mary Ellen Kohlman Toby L. Sanders Linda Ackerman Elza R. Sharpe the accuracy of its lists of members. If your name is not listed William Sweeney & Eliza Paley Alice S. Davis Ken Kreshtool Stephen Saunders Claudia Anderson Gwendolyn A. Simmons as you prefer or if you believe that your name has been omitted, Claire D. & Sentell Taylor Jr. Carl F. Davis Stephanie Lainoff Bobby Savinis Marylin Slater Ann B. Armistead please let us know by contacting the Development Office The Prince George Felecia Davis Basya Laye Wendy Schwartz Daniel Aubry Edward Snyder Kathy Thornton-Bias Yvonne Davis at 212.864.4500 x221 or [email protected]. Mary A. Lee Baraka Sele Anna R. Austin Edward E. Stowell Jr. Edith Van Slyck & Kurt Delbanco & Mary Delbanco Sandra Lee Anita Sewer Grace H. Ayanru Marion S. Swingle James R. Hammond J. Patrick Delince Gregory Lenhardt Regina Shanklin Kay F. Badalamenti Beverly Taylor Margaret R. Vendryes Susan C. Dessel Nicole Levin Cameron M. Shay Wanda Baker-Smith Bobrei C. Thomas Gelsy Verna Mary E. Dillard Marjorie A. Lewis Judith Shea Lillian M. Bartok Sylvia Townsend Anthony & Margo Viscusi Louise Dockery Nathan L. Lewis II Stephen Sherrill Thelma V. Beale Jeanne Turner Karen E. Wagner & David Caplan Michelle Donald Zack Lewis Doris Shields Marion Bondurant Alice Wade Cheryl & Charles Ward Dian Duke Nora Lidgus Stefanie Siegel Carolyn Brady Dolores Walker Diana Warner Nyia Eady Dawn Lille John Silberman Barbara A. Braxton Tommie Walker Charles & Harriet M. Weiss Lisa Espinosa Donna Long Adelaide E. Simms Wilma Brooks Rosalind Weinland Mavis Wiggins & Standish Benton Vilma E. France Carrie Lowery Marsha E. Simms Anne B. Cammack Margaret N. Weitzmann Harris Wiltsher II Jacqueline Francis David Lucas John J. Sims Flossie Canada Landon H. Wickham Mamie Wright Jeanne Frank Larry Mantello Andrea C. Skinner Maria L. Castiglioni Richard Williams Marianna Friedman Individual Erica Mapp & Allen Bass Sippio Small Cora Cohen Dolores Winfrey Loti F. Gaffney Jeanette Adams Daisy W. Martin Delores V. Smalls Bunny Dell Ruth C. Wright Yosefa Galchen George-McKinley Martin A.J. Smith Kojo Ade Evelyn Dill Student Ervin J. Garrison Jennifer Matthews Andrew A. Smith Jr. Edwina Ahenkora Barbara Flemmings Tricia Alexis 01 Jovoda O. Gayle Bill Maxwell Howard J. Smith Sonja Ahuja Dorothy Golden Clementine Bata 01/ Kori Newkirk Christa Giesecke William W. May Sr. Deborah W. Allen Judith W. Smith Idella Goodmon Marisa Beard Void of Silence Michael C. Gillespie Marcia Mayne Linda L. Alter Toni E. Smith Lettice L. Graham Madinah Bilal 2001 Marilyn T. Glater Max McCauslin Collection of Eileen Harris Norton, Emma Amos & Bobby Levine Vivienne B. Smith Elaine Greene Donna Bryant Leonard T. Goslee Roslyn McClendon Kimberly Snead Santa Monica Keith D. Amparado Lorenzo Greenwich Anthony Buissereth Courtesy The Project, Jimmy Arnold Jo-Ann Graham James McCombs Robert Steele & Jean E. Steele New York

sm018_10_05_07.indd 72-73 10/6/07 1:39:37 PM Yes! I want to be a member of Museum Store The Studio Museum in Harlem. The titles on your bookshelves and the objects in your home help describe who you are—what is most important and relevant to you in this world. While each person’s Join us 1 year renewal gift collection is distinct and personal, we’ve assembled here a diverse, beautiful and

handy mix of books and items available in the Studio Museum Store. name of membership holder STORE HOURS online! name of additional member (family/partner level members and above) Wednesday-Friday, 12—6pm Saturday, 10—6pm, Sunday, 12—6pm The Membership Department is delighted to let address Museum store is closed Monday, Tuesday and Major Holidays you know that The Studio Museum in Harlem’s website now includes the ability to join the Mu- city STATE ZIP seum or renew your membership with a credit work phone home phone card online. Using your American Express, Mas- terCard or Visa, you can now safely and quickly email address join and be entitled to a host of membership Please do not make my name, address and other information benefits—including free admission, Museum available to third-party providers. Special Edition Holiday Card store discounts and more—while lending critical support to the Museum and its programs. Visit James Vanderzee Special Membership Groups Christmas Morning our membership page at www.studiomuseum. Collection of The Studio Museum in Harlem Director’s Circle $2,500 Curator’s Circle $1,500 Gift of the Sandor Family Collection, Chicago org/membership and see just how easy it is. Courtesy Donna Mussenden Vanderzee Contemporary Friends Box Set: 10 cards (same)/11 Envelopes Item# 3145 Price $18.00 Members $15.30 Couple $300 Individual $200

General Membership Groups Group Benefactor $1,000 Family/Partner $75 Donor $500 Individual $50 Associate $250 Student $20 Tours Supporter $100 Senior $20

Payment Method 01 02 03 04 at the I have enclosed my check (make check payable to The Studio Museum in Harlem) Please bill my: Studio American Express MasterCard Visa

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01/ Jean-Michel Basquiat 1981: The Studio of the Street by Suzanne Mallouk, Gerard Basquiat, Michael Holman Get the most out of your visit to The Studio address Item# 889 Price $70.00 Member $55.00 Museum in Harlem through our exciting interac- Mark Bradford by Steven Nelson Coming: November 1 Price $85.00 Member $72.25 02/ city state zip ZIP 03/Julie Mehretu: Black City by Agustin Perez Rubio, Marcus Steinweg, Cay Sophie Rabinowitz Item# 837 Price $65.00 Member $55.25 tive group tours! We welcome groups to experi- 04/Hair Wars by David Yellen Coming: November 1 Price $39.95 Member $33.95 ence the exhibitions and Harlem’s rich architec- work phone HOME phone tural landscape. To schedule a tour, please call card number Exp. date 212.864.4500 x230.

signature

Did you know you can join online at www.studiomuseum.org/membership

01 02 03 Thank you for your support and welcome to The Studio 2008 Wall Calendars Museum in Harlem! The Studio Museum in Harlem offers the best way 01/ Jacob Lawrence Item# 177 Price $13.99 Member $11.89 to explore black culture and the latest trends in contemporary art! 02/ Romare Bearden Item# 2182 Price $13.99 Member $11.89 03/ African American Art Item# 2184 Price $13.99 Member $11.89

sm018_10_05_07.indd 74-75 10/6/07 1:39:38 PM Group Special Visitor Museum Hours Wednesday–Friday, 12–6 pm Membership Membership Information Saturday, 10 am–6 pm Sunday, 12–6 pm Individual $50 Groups Address The Museum is closed on Monday, (Fully tax-deductible) Tuesday and major holidays. • Free admission for one. Members of the Director’s Circle and 144 W. 125th St. • 15% discount on all museum store Curator’s Circle are the highest level of New York, NY 10027 purchases. individual membership and the starting Store Hours • Members-only discount shopping (between Malcolm X and days. point for people with increased interest Adam C. Powell Jr. Wednesday- Friday, 12 — 6pm • Members discount on select educa- in access to artists and the art world. boulevards) Saturday, 10 — 6pm tion and public programs. These exclusive membership groups Sunday, 12 — 6pm • Invitations to opening reception of have been instrumental in contributing exhibitions. to the success of SMH and provide vital General Info Museum store is closed Monday, Tuesday and Major Holidays • New! Discounts at select Harlem support for the museum’s exhibitions phone: 212.864.4500 restaurants. and programs. fax: 212.864.4800 Family/Partner $75 Admission Director’s Circle $2,500 Suggested donation: (Fully tax-deductible) ($2,135 tax-deductible) Media Contact $7 (adults), $3 (seniors and All the preceding benefits, plus: • Visits to private collectors’ homes 212.864.4500 x213 • Free admission for two adults at the and/or viewings of their collections. students). Free for members [email protected] same address and children under 18 • Behind-the-scenes tours and talks with and children (12 and under). years of age. art connoisseurs and curators. Public Programs Info First Saturdays are FREE! • Annual dinner with Director. Supporter $100 212.864.4500 x264 • Advance announcement of special studiomuseum.org ($85 tax-deductible) travel programs organized by SMH. All the preceding benefits, plus: • Invitations to unique events for Membership Info • One complimentary ticket to an Director’s Circle only. 212.864.4500 x221 education or public program. • Free admission to all North American Curator’s Circle $1,500 Reciprocal Program member muse- ($1,300 tax-deductible) Directions ums (list available upon request) • A visit to a private collector’s home and/or tour. Associate $250 • Behind-the-scenes tours and talks with Subway: ($225 tax-deductible) art connoisseurs and curators. A C B D All the preceding benefits, plus: • Annual dinner with Chief Curator. • Special gift. • Advance announcement of special 2 3 4 5 6 • Free admission for one guest when travel programs organized by SMH. accompanied by a member. to 125th Street Contemporary Friends Donor $500 (ages 21–40) Contemporary Friends is Bus: ($450 tax-deductible) a dynamic membership group of young M-2, M-7, M-10, M-60, M-100, M-102 or BX-15. All the preceding benefits, plus: professionals who contribute to many • One complimentary copy of an SMH new and exciting initiatives at SMH. The Parking is available at the Municipal Garage at 126th Street catalogue. Contemporary Friends represent the between Malcolm X and Adam C. Powell Jr. boulevards. • Four guest passes for friends future in charitable giving at the museum.

and families. Members host an annual spring benefit 126 ST • Annual invitation to a behind-the- to raise funds to support education scenes tour of an SMH exhibition led and public programs. In return for their A 2 4 by a museum curator. support, Contemporary Friends receive C 3 125 ST 5 Individual members benefits, plus: Benefactor $1,000 • Discount tickets to Contemporary B 6

($835 tax-deductible) 5 Ave Friends Spring Benefit. D Park Ave Park All the preceding benefits, plus: • Guided gallery tours. Ave Convent

• Special invitations to Benefactors • An exclusive program of activities and Madison Ave behind-the-scenes tour of SMH exhibi- special events. Malcolm X Blvd tions led by the show’s curator. • Behind-the-scenes tours of SMH Ave Lexington St Nicholas Ave • One complimentary catalogue from a exhibitions. major SMH exhibition. Blvd Jr. Powell Clayton Adam • Two complimentary tickets to an Individual $200 education or public program. ($175 tax-deductible) Blvd Douglass Frederick • Free admission for two guests when Couple/Partner $300 accompanied by a member. ($250 tax-deductible) Student or Senior (65 or over) $20 (For two people at the same address) Studio is published three times a year by The Studio Museum in Harlem, (Fully tax-deductible) 144 W. 125th St., New York, NY 10027. Copyright © 2007 Studio Magazine. Matching Gifts A copy of valid student or senior ID All material is compiled from sources believed to be reliable, but Do you work for a company that has a must be submitted with membership published without responsibility for errors or omissions. Studio assumes matching gift program? If so, you can application of renewal. no responsibility for unsolicited manuscripts or photographs. All rights, increase your gift to The Studio Mu- including translation into other languages, are reserved by the publisher. • Free admission for one. seum in Harlem by simply requesting a Nothing in this publication may be reproduced without the permission • 15% discount on all museum store matching gift program form from your of the publisher. purchases. employer. • Members-only discount

shopping days. For gifts of stock or other contributions, • Members discount on select educa- please call the Development Office at tion and public programs. 212.864.4500 x 223 • Invitations to opening reception of exhibitions.

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