DOCSLIB.ORG

Duro Olowu: Seeing Chicago

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Duro Olowu: Seeing Chicago Duro Olowu: Seeing Chicago # Name Ref Img Label Text 1 106 - Hartt David Hartt (Canadian, b. 1967) Stray Light, 2011 Video projection, carpeting, sculptural element in painted aluminum and colored Plexiglas, and aluminum and upholstered bench Dimensions variable 2 288 - Bob Thompson (American, 1937–1966) Thompson Deposition, 1963 Oil on canvas 15 3/8 × 11 1/2 in. (39 × 29.2 cm) 3 107 - Maren Hassinger (American, b. 1947) Hassinger And A River Runs Through It, 2019 Paper and ink Dimensions variable 4 22 - Beuys Joseph Beuys (German, 1921–1986) Filzanzug (Felt Suit), 1970 Felt 67 1/2 × 30 1/4 × 8 1/2 in. (171.4 × 76.8 × 21.6 cm) 5 23 - Bey Dawoud Bey (American, b. 1953) A Boy in Front of Loews 125th St. Movie Theater, 1976 Gelatin silver print 12 × 8 in. (30.5 × 20.3 cm) 6 32 - Kwame Brathwaite (American, b. 1938) Brathwaite Untitled (Ethel Parks at AJASS Studios photoshoot), 1969, printed c. 2018 Archival pigment print, mounted and framed 30 × 30 in. (76.2 × 76.2 cm) # Name Ref Img Label Text 7 33 - Kwame Brathwaite (American, b. 1938) Brathwaite Untitled (Nomsa Brath with earrings designed by Carolee Prince), 1964, printed 2017 Archival pigment print 30 × 30 in. (76.2 × 76.2 cm) Edition 2 of 5 aside from 2 artist proofs 8 35 - Breda Greg Breda (American, b. 1959) Lament, 2019 Acrylic on vellum 60 × 40 in. (152.4 × 101.6 cm) 9 41 - Calle Sophie Calle (French, b. 1953) The Striptease, 1988 Gelatin silver print and text Photograph: 65 1/2 × 38 1/16 × 1 3/8 (166.4 × 96.7 × 3.5 cm); text: 18 1/2 × 18 1/2 in. (47 × 47 cm) 10 46 - Catlett Elizabeth Catlett (American, 1915–2012) These Two Generations, 1987 Lithograph APXV 27 × 21 in. (68.6 × 53.3 cm) 11 54 - Clark Larry Clark (American, b. 1943) Untitled, 1963 Gelatin silver print Sheet: 14 × 11 in. (35.6 × 27.9 cm); image: 10 × 8 in. (25.4 × 20.3 cm) 12 63 - De Niki De Saint Phalle (French, 1930–2002) Saint Vivian, 1965 Phalle Yarn, fabric, paper, and epoxy 42 × 47 × 40 in. (106.7 × 119.4 × 101.6 cm) 13 67 - Rineke Dijkstra (Dutch, 1959) Dijkstra Hel, Poland, August 12, 1998, from the Beach Portraits series, 1998 Chromogenic print Framed: 65 3/4 × 55 in. (167 × 140 cm) From an edition of 6 with 2 artist's proofs # Name Ref Img Label Text 14 79 - William Edmondson (American, 1874–1951) Edmondso Church Lady, 1933/37 n Limestone 19 1/2 × 7 7/8 × 7 7/8 in. (49.5 × 20 × 20 cm) 15 81 - Nicole Eisenman (American, b. 1965) Eisenman R Changel of Peace, 2016 Bronze and mixed media Overall: 24 × 15 1/2 × 11 in. (61 × 39.4 × 27.9 cm) 16 91 - Genevieve Gaignard (American, b. 1981) Gaignard She Was Afraid of Heights, But She Was Much More Afraid of Never Flying, 2018 Birdcage with stand, custom hand painted porcelain figurine, skeleton key, feather, and doily 64 1/8 × 17 3/4 × 10 1/4 in. (163 × 45 × 26 cm) 17 95 - Isa Genzken (German, b. 1948) Genzken Schauspieler II (Actor II), 2014 Mixed media including child mannequin on metal stand, ROB bag, orange hat, spray paint, woolen jumper, multicolored sash, and wallpaper sash Overall: 49 1/4 × 17 3/4 × 11 3/4 in. (125.1 × 45.1 × 29.8 cm) 18 96 - Vanessa German (American, b. 1976) German No Springs – Honest Weight, 2018 Mixed media assemblage 86 × 46 1/4 × 26 1/2 in. (218.4 × 117.5 × 67.3 cm) 19 94 - Gavin Cy Gavin (American, b. 1985) The Future of Tucker’s Point, 2016 Acrylic, oil, and chalk on canvas 57 × 120 in. (144.8 × 304.8 cm) 20 121 - Jafa Arthur Jafa (American, b. 1960) Monster, 1988 Gelatin silver print Framed: 25 1/8 × 21 3/16 in. (63.8 × 53.8 cm) # Name Ref Img Label Text 21 137 - Martin Kippenberger (German, 1953–1997) Kippenber Untitled (Hotel Restaurant Goldener Adler), 1991 ger Sheet: 11 1/2 × 8 in. (29.2 × 20.3 cm); framed: 15 1/4 × 11 3/4 × 1 1/2 in. (38.7 × 29.9 × 3.8 cm) 22 136 - Karen Kilimnik (American, b. 1957) Kilimnik Gia (Her Majesty’s Secret Service), 1994 Ink, crayon, and acrylic on paper Sheet: 40 × 26 in. (101.6 × 66 cm); framed: 52 1/2 × 37 1/2 × 1 3/4 in. (133.4 × 95.3 × 4.4 cm) 23 145 - Deana Lawson (American, b. 1979) Lawson Sons of Cush, 2016 Inkjet print, mounted on Sintra Framed: 44 × 55 3/16 in. (111.8 × 140.2 cm) 24 147 - Lee- Hughie Lee Smith (American, 1915–1999) Smith Untitled, n.d. Oil on canvas 28 1/2 × 33 1/4 in. (72.4 × 84.5 cm) 25 150 - Leigh Simone Leigh (American, b. 1967) No Face (House), 2017 Terracotta, porcelain, ink, and raffia 24 × 22 × 22 in. (61 × 55.9 × 55.9 cm) 26 149 - Leigh Simone Leigh (American, b. 1967) 104 (Face Jug Series), 2018 Salt-fired stoneware and colored porcelain 13 × 6 × 7 1/2 in. (33 × 15.2 × 19.1 cm) 27 152 - Leigh Simone Leigh (American, b. 1967) 106 (Face Jug Series), 2018 Salt-fired mountain clay 15 1/2 × 6 × 7 1/4 in. (6.1 × 2.4 × 2.9 cm) # Name Ref Img Label Text 28 160 - Lucas Sarah Lucas (British, b. 1962) Self-Portrait (#5), 1993 Brown paper and color photocopies 72 7/8 × 64 in. (185 × 162.5 cm) 29 161 - Kim MacConnel (American, b. 1946) MacConnel Taco Bill, 1979 Acrylic on fabric, thread, and adhesive 58 1/2 × 109 1/4 in. (148.5 × 277.5 cm) 30 167 - Kerry James Marshall (American, b. 1955) Marshall Untitled, 2009 Ink on paper 37 1/2 × 46 1/2 in. (95.3 × 118.1 cm) 31 176 - Ana Mendieta (American, b. Cuba, 1948–1985) Mendieta Untitled, from the Silueta series, 1973–77 Silver dye–bleach print Sheet for parts 1, 6, 9, 10: 15 7/8 × 19 7/8 in. (40.3 × 50.5 cm); sheet for parts 2, 3, 4, 5, 7, 8, 11, 12: 19 7/8 × 15 7/8 in. (50.5 × 40.3 cm) 32 188 - Zanele Muholi (South African, b. 1972) Muholi MaID VIII SunSquare, 2017 Gelatin silver print 27 1/2 × 18 3/8 in. (69.9 × 46.7 cm) 33 189 - Mutu Wangechi Mutu (Kenyan, b. 1972) That’s my death mask you’re wearing, 2004 Ink, collage, and contact paper on Mylar Sheet: 39 1/4 × 27 13/16 in. (99.7 × 70.6 cm); framed: 41 3/4 × 30 3/8 in. (106.1 × 77.2 cm) 34 191 - Neel Alice Neel (American, 1900–1984) Ginny with the Yellow Hat, 1971 Oil on canvas 40 × 29 in. (101.6 × 73.7 cm) # Name Ref Img Label Text 35 199 - Lorraine O'Grady (American, b. 1934) O'Grady Miscegenated Family Album, 1980/94 Silver dye–bleach print 16 prints, each: 26 1/2 × 37 1/2 in. (67.3 × 95.3 cm) Edition 5 of 8 36 202 - Toyin Ojih Odutola (American, b. Nigeria, b. 1985) Odutola An Exceptional Cloth (Adire), 2018 charcoal, pastel, and pencil on paper Sheet: 40 × 30 in. (101.6 × 76.2 cm); framed: 45 1/4 × 35 5/8 × 2 1/2 in. (114.9 × 90.5 × 6.4 cm) 37 221 - Michelangelo Pistoletto (Italian, b. 1933) Pistoletto Il bagno turco (The Turkish Bath), 1971 Silkscreen on polished stainless steel 27 1/8 × 38 13/16 in. (68.9 × 98.6 cm) 38 246 - Jimmy Robert (French, b. 1975) Robert Untitled, 2008 A4 paper, bust, pins, ink, and pedestal Installed: dimensions variable 39 247 - Deborah Roberts (American, b. 1962) Roberts It’s not me, It’s you, 2017 Mixed media on panel 30 × 22 in. (76.2 × 55.9 cm) 40 248 - Max Romain (American, b. Haiti, 1930) Romain Statue of Liberty, 1997 Paint on paper 25 × 19 in. (63.5 × 48.3 cm) 41 250 - Ruff Thomas Ruff (German, b. 1958) Porträt (A. Wagner), 1985 Chromogenic development print Sight: 79 × 61 1/2 in. (200.7 × 156.2 cm); framed: 82 1/2 × 65 × 1/2 in. (209.6 × 165.1 × 3.8 cm) # Name Ref Img Label Text 42 256 - Paul Mpagi Sepuya (American, b. 1982) Sepuya Figure (_2100597), 2017 Archival pigment print 32 × 24 in. (81.3 × 61 cm) 43 262 - Cindy Sherman (American, b. 1954) Sherman Untitled #588, 2016/18 Dye sublimation metal print 66 1/2 × 66 1/2 in. (168.9 × 168.9 cm) 44 261 - Cindy Sherman (American, b. 1954) Sherman Untitled #86, 1981 Chromogenic development print 24 × 48 in. (60.9 × 121.9 cm); framed: 30 × 54 in. (76.2 × 137.2 cm) 45 267 - Laurie Simmons (American, b. 1949) Simmons Walking Microphone With Skirt, 1989 Pigment print 84 × 48 in. (213.4 × 121.9 cm) 46 269 - Lorna Simpson (American, b. 1960) Simpson Self Possession, 1992 Color Polaroid photograph 25 1/2 × 20 1/2 × 2 in. (64.8 × 52.1 × 5.1 cm) Edition 3 of 5 47 275 - Kiki Smith (American, b. 1954) Smith Untitled (Girl on Porch), 1993 Plaster, glass, Shellac, and wood 42 × 20 × 12 in. (106.7 × 50.8 × 30.5 cm) 48 281 - Daniele Tamagni (Italian, 1975–2017) Tamagni Sapeurs posing in front of Memorial Savorgnan de Brazza, Brazzaville, 2008 Chromogenic development print Paper: 26 × 36 in. (66 × 91.4 cm); framed: 37 1/2 × 47 in. (95.3 × 119.4 cm) # Name Ref Img Label Text 49 283 - Dorothea Tanning (American, 1910–2012) Tanning Sleeping Nude, 1954 Oil on canvas Sight: 23 9/16 × 19 9/16 in.
Load more

Recommended publications
  • Genevieve Gaignard: Counterfeit Currency
    PRESS CONTACT: Maureen Sullivan Red Art Projects, 917.846.4477 [email protected] GENEVIEVE GAIGNARD: COUNTERFEIT CURRENCY Exhibition Dates: June 5-August 17, 2018 Opening Reception: Tuesday, June 5, 6-8pm The FLAG Art Foundation, 545 West 25th Street, NY The FLAG Art Foundation is pleased to present Genevieve Gaignard: Counterfeit Currency, the artist’s first NY solo exhibition, from June 5-August 17, 2018, on its 10th floor. The exhibition of new self-portraits and collages, all created in Florida, continues Gaignard’s interest in the performance of race, gender presentation, beauty standards, and class, through fictional personas and staged environments. The title, Counterfeit Currency, addresses the inherent complexities of self-presentation, noting that the way one appears to others is often incongruent with the way in which they see themselves, yielding a feeling of displacement and fraudulence. Through a variety of female archetypes, Gaignard explores her own existence as a mixed-race woman of color, revealing the malleability of identity as something both self-constructed and culturally affected. In addition to photographic works, the artist will also present a new series of collages that combine vintage wallpaper and magazine cutouts to render dreamlike and satirical narratives. In her full-floor installation at FLAG, Gaignard creates multiple “mise-en-abîme” environments in which objects depicted in her cinematic photographs and collages are present in the gallery’s space. Incorporating personal and politically-loaded objects, one vignette is furnished with vintage wall paper, rattan furniture, and a spring of porcelain black panther figurines, while another holds appearance-altering beauty products, such as skin-bleaching creams, face masks, and makeup.
    [Show full text]
  • Diane Rosenstein
    DIANE ROSENSTEIN The New New: Ray Anthony Barrett, Aaron Fowler, Genevieve Gaignard, Tschabalala Self, Michael Shultis, and Jason Stopa October 17 – November 28, 2015 Gallery Hours: Tuesday - Saturday, 10am – 6:00 pm Opening: Saturday, October 17th, 2015, 6:00 – 8:00 pm Diane Rosenstein Gallery is pleased to announce The New New, an exhibition of painting, drawing, mixed-media, and collage by six emerging artists from New York and Los Angeles: Ray Anthony Barrett, Aaron Fowler, Genevieve Gaignard, Tschabalala Self, Michael Shultis, and Jason Stopa. The works in this show are multi-dimensional, with some artists using heavy impasto, collage, or flirting with the intersection of painting and sculpture. Connecting the varied practices in The New New is an explicit use of text – song lyrics, art theory, slogans, and commercial branding - in a formally exciting interplay between word, image and painting. Ray Anthony Barrett’s recent drawings take art historian and curator Darby English’s writing as a starting point. English was concerned with the nature of Black art (and what happens if and when Black artists stop making it). Barrett’s ink on paper drawings, such as STOP, use repeated text in alternating sequences to create provocative, thought-provoking statements. Aaron Fowler weaves personal narrative into mythic allegory and often depicts himself as a Pilgrim traversing a post-apocalyptic landscape. In Aaron Fowler Looks For A Way Out of the City of Destruction, the artist incorporates materials as varied as glass doors, oatmeal, mirrors, CDs, clothing, and hair into an epic self-portrait at once imposing and fragile. Genevieve Gaignard uses alter egos in often humorous self-portraiture to question our relationship to personae, identity, and popular culture.
    [Show full text]
  • GG CV GPD.Indd
    GENEVIEVE GAIGNARD Born 1981 in Orange, MA, US Lives and works in Los Angeles, CA, US EDUCATION: 2014 MFA, Photography, Yale University, New Haven, CT, US 2007 BA, Photography, Massachusetts College of Art and Design, Boston, MA, US SOLO EXHIBITIONS: 2019 I’m Sorry I Never Told You That You’re Beautiful, Vielmetter Los Angeles, Los Angeles, CA, US In Passing, The Art Galleries at Black Studies, University of Texas, Austin, TX, US Black White and Red All Over, Monique Meloche, Chicago, IL, US 2018 Counterfeit Currency, The FLAG Art Foundation, New York, NY, US Hidden Fences, Praz-Delavallade, Paris, FR 2017 Genevieve Gaignard, Shulamit Nazarian, Expo Chicago, IL, US Grassroots, Prospect.4, New Orleans, LA, US In Passing, Houston Center for Photography, Houston, TX, US The Powder Room, Shulamit Nazarian, Los Angeles, CA, US 2016 Smell the Roses, California African American Museum, Los Angeles, CA, US Apt #3104, Shulamit Nazarian, SPRING/BREAK Art Show, New York, NY, US 2015 Us Only, Shulamit Nazarian, Los Angeles, CA, US A Golden State of Mind, Diane Rosenstein Presents at The Cabin LA, Los Angeles, CA, US GROUP EXHIBITIONS: 2019 Millard Sheets Art Center, Pomona, CA, US (forthcoming) Still I Rise, MASS MoCA, North Adams, MA, US Quiet as It’s Kept: Passing Subjects, Contested Identities, Frances Lehman Loeb Art Center at Vassar College, Poughkeepsie, NY, US Politically Private: The Interplay of Personal Identity and Public Performance, Guggenheim Gallery at Chapman University, Orange, CA, US Lost and Found in America, Florida Museum of Photorgaphic
    [Show full text]
  • GENEVIEVE GAIGNARD Born 1981 in Orange, MA, US Lives and Works in Los Angeles, CA, US
    GENEVIEVE GAIGNARD Born 1981 in Orange, MA, US Lives and works in Los Angeles, CA, US EDUCATION: 2014 MFA, Photography, Yale University, New Haven, CT, US 2007 BA, Photography, Massachusetts College of Art and Design, Boston, MA, US ONE-PERSON EXHIBITIONS: 2018 Hidden Fences, Praz-Delavallade, Paris, FR 2017 Genevieve Gaignard, Shulamit Nazarian, Expo Chicago, IL, US Genevieve Gaignard, Prospect.4, New Orleans, LA, US In Passing, Houston Center for Photography, Houston, TX, US The Powder Room, Shulamit Nazarian, Los Angeles, CA, US 2016 Smell the Roses, California African American Museum, Los Angeles, CA, US Apt #3104, Shulamit Nazarian, SPRING/BREAK Art Show, New York, NY, US 2015 Us Only, Shulamit Nazarian, Los Angeles, CA, US A Golden State of Mind, Diane Rosenstein Presents at The Cabin LA, Los Angeles, CA, US GROUP EXHIBITIONS: 2017 Fictions, Studio Museum in Harlem, NY, US Face to Face: Los Angeles Collects Portraiture, California African American Museum, Los Angeles, CA, US Comm|Alt|Shift, Aljira Center for Contemporary Art, Newark, NJ, US Industry, dc3 Gallery, Edmonton, Alberta, CA 2016 Summer School, The FLAG Art Foundation, New York, NY Other Spaces, dc3, Edmonton, Alberta, CA 2014 The New New, Diane Rosenstein Gallery, Los Angeles, CA, US Shaq Loves People (Curated by Shaquille O’Neal), Expose Chicago, Chicago, IL, US Deep End, Yale MFA Photography Thesis, Diane Rosenstein Gallery, Los Angeles, CA, US Deep End, Yale MFA Photography Thesis, The FLAG Art Foundation, New York, NY, US Deep End, Yale MFA Photography Thesis, Yale
    [Show full text]
  • VIELMETTER LOS ANGELES Press Release Genevieve Gaignard I'm
    VIELMETTER LOS ANGELES Press Release Genevieve Gaignard I’m Sorry I Never Told You That You’re Beautiful June 29 – August 17, 2019 Reception: June 29, 4 - 6pm Downtown Vielmetter Los Angeles is pleased to announce our first solo exhibition of new works by Los Angeles based artist Genevieve Gaignard, I’m Sorry I Never Told You that You’re Beautiful. Known for her exploration of Americana via racial formation, interiority and portraiture, Gaignard disrupts symbols and images which attempt to assure supremacy and erase merging identities and notions of belonging. This exhibition explores affinity of place, desires of flight/departure, and an empathic turn through installation, collage, sculpture, and photography. 1700 S Santa Fe Ave #101, Los Angeles, CA 90021 +1 213 623 3280 vielmetter.com In her recent bodies of work, Gaignard has used the site of homeplace and emblems of domesticity to explore American racial logic, beauty, and desire. Her architectural installations situate black and white subjectivity as acts of adornment entangled with historical tropes and present circumstance. Images cut from Ebony, Life, and Jet magazine populate wallpaper and appear alongside vintage furniture and sundries of new and old. These moments of interiority and familial space carve in and out of each other, prying apart racial strata and hegemony. In particular, black womxnhood and femininity are used as signifiers which mark the spectrum (in hue and body type) of representation via self-portraits. These stylized photographs present a myriad of identities as Gaignard appears in distinct wigs, costumes, and amongst varied domestic backdrops. Gaignard’s characters are constructed through ideals externally imposed and those self-fashioned.
    [Show full text]
  • ALTERED STATES Josh Callaghan, Genevieve Gaignard, David Korty, Rodney Mcmillian, Yuval Pudik and Kandis Williams Curated by Gary Simmons
    ALTERED STATES Josh Callaghan, Genevieve Gaignard, David Korty, Rodney McMillian, Yuval Pudik and Kandis Williams Curated by Gary Simmons 4 June through 23 July May 2021 Open house reception on Friday 4 June, 11am to 4pm An altered state of consciousness is defined as any of various states of awareness (as dreaming sleep, a drug-induced hallucinogenic state, or a trance) that deviate from and are usually clearly demarcated from ordinary waking consciousness. Under this thesis, artist Gary Simmons curates Altered States, an exhibition of six artists whose work addresses issues of perception and absence in ways that challenge viewers to re-examine their relationship to the world at large, to question first glances and assumptions. David Korty’s playful paintings address self-perception in the context of social media interactions and the prevailing political culture of castigation that has been fueled by the internet. Josh Callaghan’s sanded metal paintings invent a narrative of use and wear to form a revelatory patina. Referencing the utilitarian aesthetic of spaceships, both real and imagined, Callaghan’s works are multifaceted examples of the duality of representation, both absorbing and reflecting the image of the viewer. Genevieve Gaignard’s self-portraits blend humor, persona and popular culture to explore race, femininity, class, and their various intersections, revealing the ways in which the meeting and mixing of contrasting realities can feel much like displacement. Yuval Pudik’s collection of fragmented word pairings highlight the absences in verbal commentary, illuminating the words that are not said by investigating those that are. Rodney McMillian, who also focuses on issues of absence, presents a still life sculpture starkly contrasting the culture and history of America.
    [Show full text]
  • Expo Chicago Names Naima J. Keith As 2019 Exposure Curator
    Media Contact: EXPO CHICAGO Press Agency Francesca Kielb, Carol Fox and Associates 773.969.5035/[email protected] International Press Contact: David Ulrichs, David Ulrichs PR +4917650330135/[email protected] For Images, Click Here For Immediate Release: November 28, 2018 EXPO CHICAGO NAMES NAIMA J. KEITH AS 2019 EXPOSURE CURATOR LACMA Vice President of Education and Public Programs to Select Solo and Two-Artist Presentations Highlighting Emerging Gallery Programs at 2019 Exposition CHICAGO—EXPO CHICAGO, The International Exposition of Contemporary & Modern Art, today named Naima J. Keith, newly appointed Vice President of Education and Public Programs at the Los Angeles County Museum of Art (LACMA) and Co-Artistic Director of Prospect.5 as the Curator for EXPO CHICAGO’s 2019 EXPOSURE section. The EXPOSURE section, installed on the main floor of the exposition, features solo and two-artist presentations from galleries eight years and younger. As the exposition enters its eighth edition (September 19 – 22, 2019), Keith will curate a presentation focused on highlighting emerging artists and exhibition programs, with council from the Selection Committee and exposition Directors. Applications for the 2019 EXPOSURE section are now available. “The appointment of an institutionally-affiliated curator to our EXPOSURE section, which provides an international commercial platform for emerging galleries, has been integral to supporting our participating exhibitors,” said EXPO CHICAGO Artistic Director Stephanie Cristello. “We are very proud to be working alongside Naima J. Keith for our next edition—her respected international perspective on artists and galleries, as well as her unique understanding of what it means to exhibit within an American context, highlights the exposition’s commitment to supporting our exhibitors through curatorial initiatives.” Naima J.
    [Show full text]
  • Materializing Blackness: the Politics and Production of African Diasporic
    A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree by Examining Committee Members: ABSTRACT “Materializing Blackness: The Politics and Production of African Diasporic Heritage” examines how intellectual and civic histories collide with the larger trends in the arts and culture sector and the local political economy to produce exhibitions at the African American Museum in Philadelphia (AAMP) and structure the work that museum exhibitions do to produce race visually for various audiences. Black museums are engaged in the social construction of race through their exhibitions and programs: selecting historical facts, objects and practices, and designating them as heritage for and to their audiences. In tracking this work, I am interested in 1) the assemblages of exhibits that are produced, as a function of 2) the internal logics of the producing institutions and 3) larger forces that structure the field as a whole. Looking at exhibits that engage Blackness, I examine how heritage institutions use art and artifacts to visually produce race, how their audiences consume it, and how the industry itself is produced as a viable consumptive market. Undergirded by the ways anthropologists of race and ethnicity have been explored and historicized race as a social construction I focus on an instantiation of the ways race is constructed in real time in the museum. This project engages deeply with inquiries about the social construction of race and Blackness, such as: how is Blackness
    [Show full text]
  • California African American Museum Opens Its Fall Season on October 19, Presenting Four New Exhibitions
    California African American Museum For Immediate Release: August 31, 2016 Contact: Emma Jacobson-Sive, 323-842-2064, [email protected] Stacey Ravel Abarbanel, 310-736-5300, [email protected] THE CALIFORNIA AFRICAN AMERICAN MUSEUM OPENS ITS FALL SEASON ON OCTOBER 19, PRESENTING FOUR NEW EXHIBITIONS Media Preview: October 19, 5:30–7 pm followed by CAAM’s Fall Bash from 7–9 pm (Los Angeles, CA) — The California African American Museum today announced that its fall season of exhibitions will open to the public on October 19, 2016, celebrating the work of several generations of contemporary artists and historical figures. This season, the exhibitions consider a range of subjects, from works by contemporary artists in Los Angeles and elsewhere in the United States to the intriguing history of the 1936 Olympics in Nazi Germany and the African American athletes who competed there. Also on view is the Los Angeles debut of Hank Willis Thomas’s celebrated video, Black Righteous Space, and the latest installment of the Museum’s selections from the permanent collection. These new exhibitions and the public programs planned in conjunction with them are overseen by Deputy Director Naima J. Keith, who joined CAAM in February 2016 after holding curatorial positions at The Studio Museum in Harlem and Hammer Museum. George O. Davis, Executive Director of the California African American Museum said, “Whether presenting emerging artist Genevieve Gaignard, offering a focused look into the history of the 1936 Olympics, delving into a range of contemporary concerns and formal issue with contemporary African artists, or showcasing the range of work available in our permanent collection, these exhibitions examine unique facets of American history and contemporary art.” CAAM’s fall exhibitions are: The Ease of Fiction October 19, 2016–February 19, 2017 In The Ease of Fiction, works by four contemporary African artists living in the United States serve as a foundation for a critical discussion about history, fact, and fiction.
    [Show full text]
  • Expo Chicago Announces Participating Galleries for Sixth Edition, September 13 – 17, 2017
    MEDIA CONTACTS: EXPO CHICAGO Press Agency: Carly Leviton, Carol Fox and Associates 773.969.5034/[email protected] Taylor Maatman, FITZ & CO 646.589.0926/[email protected] David Ulrichs, David Ulrichs PR +4917650330135/[email protected] For Immediate Release: May 25, 2017 EXPO CHICAGO ANNOUNCES PARTICIPATING GALLERIES FOR SIXTH EDITION, SEPTEMBER 13 – 17, 2017 With Strong Returning Galleries and Notable First Time Additions, EXPO CHICAGO’s Most Global Edition to Date Represents 25 Countries and 58 Cities from Around the World CHICAGO—EXPO CHICAGO, The International Exposition of Contemporary & Modern Art, today announced the premier list of exhibitors for its sixth annual edition, September 13–17, 2017 at Navy Pier’s Festival Hall (600 E. Grand Ave). Marking its most global edition to date, EXPO CHICAGO welcomes 135 leading galleries representing 25 countries and 58 cities from around the world. Countries represented at the 2017 exposition include: United States, Austria, Belgium, Brazil, Canada, China, England, France, Germany, Greece, Iceland, Italy, Japan, Korea, Lebanon, Luxembourg, Mexico, Norway, Portugal, Singapore, South Africa, Spain, Switzerland, The Netherlands, and Uruguay. “The sixth edition of EXPO CHICAGO’s participating exhibitors reflects the international partnerships, collaborations, and programming that our extraordinary staff has encouraged and fostered over the last several years,” said Tony Karman, President | Director of EXPO CHICAGO. “We look forward to welcoming the world in support of our 2017 galleries, and for all to experience the numerous exhibitions and events in September, including the Palais de Tokyo’s Hors les Murs and the opening week of our strategic date alignment with the Chicago Architectural Biennial.” The 2017 exhibitor list was chosen by an international Selection Committee comprised of leading gallerists, including Stefania Bortolami | Bortolami, New York; John Corbett | Corbett vs.
    [Show full text]
  • School of Art 2021–2022
    School of Art 2021–2022 BULLETIN OF YALE UNIVERSITY Series 117 Number 4 June 30, 2021 BULLETIN OF YALE UNIVERSITY Series 117 Number 4 June 30, 2021 (USPS 078-500) is published seventeen times a year (one time in May and October; three times in June and September; four times in July; five times in August) by Yale University, 2 Whitney Avenue, New Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven CT 06520-8227 Managing Editor: Kimberly M. Go≠-Crews Editor: Lesley K. Baier PO Box 208230, New Haven CT 06520-8230 The closing date for material in this bulletin was June 10, 2021. The University reserves the right to amend or supplement the information published in this bulletin at any time, including but not limited to withdrawing or modifying the courses of instruction or changing the instructors. ©2021 by Yale University. All rights reserved. The material in this bulletin may not be reproduced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Content Questions regarding the editorial content of this publication may be referred to Taryn Wolf, Assistant Dean for Academic A≠airs, Yale School of Art. Inquiries All inquiries regarding admission to graduate programs in art should be addressed to the O∞ce of Academic Administration, Yale School of Art, 1156 Chapel Street, PO Box 208339, New Haven CT 06520-8339; telephone, 203.432.2600; email, art.admissions@ yale.edu. Website http://art.yale.edu The School of Art Bulletin is primarily a digital publication, available in HTML and pdf at https://bulletin.yale.edu.
    [Show full text]
  • School of Art 2019–2020
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2019–2020 School of Art 2019–2020 BULLETIN OF YALE UNIVERSITY Series 115 Number 1 May 25, 2019 BULLETIN OF YALE UNIVERSITY Series 115 Number 1 May 25, 2019 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 4th Floor, 203.432.0849.
    [Show full text]