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Summer 2005

The Studio in Magazine / Summer 2005 From the Director SMH Board of Trustees Raymond J. McGuire Chairman Carol Sutton Lewis Vice-Chair Reginald Van Lee Treasurer Gayle Perkins Atkins The Magazine / Summer 2005 Kathryn C. Chenault Paula R. Collins Gordon J. Davis which is a big, sprawling, some- I’d also like to take this opportunity Anne B. Ehrenkranz what inconclusive survey of recent to personally thank Lowery Stokes Susan Fales-Hill African art. I say inconclusive be- Sims, our new President, for Dr. Henry Louis Gates, Jr. cause we often expect exhibitions creating this exciting environment Sandra Grymes to start and fi nish an idea. But and for her enormous contribu- Joyce Haupt often the best exhibitions are those tions over the past fi ve years. Arthur J. Humphrey,Jr. that are open-ended and allow for During her tenure as Director, the George L. Knox 02 / what’s up hrlm: pictures / Scratch / Reclaiming Beautiful / Harlem Post- Many of you are used to hearing many interpretations, those that Museum grew and blossomed, Nancy L. Lane from me as a curator for the Studio extend possibilities for different and I was able to create some of Dr. Michael L. Lomax cards 10 / upcoming exhibitions Frequency / Energy/Experimentation: Black Museum. I’m thrilled to address resolutions to an idea and provide the most exciting shows of my Tracy Maitland you for the fi rst time in my new us with a deeper understanding career. Although her title and role Rodney M. Miller Artists and Abstraction, 1964 – 1980 12 / elsewhere / Fred Wilson role as Director and Chief Curator. of that idea. I say this as we intro- are changing, you will surely see Eileen Harris Norton This summer, I’m pleased to duce hrlm, a new series of proj- her imprint around this museum Corine Pettey / Jamel Shabazz / Meschac Gaba / Purvis Young / Julie Merethu / Shinique begin my tenure with Scratch, ects and exhibitions that begin our for many years to come. David A. Ross 16 / ongoing investigation into Harlem: Charles A. Shorter, Jr. Smith feature Franco the Great’s Harlem Gates / Aesthetics and Social where we’re at! Also on view is our And don’t worry, I will continue Ann Tenenbaum Justice 26 / overheard 27 / artist commission Annette Lawrence 30 / profi le annual Expanding the Walls student to offer you my completely biased, John T. Thompson exhibition, Reclaiming Beautiful. entirely opinionated hot picks in Joyce A. Wein Murphy Heyliger 32 / checkout 33 / collecting 34 / 3 questions 36 / Elsewhere (pg. 12). This fall, look Michael Winston forward to Frequency, a reprise Karen A. Phillips studio visit 37 / profi le Javaka Steptoe 38 / coloring page 40 / education 41 / public of our groundbreaking 2001 ex-offi cio exhibition Freestyle. Hon. Kate D. Levin programs 44 / harlem: where we’re at 49 / museum store 50 / spring benefi t ex-offi cio the 2004-05 Artists-in-Residence Studio exhibition. The residency program is so central to the Museum’s Ali Evans mission and holds such an impor- Editor-in-chief tant place in it’s history. And in These young artists, with the Samir S. Patel the legacy of our support for artists vibrancy and maturity of practitio- Copy editor of African descent, we enthusiasti- ners twice their age, take on the big Kristia Moises cally present the beautifully issue of beauty and its role in their Editorial assistant accomplished work of William lives and the world around them. See you around, and defi nitely Design Cordova, Michael Queenland uptown... 2x4, New York and Marc André Robinson. I want to thank all of the supporters Printing of our Artists-in-Residence and Cosmos Expanding the Walls programs: Communications, Inc. Nimoy Foundation; The Peter Jay Sharp Foundation; Elaine Studio is published three times a year by The Studio Museum Dannheisser Foundation; National in Harlem, 144 West 125th St., Endowment for the Arts; New York New York, NY 10027. Copy- State Council on the Arts, a state right © 2005 Studio Magazine. agency; The Greenwall Founda- All material is compiled from sources believed to be reliable, tion; Helena Rubinstein Founda- but published without respon- tion; Jerome Foundation; Dedalus sibility for errors or omissions. This past spring, I went to Paris Foundation; and two anonymous Studio assumes no responsibil- ity for unsolicited manuscripts or for the opening of Africa Remix: donors in honor of Rev. Frederick photographs. All rights, includ- Contemporary Art of a Continent, & Mrs. Eikerenkoetter. ing translation into other lan- guages, reserved by the pub- lisher. Nothing in this publication may be reproduced without the permission of the publisher. Please email comments to [email protected].

Operation of the Studio Museum in Harlem is The Scherman Foundation, Inc., Goldman, supported with public funds provided by The New Sachs & Co., Credit Suisse First Boston, The York City Department of Cultural Affairs; the New York Times Company Foundation, American NATIONAL ENDOWMENT New York State Council on the Arts, a state Express Company, Altria Group Inc., Pfi zer, Inc., FOR THE ARTS agency; and the New York State Offi ce of Parks, The Norman and Rosita Winston Foundation, Recreation & Historic Preservation through the Inc., The Cowles Charitable Trust, The Moody’s offi ce of Sen. David A. Paterson. Major funding is Foundation, Pierre and Maria-Gaetana Matisse Thelma’s photo: Timothy also provided by The Peter Jay Sharp Foundation Foundation, Lord & Taylor, and The Young & Greenfi eld-Sanders and The Carnegie Corporation of New York, with Rubicam Foundation. additional support from The Horace W. Goldsmith Cover image: Chato Hill / Harlem Week, 1931 Team, Dance Tap print silver gelatin Vintage VanDerZee Mussenden Donna Courtesy Johnathan Calm Scratching Chance #1 (diptych) / 2005 / Collection of Kai Loebach, Los Angeles Foundation, JPMorgan Chase, LEF Foundation, Father and Son / 2005 02 / what’s up Studio / Summer 05 03 / Studio / Summer 05 hrlm: pictures, the fi rst exhibition in a new series of Harlem-specifi c, site-responsive proj- ects, investigates and witnesses the depth and breadth of this community through the work of 31 artists. This exhibition presents Harlem through iconic images by seminal photogra- hrlm: pictures phers of the 20th century, photographs by local and national artists and selections from the Museum’s permanent collection. Photography has always been and remains a complex agent in understanding Harlem. From James VanDerZee and Aaron Siskind’s images of Harlem in the 1930s, to direct and unfl inching photographs of Harlemites in 1960s and July 20—October 23, 1970s by , Jules Allen and Gordon Parks, this exhibition visualizes the incredible nostalgia for Harlem’s glorious past. On the other hand, contemporary works such as Karen Davis’ images of young children playing in the pool and Christine Camilo’s portrait of a Boricua teenager in Spanish Harlem, capture the essence and energy of Harlem from east to west, north to south. 2005 Artists in the exhibition include: Jules Allen, Donald Andrew Agarrat, , damali ayo & Randal Wilcox, Dawoud Bey, Terry Boddie, Jonathan Calm, Christine Camilo, Karen Davis, h. eugene foster, Adler Guerrier, Mikki K. Harris, Eric Henderson, Leslie Hewitt, Brooke Jacobs, Robert W. Johnson, Ray Llanos, Melinda Lewis, Dave McKenzie, Gordon Parks, Carlos Perez, Katherin Schmidiger, Aaron Siskind, Greg Tate, Hunter Tura & Jeannie Kim, Constance Williams, James VanDerZee, Albert Vecerka and Camilo José Vergara.

hrlm: pictures was organized by the Studio Museum’s Curatorial Team: Rashida Bumbray, Ali Evans and Christine Y. Kim, and furthers the Studio Museum’s critical role as a living, breathing archive and visual record of this viable, vibrant community. The hrlm word mark was conceived and generously donated by 2x4, New York.

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01 / Carlos Perez 04 / Donald Andrew Arragat 07 / Albert Vecerka Morningside Park Sierra Leone on Harlem Brownstones 2004 2003 2000

02 / Melinda Lewis 05 / Donald Andrew Arragat 08 / Robert W. Johnson Sunday Best Biker Gyrlz Uptown Fruit 2003 2003 2005

03 / Karen Davis 06 / Terry Boddie All images, collection Wait for the Whistle Confl uence of the artist 2003 2005 02 07 08 04 / what’s up 05 /

A verb, a noun, an idiom or slang, scratch is multiple parts of speech and a set of divergent homographs. Similarly, the works of William Cordova, Michael Queenland and Marc André Robinson reference mark-making, chance, cancellation, currency, sound and rupture. Bur- Scratch July 20— ied beneath recognizable images and found objects are a variety of meanings and dis- courses. Each fi ngerprint or artistic impression marks a transference: some visible and others a trace of things left behind or yet to come. October 23, 2005 Organized by Associate Curator Christine Y. Kim, this annual summer exhibition features works by three emerging art- ists who have been awarded year-long studios and stipends at the Studio Museum. The Artist-in-Residence program represents one of the founding initiatives of the Museum. Past residents include , , , , Julie Mehretu, , and .

The Artist-in-Residence program and exhibition are made possible, in part, by New York State Council on the Arts, a state agency; Nimoy Foundation; Helena Rubenstein Foundation; Jerome Foundation; Elaine Dannheisser Foundation; and Dedalus Foundation.

01 / Michael Queenland Shaker Smallcraft: Brother’s Hanger and Scouring Box (detail) 2005

02 / William Cordova World Famo Paintings (detail) 2005

03 / Marc André Robinson Throne for the Greatest Rapper of All Time (Studio View) 2005

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02 03 06 / Studio / Summer 05 07 / Studio / Summer 05

01 / Marc André Robinson Wish You Were Here (video still) 2005

02 / William Cordova World Famo Paintings (detail) Studio Museum 2004-2005 03 / Michael Queenland Untitled (Black Balloon Rock) 2005

Artists-in-Residence 01 02 03 2004—2005

William Cordova Michael Queenland Marc André Robinson produces a B-fl at 57 octaves below middle What is your favorite thing to do after What is your favorite thing to do after C, a tone far lower than the human ear can completing a work of art? completing a work of art? discern. Fortunately, I have a radio I bought Smudge all artworking areas with Black Celebrate and catch up with friends, rest, Micheal Queenland from a thrift shop on Lenox Avenue. Its Diamond Aquatic Sage, welcoming new en- go to the movies, read, write and get back cheap antenna can pick up black hole fre- ergies, new thoughts and positive attitudes, to work (in that order). quencies and transmissions—this is usually and banishing shadows and shadow spirits. What is the most interesting exhibition what’s on in the studio. What is the most interesting exhibition you’ve seen recently? What is the title of the last work you com- you’ve seen recently? The Basquiat, Bearden and Tim Hawkin- pleted? The gems and minerals collection at the son shows; Malcolm X: A Search for Truth Accept Him, Lord ..., 2005 American Museum of Natural History at the Schomburg; and ’s print portfolio De Luxe. What artwork has had a profound infl u- What gadget could you not live without? ence on your work? Water What gadget could you not live without? The Circular Valley by Paul Bowles What do you like most about being on My blow dryer Name the artist who has infl uenced you ? What do you like most about being on the most: “newports!, newports, newports ... dvds, 125th street? “...as you probably know, ever since the work newports-newports ... dvds, Jean Paul I like how the historical charge of Harlem of edwin hubble in the 1920s, scientists Gautier, jean paul jean paul! n-e-w-p-o-r-t- colors everything that happens here. As have known that the universe is expanding, s ...” The great view of the Adam Clayton fast as Harlem is changing, there is a deep, but most have believed that the expansion Powell Jr. Plaza. sustained vibration on 125th Street that was slowing as the universe aged. in 1998, Finish the sentence: Black is … resonates in a different time signature, at a astronomers calculated the expansion rate Born 1972, Los Angeles, Calif. / Lives and subsonic frequency ... am I right or wrong? Born 1971, Lima, Peru / Lives and works in Born 1970, Pasadena, Calif. / Lives and the mirror ... Black ... in the mind ... two by studying dozens of powerful supernova works in New York, N.Y./ Education: 2002 New York, N.Y. / Education: 2004 MFA, Yale works in New York, N.Y. / Education: 2002 selves at two points ...” Plato (427-347 Finish the sentence: Black is ... explosions within distant galaxies, which MFA, Maryland Institute College of Art, University, New Haven, Conn. / 1996 BFA, MFA, University of California, Los Angeles BCE) or Yoko Ono (1967) a reservoir from which everyone drinks. / 1998 BA, University of California, Los can light up the entire universe. yes, that’s Baltimore, Md. / 1998 BFA, Pennsylvania The Art Institute of Chicago, Chicago, Ill. If you could have dinner with anyone, If you could have dinner with anyone, Angeles what they said–light up the entire universe. Academy of Fine Arts, Philadelphia, Pa. One word to describe your work? anyway, they determined then that some dead or alive, who would it be? dead or alive, who would it be? “Pisco” One word to describe your work? unknown force was pushing the galaxies The person who could bring some respect, One word to describe your work? I would have a banquet with all of my grand- oil·y Pronunciation Key \oi-lè\ vision and direction to the atmosphere of Bridge parents back to like 1500 BC and get the Name the artist who has infl uenced you apart, causing the expansion of the universe adj. oil·i·er, oil·i·est to accelerate. physicists went scrambling politics, dissent and activism in the United What music do you listen to while you’re whole story once and for all. the most: 1. Of or relating to oil. States. back to their blackboards and realized that working in the studio? What’s next: Martin Chambi 2. Impregnated, smeared with, or contain- some ‘dark energy’ of unknown origin, akin What’s next: My father burned about 50 jazz CDs for Acadia Summer Arts Program in Maine, What is the most interesting exhibition ing oil; greasy. to einstein’s ‘cosmological constant,’ was “There is a fi fth dimension, beyond that which me this year that I have been listening to. traveling to Glasgow for a group show you’ve seen recently: 3. Excessively suave in action or behavior; acting as an anti-gravity force. thus, the is known to man. It is a dimension as vast Thanks, Dad. called In the Poem about love you don’t say “Motion” by Wayne Hodge at Santa Fe Art unctuous. See Synonyms at unctuous. more the universe expands, the more dark as space and as timeless as infi nity. It is the What is the title of the last work you com- the word love and setting up my new studio Institute oil i·ly adv. energy there is to make it expand even fast- middle ground between light and shadow, pleted? in Bushwick, Brooklyn. oil i·ness n. er, leading to an exponential runaway mode. Finish the sentence: Black is … between science and superstition ...” Continual Dissipation of Dense, Black Being profoundly asbtract, concretely subversive What music do you listen to while you’re and here’s the best thing, the summated and as Rammellze would phrase it … it’s working in the studio? conclusion: apparently, empty space itself What artwork has had a profound infl u- “gothic futurism.” It was recently discovered that black holes contains enough repulsive dark energy to ence on your work? generate sound. Circular ripples of gas blow the universe apart.” Throne of the Third Heaven of the Nations’ emanating from their centers indicate the Millennium General Assembly by James presence of sound waves that produce a Hampton constant “cosmic note.” The ripples are separated by 35,000 light-years, which Photos: Ray Llanos 08 / what’s up: student exhibition Studio / Summer 05 09 / spring 2005 projects Studio / Summer 05 Reclaiming Harlem Postcards Beautiful July 20– July 20– October 23, October 23, 2005 2005

01 02 Chato Hill lyric r. cabral Born 1949, Mexico City, Mexico / Lives Born 1982, New York, N.Y./ Lives and and works in Bloomfi eld, Mich. works in Harlem, N.Y. “Looking directly down with the camera, or di- “Hydration” is a summer reality that has proven 01 rectly up,” Chato Hill says, “or looking out the timeless. As a photographer and writer living Every year The Studio Museum in Harlem becomes a venue for teenagers to engage con- window, not in—that’s what I like to shoot.” in Harlem, this community is one of my pri- mary inspirations. As its faces change, prop- temporary art and develop their own artistic practices. In Expanding the Walls: Making Chato favors “cropping in the camera,” fram- ing almost all his pictures through the view- erty values fl uctuate and streets increase in Connections Between Photography, History and Community, participants explore the fi nder so the viewer sees his photos just as he commercial appeal, Harlem remains. Fluid. work of James VanDerZee, learn 35mm photography and intersect with peers. Through saw them—fully realized , complete and unma- Cool. Hydrated. nipulated. He likes “street photography”—not 04 these interactions students investigate how community can be defi ned and re-defi ned just people, but the signs, objects, lampposts Galina Mukomolova through personal identity, social history and contemporary imagery. and street lights that “frame” our lives. Chato Born 1987 loves traditional and high-speed fi lm, espe- ETW participant, 2005 Organized by the participants, Reclaiming Beautiful presents the concept of beauty by celebrating the unusual, cially black-and-white, and always looks for When I took the photo, I was reminded of exposing truth and capturing ideals. Presented alongside VanDerZee’s classic and iconic images of Harlem’s past, the unexpected perspective or angle. the life inside of Harlem. Even in winter, the these images offer new observations on beauty by re-envisioning cultural conventions through personal imagery, re- streets smell of incense and laughter. This im- imagining family tradition and documenting Harlem’s transformation. age captures the endless energy and motion behind the daily grind of Harlem streets. In portraits of friends, beauty becomes a question of identity. In photographs of everyday activity, the overlooked is highlighted. By depicting home, the usual is illuminated. Like the challenging discussions on community and visual cul- ture, in which the participants took part, Reclaiming Beautiful is a dialogue about how perception affects meaning. 03 Robert W. Johnson Reclaiming Beautiful, the annual student exhibition of the Museum’s Expanding the Walls: Making Connections Between Photography, History and Community program is made possible, Born 1972, Syracuse, N.Y. / Lives and in part, by The Peter Jay Sharp Foundation; National Endowment for the Arts; New York State Council on the Arts, a state agency; and two anonymous donors in honor of Rev. Frederick & Mrs. Eikerenkoetter. works in Syracuse, N.Y. When I saw this hoop I was captivated by who

01 / Chato Hill may have passed summer days playing with Harlem Week, Father and it. Perhaps they dreamed of being basketball Son 2005 stars, and maybe some of those dreams came true. Long after those who dreamed have 02 / lyric r. cabral hydration moved on, the hoop remains, hanging from a 2004 building above the sidewalk on the corner of 03 / Robert W. Johnson Adam Clayton Powel Blvd. and 138th Street, Dream Rumble weathered and worn. I thought of Harlem as 2005 always being fertile ground for both home- 01 / Olajuwon Phillips 04 / Galina Mukomolva grown and transplanted dreamers. Untitled Cyclic Aspirations 2005 2005 10 / upcoming exhibitions Studio / Summer 05 11 / Studio / Summer 05 Frequency Energy/Experimentation: Black Artists and November 9 –March 12, 2005 Abstraction, 1964 -1980 April 5 –July 2, 2006

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Alvin Loving 03 1935-2005

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01 / Jeff Sonhouse 05 / Tom Lloyd For over 40 years, Al Loving pushed the over this because I love of the texture of pa- American Art. Being an abstract artist, he fi t Untitled Narokan 2003 1965 boundaries of his creativity, from geometric per and hated to see it obscured. June Kelly, into the prevailing style, but being a black Courtesy of Tilton / Collection of The Studio cubes to sewn fabric works to landscapes of I remember, tried to mediate our argument. artist, he and his like-minded contempo- Kustera Gallery, NY Museum in Harlem Gift of Mr. And Mrs. spiraling water (inspired by the 1978 Monet But all was forgiven when I saw his show raries sometimes took heat from the black 02 / Demetrius Oliver Darwin K. Davidson exhibition at The Metropolitan Museum of at the G.R. N’Namdi Gallery last Septem- community for working without the fi gure. Ship (detail) 2003 06 / Art) to collage. He made this technique his ber. Al created a dizzying, virtuoso display He exhibited at the Studio Museum in 1979 Courtesy of Inman Dead Reckoning I Gallery, Houston, TX 1980 own, becoming an heir to Henri Matisse and of swirls and curlicues with spatial effects, (with ) and had a solo ex- Collection of The Studio . bold color and lots of patterns. It was hibition in 1986. 03 / Adam Pendelton Museum in Harlem a tour de force. Crazy About this City Gift of Bill Whitten Loving embedded his abstract designs in Al Loving was force among his peers and 2004 Private Collection 07 / Alvin Loving handmade paper; he painted, printed and Al arrived in from his native mentor to other artists. He will be sorely Roger cut paper and appliquéd it to Plexiglas. This Detroit in 1969. His timing was impeccable: missed. 04 / Shinique Smith 1975 Their First Bundle Collection of The Studio was his alternative to framing under glass the art establishment was addressing its ne- 2004 Museum in Harlem because he intensely disliked the refl ec- glect of black artists. Almost immediately he Courtesy of the artist Gift of the artist tions. I had a serious disagreement with him had an exhibition at the Whitney Museum of Studio Museum President

Photo: Dawoud Bey 12 / elsewhere: art beyond SMH Studio / Summer 05 13 / Studio / Summer 05 Completely Biased, Entirely Opinionated Hot Picks By

01 02 03 Glenn Ligon: Some Changes @ Fred Wilson: Black Like Me @ Jamel Shabazz: Photographs @ The Power Plant Contemporary Art Gallery The Aldrich Contemporary Art Museum / NOTICED: Little Black Sambo The powerHouse Gallery / June 3 – I am intrigued by what seems to be the collision of several / June 25 — September 5, 2005 / May 1— August 7, 2005 forces that resurrect certain kinds of images, unmediated, September 3, 2005 / www.powerHouse- in current media. After years of thinking about stereotypi- books.com www.thepowerplant.org I hope you had the opportunity to see Fred Wilson’s survey ex- cal images through the work of such important artists as hibition here at the Studio Museum last spring. This exhibition at Fred Wilson and , it is amazing to see these Jamel Shabazz is one of our most amazing photographic doc- I had the wonderful opportunity to co-curate the work of Glenn the Aldrich Museum provides us the opportunity to see his new work. images recirculated in their original form. I am speaking umentarians. I love the seminal photographs collected in Back in Ligon with Wayne Baerwaldt (former Director, The Power One of the most provocative artists working today, Wilson’s solo ex- about recent news reports about the reissue of the Little the Days (powerHouse Books, 2001). Shabazz revisited his archive Plant). Perhaps more than any other artist, Glenn’s brilliant work has hibition is in conjunction with the Award of New Work based on his Black Sambo book in Japan 17 years after it was removed and unearthed an extraordinary collection of never-before-published informed so much of what I think about contemporary culture. Glenn growing interest in the medium of glass. As the American represen- from bookshops because of its racist content. Last April, documentary photographs for his third powerHouse volume, A Time Ligon: Some Changes surveys his oeuvre over the last 17 years and tative at the 2003 Venice Biennale, Wilson produced a large body a publisher in Japan decided to reissue the book under Before Crack, and its accompanying exhibition. A visual diary of explores the idea of “revision”–highlighting moments in Ligon’s prac- of work, much of which was made in collaboration with glass techni- its Japanese title and it has since sold about 100,000 the streets of New York City from the mid-1970s to the mid-1980s, tice where existing works and themes return to subsequent pieces cians from the legendary glass-making center of Murano in Venice. copies, making it one of the top fi ve books in Japan. Shabazz’s distinctive photographs reveal the families, poses and and in new mediums. Ligon’s practice, which incorporates sources Wilson’s interest in history, especially as it is revealed through ob- players who made this age extraordinary. as diverse as James Baldwin’s literary texts, photographic scrap- jects, will come into play in this new installation. Similarly, I am eager to see Lars Von Trier’s new fi lm, books and Richard Pryor’s stand-up comic routines, encompasses “Manderley,” which was recently shown at the Cannes painting, printmaking, sculpture, installation and video. Ligon’s art is Film Festival. But in most critical accounts of it, the use of a sustained meditation on issues of quotation, the presence of the black face was merely commented on as an aesthetic past in the present and the representation of the self in relationship detail. Is it that the work of those artists who sought to to culture and history. explode the notion of these images now makes it okay for them to exist yet again in culture? Or perhaps there is another level of comment that needs to be made about these images as they circulate in our culture. 01 / Glenn Ligon 02 / Fred Wilson Here’s some must-see Sn Boys with Basketball, Drip, Drop, Plop, aps Harriet Tubman, Salimu, 2001 hots Letter B #3, Collection of exhibitions that I’m not : 2001 Susan Hancock and Collection of Gregory R. Ray Otis Miller, New York going to miss! edia ulti-m 03 / Jamel Shabazz kes m son. 25 o ma Simp Far Rockaway, June i, wh rna rday yes and Lo Satu Fakie lden Images from A Time Before nto: Stella a Go Toro artist elm Crack, Queens, dian rk, Th ague Cana ed wo Mont 1984 -bas neth photo Ken o: Dr. Courtesy of Powerhouse Phot Books 14 / elsewhere: art beyond SMH Studio / Summer 05 15 / Studio / Summer 05 light: nale High Venice Bien Dispatch: Atlanta by Andrea D. Barnwell, PhD arle Berni Se I am especially excited about the two solo exhibitions that will be on view at the Hammonds House this fall. Refl ections: A 50 Year Retrospective of Photographer Jim Alexander chroni- cles legendary performers and historical events that shaped the history of America. Renee Stout, an exhibition featuring the artist’s newest body of work, will examine healing rituals, music, symbols and the multiple layers of culture and history. Like her previous projects, this exhibition promises to intrigue and evoke curiosity. Fahamu Pecou’s upcoming exhibition at the Ty Stokes Gallery in 03 the Castleberry Hill Arts District has generated buzz and excite- ment around the city and piqued my interest. Pecou (b. 1974), a graduate of the Atlanta College of Art, has garnered atten- tion for his outlandish penchant for appearing with bodyguards as well as his hyper paintings of art magazines with himself as the central image. Undoubtedly inspired, at least in part, by Iké Udé’s photographs, these self-portraits explore a host of over- lapping ideas including consumerism, stereotypes, the excess of hip hop culture, contemporary media culture, performance, 02 Photo: Jerry L. Thompson black masculinity, fantasy and the ever-sought-after quest for fi fteen- minutes of fame. A close watch on this emerging artist Julie Merethu in Remote Viewing: and a studio visit are defi nitely in order. Invented Worlds in Recent Painting The November 10, 2005, 10th Annual Hambidge Center Art and Drawings @ Whitney Museum of Auction at King Plow is a highly regarded, not-to-miss event where you can purchase excellent examples of works by emerg- American Art / June 2 – October 9, 2005 ing and established artists. Previous auctions have included 01 / www.whitney.org work by Radcliffe Bailey, Kevin Cole, Tina Dunkley, Kojo Griffi n Meschac Gaba @ Tate Modern / June 21 and Lynn Marshall-Linnemeier. 04 Remote Viewing, curated by Elisabeth Sussman, brings together The highly anticipated 51st International Venice Biennale opened – August 21, 2005 / www.tate.org.uk eight artists, some well known and others emerging, all of whom Andrea D. Barnwell, Ph.D., Director, Spelman College Museum on June 8, 2005. In addition to the international pavilions, Maria de create new worlds that exist somewhere between abstraction of Fine Art Glue Me Peace is a new installation by West African artist Me- Corral curated the Italian Pavilion and Rosa Martinez curated the schac Gaba created for the Tate Modern’s Level 2 Gallery, a space and representation. In general, they share a fascination with asser- tive color, invented form and the construction of dynamic spaces. Arsenale. While many of the installations featured existing work, dedicated to emerging international artists. To mark the opening, there were a few with new pieces that represented extraordinary the artist released 100 white doves outside the gallery at 6:45 am departures from the artists’ oeuvres, such as Vapour (2004) by on Friday June 24. Inspired by The Nobel Peace Prize, Gaba uses South African artist Berni Searle. This single-channel video projec- seven video screens and a jukebox to present visual and audio mate- Shinique Smith @ Boulder Museum tion is an ominous, meditative narrative in which a camera slowly rial of winners’ speeches dating back to 1901, when the fi rst award of Contemporary Art / June 24 – zooms out from a tightly cropped view of fl ames to an aerial per- was given. Taken from the archives of the Nobel Foundation, these spective of a apocalyptic landscape of steaming pots over fi res. speeches provide fascinating insights into the history of the prize, September 3, 2005 / www.bmoca.org In a staged scene, fi gures walk among the fi res, forlorn and dislo- which arguably is as much a history of 20th century confl ict as it is a cated. As we’ve seen in Searle’s past solo exhibitions in the United Inspired by gestures of wrapping and marking, and the resource- story for charity efforts for peace. States, at Berkeley Art Museum (2003) and in Inova, Milwaukee fulness of urban dwellers to create imaginative worlds from (1999-2000), “communication across borders and boundaries” is leftover materials found on the street, New York-based artist a recurring theme, but this work departs from her oeuvre because Shinique Smith’s installations bridge the boundaries between Purvis Young @ Hurn Museum Contem- of the absence of her body; in the words of Liese van der Watt, painting and sculpture. She draws on hip-hop music, graffi ti, cal- Searle is “known for performative pieces in which she uses her 05 porary Folk Art / 1015 Whitaker Street / ligraphy and ancestral ties to her South Pacifi c ancestry, and seeks Refl ections: A 50 Year Retrospective of Photographer Jim to refi ne and distill these elements into a spiritual language. body to explore how identities are negotiated, imposed and imag- Savannah, Ga. / www.hurnmuseum.org ined.” Snow White, which was exhibited in Authentic/Ex-centric: Alexander / September 4 – October 30, 2005 Africa in and out of Africa at the 49th Venice Biennale (2001), con- / July 1- 31, 2005 Check it sisted of a powdery silhouette of her absent fi gure shaped by a Renee Stout / November 13, 2005 – January 7, 2006 / Out! Hammonds House Galleries and Resource Center/ 503 This past year we had the privilege of having the Traylor Edmond- Frente Feroz, Installation by dust sprinkled over her body during the actual performance. In her earlier work, Searle has used her own body in installations about Peeples Street, SW / Atlanta, GA 30310 / 404.752.8730 / son exhibition in conjunction with the Chris Ofi li show, which Grimanesa Amoros [email protected] showed the wonderful conversation between contemporary fi gurative presence and absence. practice and folk art. Another folk artist is Purvis Young, whose work @ The Lee Building / 125th Street and At fi rst glance, it seems that the connective tissue between Searle’s Fahamu Pecou / December 9, 2005 – January 21, 2006 / Ty is being presented in Purvis Young Keeper of the Flame. Park Avenue / Harlem / A New Public older work and Vapour is the focus on ritual, cooking and food. Part Stokes Gallery, 261 Walker Street, SW /Atlanta, GA 30313/ function and part tradition, the hunting, gathering, rationing, prepara- 404.222.9868 / [email protected] / www.tystokes.com / Work in Harlem tion, cooking and consumption of food are refl ective of a community’s see also fahamupecouart.com sense of belonging, inclusion and exclusion. In this new work, Searle 01 / Meschac Gaba 02 / Julie Merethu 03, 04 / Berni Searle Frente Feroz (Ferocious Front) is a permanent, site-specifi c Glue Me Peace, working in her studio, Courtesy of the Artist has progressed to a more minimal discourse, both in narrative and in public art project by Grimanesa Amoros commissioned by 10th Annual Hambidge Center Art Auction / 2005 January 2005 execution. The pots hold boiling water instead of food, and the fi gures Courtesy of the Tate 05 / Jim Alexander real estate developer Eugene Giscombe for the Lee Building Hambidge Center for the Creative Arts and Sciences / P.O. Box Modern, Level 2 Gallery Sister Love Atlanta(detail) roam the South African social landscape, instead of in a white cube 339 / Rabun Gap, GA 30568 / 706.746.5718 / 1988 at 125th Street and Park Avenue, New York City. Courtesy of the Artist or between the high walls of exhibitions spaces for contemporary art. [email protected] / www.hambidge.org Interview by Christine Y. Kim, Associate Curator, the Studio Museum 16 / feature Studio / Spring 05 17 / Studio / Summer 05 Franco the Great’s Harlem Gates

Photography by Felicia Megginson

01 18 / feature Studio / Summer 05 19 / Studio / Summer 05 For more than 25 years, muralist Frank Gaskin (also known as “Franco the Great”) has been on a one-man mis- 01 / Frank Gaskin 04 / Frank Gaskin 11 / Frank Gaskin Welcome to Harlem: This Is America Mystic of the Sea sion to beautify 125th Street. He began painting his colorful path across Harlem’s main shopping thoroughfare Share the Dream 05 / Frank Gaskin 12 / Frank Gaskin after business owners installed steel security gates in reaction to the riotous and racially-charged 1960s. To 02 / Frank Gaskin Harlem’s Best Kept Secret I Love New York Franco between African date, he has transformed more than 200 storefronts with his cultural and political themes. Gaskin’s work has Village & Happy Birthday 06 / Frank Gaskin 13 / Frank Gaskin Dr. King Recognition of Government Franco the Great’s Signature also been commissioned around the world—in Latin America, the Caribbean, Africa, Europe and Asia. Workers 03 / Frank Gaskin All murals are located on Franco can be found on 125th Street, across the street from the Apollo Theatre, every Sunday from 9AM to 1PM. He is also Dancing 07 / Frank Gaskin 125th Street, between Happy Birthday Dr. King Frederick Douglass Ave. a trained magician and often combines magic and painting to entertain passersby. To see Franco’s work, stroll 125th Street and Ave., Harlem, 08 / Frank Gaskin U.S.A. any day before 8:30AM, when most shop owners roll up their gates, or at the end of the day when the murals, almost magi- Welcome to Harlem: cally, come out again. Share the Dream 09 / Frank Gaskin By Kenyetta Lovings, Studio Museum Intern Think Positive 10 / Frank Gaskin Sunset

02 03 20 / feature Studio / Summer 05 21 / Studio / Summer 05

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07 08 12 13 22 / feature: from the president Studio / Summer 05 23 / Studio / Summer 05 Aesthetics and Social Justice: A Personal Perspective By Lowery Stokes Sims, Studio Museum President

artists were also concerned with racism, stereotyping, inter- racial confl ict, the Vietnam War, immigration and labor issues. They debated the relationship of black artists to their communities, their responsibility to the wider world and whether fi gural or abstract forms were appropriate for black artists. There was and is a perception that black artists should make fi gural, more accessible art rather than abstract art, but artists worth their salt adroitly balance form and content to create powerful, impactful images. This is borne out by some images that remain emblazoned on our collective memories: Martin Luther King on the steps of the Lincoln Memorial during the 1963 March on Washing- ton; Monetta Sleet’s photo of Coretta and Bernice King at Martin Luther King’s funeral service; the young Vietnamese 01 girl running naked down the road after being sprayed with In 2004, I was invited to participate in a symposium napalm; the Kent State University student, arms out- on the theme of social justice at Spelman College in stretched, mouth open in a wail, kneeling over a classmate Atlanta, Ga. I don’t usually think of my career as an who’d been shot by the National Guard during an anti-war art historian, curator and museum director in this demonstration. These are the images that helped turn the context, but if social justice encompasses issues of tide of public opinion, that strengthened our resolve and that fairness, equality and opportunity, then I have been served the cause of social justice. But would such images so involved. affect us now? Are we so oversaturated with the media that we can observe the atrocious and revel in vicarious thrills As an art history major in college in the mid-1960s, I chal- rather than be moved to action? lenged my professors about the absence of artists of color in the standard art history curriculum. At the same time black I wonder if notions of social justice, equity and opportunity and women artists were confronting the art establishment seem antiquated in an art world in which black artists and about their exclusion from gallery shows, museum exhibi- other artists of color have been granted unprecedented tions and collections. In 1972, as staff in the Community Pro- access and recognition. In this global world is the sense of grams Department at The Metropolitan Museum of Art, I collectivity and community that we felt 40 years ago still was involved in community outreach and programming that viable? Can art indeed address the sometimes overwhelming provided access and opportunity for artists and community yet ever-present human and societal ills that have reached organizations. Later, as a curator, I frequented the Studio critical levels? Chicano artist, educator and former MacAr- Museum, which opened in 1968, and became part of a com- thur fellow Amalia Mesa Bains perhaps gave us an attain- munity of artists, curators, critics and art historians who able goal when she wrote that artists should produce work shared my concerns and convictions. that “informs” and has “a presentation strategy that was anti-elitist and publicly accessible.” Those words amply The Studio Museum’s core mission to promote black artists express how The Studio Museum in Harlem plays a role in globally through its exhibitions, programs, publications, Art- promoting social justice in the world today. ists-in-Residence Program, permanent collection and even museum store positioned it as an agent for change, inclusion and promotion of social awareness. While the goals of artists of color and women at this time were, of course, careerist,

01 02 24 / feature: from the president Studio / Summer 05 25 / Studio / Summer 05

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01 / Faith Ringgold 03 / -Mora The Flag is Bleeding Malcolm X Speaks for Us 1967 1969 Courtesy of the artist Courtesy of Sragow Gallery, New York City 02 / David Hammons photo: A. van Woerkom Injustice Case 1970 Collection of Los Angeles 04 / James VanDerZee County Museum of Art, Los Harlem Billiard Room Angeles County Museum of n.d. Art, museum purchase with Modern silver print M.A Acquisition Fund Courtesy Donna Mussenden VanDerZee Museum number: M.71.7 Photograph C2005 Museum Associates/LACMA

04 Studio / Summer 05 26 / overheard Studio / Summer 05 27 / artist commission

Have you ever heard a statement or a part of a conversation that was so eloquently articu- lated that it should be in a book of quotations? Here are a few from public programs and conversations that recently made me think, and I know they’ll spark critical dialogue in you. “” All quotes from the notes of Sandra D. Jackson, Director of Education and Public Programs

“In the future, I think artists will see communities as nice alternatives to .” Commissioned / Annette Lawrence , Artist, May 3, 2005, at , New York City, Friends of Education

“In some ways artists are extreme idealists. Most artists Annette Lawrence was born in 1965 in Rockville Centre, NY have some radical idea. They tend to reinterpret the world in and lives and works in Denton, TX a radical way.” Michael Queenland, SMH Artist-in-Residence, June 10, 2005, in a conversation with Sandra D. Jackson, Director of Education and Public Programs “People sometimes decide that if there are black images in a work, then it’s naïve and outsider. I think it has something to do with the western tradition and how black people are not seen as artists.” Faith Ringgold, artist, May, 17, 2005, at Dialogues: Seminars on Contemporary Intersections in Art Session 2: Folk Art Infl uences: Contemporary Artists Perspectives, a collabora- tion between the and The Studio Museum in Harlem “I see as a closet formalist.” Kerry James Marshall, contemporary artist, May, 17, 2005, at Dialogues: Seminars on Contemporary Intersections in Art Session 2: Folk Art Infl uences: Contemporary Artists Per- spectives, a collaboration between the American Folk Art Museum and The Studio Museum in Harlem “The museum is the best playground for children.” Geoffrey Holder, dancer, choreographer, painter, speaking from the audience on May, 17, 2005, at Dialogues: Seminars on Contemporary Intersections in Art Session 2: Folk Art Infl uences: Contemporary Artists Perspectives, a collaboration between the American Folk Art Museum and The Studio Museum in Harlem “Lenox Avenue is technically Sixth Avenue. Downtown it’s called Avenue of the Americas before it runs into the south end of the [Central] Park, and uptown it is called Malcolm X Boulevard … The point is that Lenox Avenue doesn’t go anywhere, and yet it is thought to be the most important thoroughfare of the most important place for black people in America, if not the world.” Sharifa Rhodes-Pitts, writer, May, 22, 2005, at The Studio Museum in Harlem Sunday Salon program Annette Lawrence / Paper Supports / 2005 28 / artist commission

Annette Lawrence / List Pile #1 / 2005 30 / profi le Studio / Summer 05 31 / artist-in-residence 2004-2005 Studio / Summer 05

Walking along Lenox Avenue, Like his store—colorful, bold, Murphy Heyliger one is enticed by the plethora of soulful and imaginative, Murphy’s options for those with the need collection of graphic design for Harlemade to consume—eclectic restaurants, t-shirts deliver the goods. From specialty boutiques, custom- well-known neighborhoods in made hair-care products, relaxing Harlem to his newest edition, watering holes and decadent the abbreviated HRLM tee, delicatessens. However, just fi ve Murphy is one to be watched as years ago many of these stores an independent designer. weren’t even a thought, but Harlemade life on Lenox was just Trained in Communication Art beginning. and Design at the High School of Art and Design and Parsons Partnering with Kevin McGruder School of Design, respectively, and Patrica Alfred, Murphy he went to school with some of Heyliger formed Harlemade as the progenitors of commercial a visionary idea to incorporate urban t-shirt design (think Mecca Harlem in quality products, and P(ost) N(o) B(ills) Nation). including specialized postcards, Heyliger was honing his skills by handmade candles and, a forming his fi rst line of t-shirts, drawing point for many, graphic dubbed MURUHE and lending t-shirts specifi c to the area. his graphic design skills to several major clothing houses. Throughout all these achieve- ments, this Harlem native’s home was and continues to be a source for his creativity.

Inspired by music, Murphy’s shirts have become walking melodies, inspiring conversation on and appreciation of Harlem among fashion-forward people all over the world. This genuine connection with place is apparent in all of Heyliger’s designs. With the launch of his newest t-shirt, HRLM, Murphy states that “it is not because Harlem is a hot name. My original concept is to continue to preserve Harlem and the rich history behind it and I want my pride to show in every design.”

After visiting Harlemade and see- ing Murphy Heyliger’s creations, there is no doubt that any tee will be a vivid addition to your wardrobe.

Makeba Dixon-Hill Education and Public Programs Coordinator

Micheal Queenland / Shaker Smallcraft: Adjustable Candle Sconce, Multiple Clothes Rack and Twin Sconce (detail) / 2005 Collection of the Artist

photo: Hosea Johnson 32 / check out Studio / Summer 05 33 / collecting Studio / Summer 05

Dawoud Bey Lola Flash William Pope. L damali ayo Sister Gertrude Morgan Henry Taylor Alex /1999 Karisse / 2002 How Much Is That Nigger in living fl ag: panhandling for The Star of Bethlehem / 1970 Low Ride / 2004 Courtesy Rhona Hoffman Collection of the artist the Window? (Crawl Piece) reparations / 2003 Collection of The Studio Courtesy the artist and Daniel StartingYour Collection Gallery, New York / 1991 120th Street & Lenox Avenue, Museum in Harlem, Gift Reich Gallery, New York Tompkins Square Park, Harlem, New York of Gerhard and Ute Stebich, New York Photograph by Randal Wilcox Plainfi eld, MA, 86.19.4 by Corey Baylor Courtesy of the Artist and Courtesy of the artists and Projectile, New York Roulette Fine Art, New York

Selected by Rashida Bumbray, SMH Curatorial Assistant If you love... check out My wife, Racquel, and I began collecting prior to meeting and recog- Dawoud Bey (Born 1953 in Queens, NY / Lives and works Lola Flash (Born 1959 in Montclair, NJ / Lives and works nizing that we share similar tastes in contemporary art. We have in Chicago, IL) in New York, NY) never been challenged by an inability to agree upon works to purchase, but have focused on maintaining discipline in our approach to collecting. This approach follows basic themes that I believe are applicable to any person interested in collecting art:

Three: Do not be intimidated by the galleries—many func- tion as gatekeepers to pieces from much-sought-after art- ists, but usually they are also a very helpful resource in providing context for the work, information on the artist, If you love... check out where you might view other work by the artist, information William Pope. L (Born 1955 in Newark, NJ / Lives and damali ayo (Born 1972, Washington D.C. / Lives and on other interesting artists they may represent, etc. (Addi- works in New York, NY ) works in Portland, OR) tionally, it is very important to understand that galleries are there to maximize exposure and price for the artists’ work. As a result, they will be more attentive if you convey some knowledge about an artist.)

Four: Benefi t auctions represent a great venue to learn about new artists while supporting art institutions.

Five: Consider art publications as an investment—they can be helpful resource in understanding debates surrounding One: Buy pieces that evoke an emotional response—if your current trends, profi ling various artists, listing gallery open- response is that there is something interesting, exciting, ings and museum schedules, etc. different, compelling, etc., there may indeed be something Overall, collecting art should be a fun process that ulti- special about the work. mately creates something that you live with and continu- ously enjoy. Two: Having a limited budget forces discipline in buying If you love... check out only the pieces you feel most strongly about. Each year Corey Baylor is a member of The Studio Museum in Harlem Acquisition Committee. Sister Gertrude Morgan (1909-1980) Henry Taylor (Lives and works in Los Angeles, CA) we defi ne a budget and historically have had to make very tough (and heartbreaking) choices.

Kojo Griffi n Untitled (Boys Looking Through Patrents Closet) / 2003 Collection of Raquel Chevermont Baylor and Corey M. Baylor 34 / 3Q’s Studio / Summer 05 35 / artist-in-residence 2004-2005 Studio / Summer 05 Stan Douglas

Stan Douglas: Unlike some of my SD: Suspiria is a recombinant earlier projects, the photos and fi lm system that rebuilds stories and are relatively autonomous, even remixes music on the fl y, and the though some identical situations longer it runs the stranger the can be found in each. The two stories and music get. But Incon- months I spent in Cuba shooting solable Memories has a simpler, the photographs and observing more transparent structure. everyday life, certainly had an There are two synchronized fi lm effect on how I approached writing loops. One is roughly 25 minutes the script for the fi lm, but the pho- long and another that is 15. They tos depict contemporary situations have a common period of fi ve and the fi lm is set in 1980. However, minutes, and whenever there is an 01 there is a formal connection. The image on one, the other is black, Christine Y. Kim: Congratulations on photographs all depict repurposed so the scenes fi t together like the the debut of your fi lm, Inconsolable places, places that have changed teeth of gears. Also soundtracks Memories (2005), at the 51st Venice their function but still bear traces mix from both projectors and the Biennale this summer. In 2004, you of their previous use and, in the titles are composed of adjectives had created a series of 33 photos enti- fi lm, various scenes and titles are on one reel and nouns on the other. tled Cuba, which “reveal how the uto- repurposed when, over time, they I like to compare its structure to pian impulse of the Cuban Revolution are seen in different contexts. that of a musical fugue in which transformed the original function of different voices systematically overlap with one another in coun- the locations in Havana while high- 02 lighting the infl uence of reality upon CK: I remember your video Suspiria terpoint. The whole thing is played idealism.” The photographs reveal (2002) exhibited at Documenta XI out after 75 or 80 minutes but, small narratives of everyday experi- in Kassel, Germany, a few years ago. like the virtually-infi nite Suspiria, ences hidden within a larger political Multiple projectors were tied to vari- different people will have different context. (Former banks are being ous computers that selected the impressions of the work depending used as parking lots and cafeterias; course of the narrative, dialogue and on when they enter the installation a church is converted into a concert sound at random. Inconsolable and when they leave. hall; a cinema became a carpentry Memories also has some variation, shop; and a convent now is a school.) but it is in 16-mm fi lm and less 03 What is the relationship between complex. How are the variations CK: How is Inconsolable Memo- the photographs and the fi lm? different for each? ries a remake of the fi lm Memorias del Subdesarrollo (1968) by Tomàs Gutiérrez Alea, entitled? SD:I wouldn’t exactly call it a “remake.” Subdesarrollo is fi ne as it is. I haven’t tried to retell the story of Alea’s fi lm, although I am defi nitely in dialogue with it and the novella upon which it was based, Desnoes’ Inconsolable Mem- ories. They all have a protagonist named Sergio, and none of these Sergios are properly tragic because their egoism prevents them from piecing together the signifi cance of what is happening around them. Cuba of 1962, when Subdesarrollo Marc André Robinson was set, is very different from Cuba Untitled / 2005 of 1980—almost as much as the world of 1968 is different from the world today.

Christine Y. Kim, Associate Curator, The Studio Museum

Stan Douglas Print Shop / Auto Shop, Habana Vieja / 2004 / Courtesy of the artist and David Zwirner; (top) Photo: Michael Courtney, courtesy the artist 36 / studio visit Studio / Summer 05 37 / profi le Studio / Summer 05

You can say that Javaka Steptoe’s In his fi rst book, In Daddy’s Arms Javaka Steptoe interest in the arts and children’s I Am Tall: African Americans books is part of a family tradition. Celebrating Fathers, Javaka pays Illustrator His father, John Steptoe, was a respect to his own father, who famous children’s book author had at that time just recently and illustrator. His mom was also passed away. Since then Javaka an artist. He wasn’t sure that he has published three other books, would be an illustrator, but he including his most recent, The knew there was a good chance. Jones Family Express. Much like his fi rst book, family is at the Javaka uses everyday objects to heart of this story. The inspira- bring his collages to life—pocket tion came from his grandmother, lint, hair barrettes, pennies; even who is unable to walk; one of rusted nails are repurposed. He Javaka’s friends began to send uses unusual materials because his grandmother postcards from for him “collage is a means different places that she visited. of survival. It is how black folks His grandmother loved them, he survived 400 years of oppres- loved the story. sion, taking the scraps of life and transforming them into art forms.” For his compelling work, Javaka has received many honors, including the Coretta Scott King Illustrator Award. He was also a fi nalist for the Bluebonnet Award for Excellence in Children’s Books. In addition to illustrating children’s books, Javaka is also a designer.

Jonell Jaime, Manager of School, Family and Youth Programs

Navin June Norling & Franklin Sirmans Brooklyn, New York, June 5, 2005

“I really wanted to be able to work depending upon inspiration, at produced a mix of found pop and imagined imagery, including that any moment,” Navin Norling says as we enter his spacious place of the Black Panthers logo, a grinning Fred Sanford, African-Ameri- in the Bed-Stuy section of Brooklyn. “Live/work space” is a com- can legends, cartoons and bubble letters. With hot pinks and caution mon refrain for many artists desperate to be close to their work oranges, the overall effect recalls the supersaturated colors that are and their beds at the same time. While the New York real estate so much a part of daily existence in the middle of the city. His accom- market has killed that idea for most young artists, Brooklyn and panying texts in fat wavy lines or big block letters question the power the Bronx still provide room for the perfect live/work space. of those inundating icons in the marketplace. The cohesion of text Along with his wife, Norling rests and works in a lofty converted and image evokes the passage of time that goes hand in hand with building on a tree-lined street. There, the two worlds—art and graffi ti and advertising on the streets outside of a place called home life—seem to meld into one. (and studio.) Born and raised in the Bay Area, Norling studied with Raymond Saun- Norling’s work is featured in Make It Now: New Sculpture in New ders at the California College of Arts and Crafts before coming east and York at SculptureCenter through July 31, 2005. graduating from Hunter College with an MFA in 2002. While not exactly Franklin Sirmans is an independent curator and writer and lives and works in New York City. West Coast big, Norling’s live/work space is more than spacious. In fact, I brought a class of 25 high school students there last summer. The studio walls are lined with found windowpanes and bits and pieces of wood panels scrounged from the refuse of the neighbor- hood—surface material for the young artist. A cozy couch provides respite and a place to contemplate the work. With a distinctive Bay Area aesthetic, Norling mixes graffi ti and the tradition of signage— from West African barbershop advertisements to urban marketing in the form of stickers and wheat-pasted posters—in his sculptural paint- ings. Working on both sides of glass and on boxed panels, Norling

All photos: Courtesy of the Artist Photo: Jonell Jaime Photo: Courtesy of the Artist 38 / coloring page

© 2005 Javaka Steptoe I am powerful created exclusively for The Studio Museum in Harlem 40 / education and public programs Studio / Summer 05 41 / Studio / Summer 05 Edutainment Public Programs

To some, I might be dating myself When comparing the complexion model that focuses on redefi ning Adult Programs Books + Authors: Evenings hrlm: Spell It With Pictures Educator by referencing the term edutain- of today’s museum with the the museum as a hybrid space with Writers and Others Exploring The hrlm ment. To others, it may sound like role historically carved out for this where history and the contempo- The Studio Museum in Har- Exhibition Programs Title: How to Rent a Negro another sorry effort to coin a word. kind of institution, some ques- rary can set up camp alongside lem has a long tradition of Saturday October 1, 10am Author: damali ayo The Studio Museum in Har- But to those of us in the fi eld of tions beg for answers. Have theory and practice. By function- presenting programs that Wednesday, September 12, 7pm lem acknowledges that education, museums and/or com- museums been reduced to pro- ing as a “site for the dynamic address prevalent issues in Community Art Jam: teachers are the profession- munity organizing, this reference grammatic entertainment? exchange of ideas,”1 various con- contemporary art by artists Title: Einstein on Race Racism Harlem Week als at the center of education resonates because it has been the What would museums look like in stituencies are able to intersect of African descent. Through Authors: Fred Jerome and Saturday, August 20, 11am-3pm and have the most profound source of much dialogue at the absence of “edutainment”? with and within the museum to the Department of Education Rodger Taylor effects on the lives and museum and education confer- make the space more than a hold- and Public Programs, we offer a Wednesday, September 28, 7pm learning of their students. ences around the world. While the fi elds of community ing facility for objects. range of activities and programs Title: American Sublime The array of programs at SMH and k-12 education seem to have that engage a diverse cross Youth Programs Authors: Elizabeth Alexander designed for educators refl ects Over the last decade, many muse- embraced this approach to learn- All things considered, if “edutain- section of artists of various disci- The Studio Museum is dedi- Wednesday, October 5, 7pm the Museum’s commitment to ums have taken steps to become ing, museums that experiment ment” translates into an engag- plines, writers, scholars and cated to creating a safe envi- reaching beyond the traditional Sandra D. Jackson increasingly more audience-cen- with new ways to make content ing, vital and exciting environ- critics who share diverse per- ronment for youth to express Director of Education and Public Programs Happenings with Artists classroom and museum visit by tered spaces, giving rise to interac- relevant and meaningful have ment, then employing this peda- spectives with our audiences. themselves creatively. The Tuesday, September 27, 7pm responding to the increasing tive public programs ranging from often been heavily criticized and The early 1990s witnessed gogy is well worth the criticism! museum hosts free programs demand for quality arts educa- attention-grabbing family activities even accused of dumbing down. Sunday Salon for high school students outside the release of the classic 1 The Studio Museum in Harlem mission, 2005. The Artist’s Voice tion from an interdisciplinary like Family Fun @ the Studio, And as a result, the state of Sunday, October 16, 3-5pm of the school environment. hip-hop record aptly entitled Marc André Robinson, perspective. complete with appearances by museums in the 21st century is Education and Public Programs are funded These programs offer students Edutainment, by KRS-One Michael Queenland, familiar cartoon characters, to wrought with contradiction. The in part, by: The New York State Council on Architectural Walking Tours the opportunity to meet and and Boogie Down Produc- the Arts, a state agency, The Peter Jay Sharp William Cordova Open House For School social parties like SMH’s own territorialized exclusionary prac- Saturday, September 10, 11am converse with prominent visual tions (BDP). Arguably the last Foundation, Nimoy Foundation, Gwendo- 2004-2005 Artists-in-Residence and Community Educators Uptown Fridays! music, cocktails, tices on which museums have lyn Knight Lawrence, Elaine Dannheisser Saturday, September 17, 11am artists, express their ideas great album by one of hip hop’s Thursday, September 29, 7pm and Administrators / culture, which was designed as a traditionally been built is in direct Foundation, MetLife Foundation, the National through discussion, facilitate earliest socially conscious rap- Endowment for the Arts, Wachovia Founda- Educator’s Night Out! An point of entry for young profession- confl ict with modern technology Senior Soiree pers, Edutainment was nothing tion, Citigroup Foundation, The Center for Arts tours and hands-on workshops Evening of Wine and Culture als and goers. Semi- and, in most cases, the contem- Education, Helena Rubinstein Foundation, Thursday, August 4, 7-10pm short of what the title inferred— and develop important commu- Tuesday, September 13, nars, including Contemporary porary patron. Slowly and Morgan Stanley, Jerome Foundation, ARTS Family Programs nication and critical thinking education and entertainment Intern, The Renate, Hans & Maria Hofmann 4-6:30pm Issues in Context, at The Studio progressively, this sturdy historic Uptown Fridays! Music, combined as a strategy to meet Trust, Rush Philanthropic Arts Foundation, The Studio Museum in Har- skills. Pre-registration is required. Museum often meld popular cul- framework is withering in the glare May and Samuel Rudin Family Foundation, Cocktails & Culture the public where they were intel- lem acknowledges the need Call 212.864.4500 x264 with Teaching & Learning Work- ture and traditional art history in an of a fl ourishing model that is Dedalus Foundation and public funds from the Friday, September 16, 7-11pm lectually, politically and socially. for families to spend time questions or to register. shops for K-12 Educators / New York State Offi ce of Parks, Recreation Friday, October 14, 7-11pm effort to contemporize subjects at once unexpectedly interesting & Historic Preservation made available by the together. Nurturing bonds Say What?: Making Sense while simultaneously nurturing a and surprisingly relevant. Many offi ce of Assemblyman Keith L. Wright between parents and their chil- Artlooks: A Day in of Contemporary Art new cultural consumer. museums are embracing a new Inside/Out Gallery Tour dren through art, the Museum The Life of an Artist Monday, October 3, Chelsea Galleries offers programs and activities 2004-2006 Jacob and 4:30-7:30pm Vital Expressions in American Art: Performance at SMH Saturday, September 10, 10am that allow families to share in the Gwendolyn Lawrence Gift Craig Harris and friends performing Souls creative process. Bring the family Portfolio Review Day within the Veil, June 10, 2005 Tours for Seniors! and explore our exciting exhibi- For High School Students! Saturday, August 6, 2pm tions. Become an artist in a Saturday, September 17, Saturday, September 3, 2pm hands-on workshop and create 12-3pm Saturday, October 1, 2pm works of art with your kids! Family programs are designed Hands On: Hoofers’ House for families with children 4 to Photography Polaroid And Emulsion Transfers Friday, July 29, 7pm 10 years old. These programs Weekend Intensive Work- Host: Ayodele Cassel are FREE. Pre-registration is required. Call 212.864.4500 shops for HS Students Friday, August 19, 7pm x264 to register. Saturday and Sunday, October Host: Jason Bernard 15-16, 10am-1pm Friday, September 23, 7pm Fun on Film! Words In Motion Host: Rashida Bumbray Exploring the Expanding The Walls Exhibition, Wednesday and Friday, September 14-30, 4:30-6:30pm Vital Expressions in Reclaiming Beautiful American Art: Saturday August 6, 10am Words In Motion Open Mic Performance @ SMH Friday, September 30, 6-8pm Friday, September 9, 7pm Function Junction! Exploring The 2004-2005 Artists-in-Residence Exhibition, Scratch Saturday September 3, 10am

(top) Photo: Robert Hale; (below) Photo: Ray Llanos 42 / artist-in-residence 2004-2005 Studio / Summer 05 43 / harlem: where we’re at Studio / Summer 05

William Cordova Memories of Underdevelopment (detail) / 2005 44 / harlem: where we’re at Studio / Summer 05 45 /

A Day In Harlem (212-987-2260). I love this you might be able to get the selection of conga drums in all modern artifacts even included boricua (Puerto Rican) cooking I decided to pick up a couple. Staff Picks place; it serves delicious price down a bit more. colors and sizes. You can even mirrors to bathtubs. I started to in El Barrio. Eat, enjoy Latin They make perfect birthday The fi rst stop was 1515 Park Ave., vegetarian meals and juice— sign up to take conga lesson. feel a bit hungry so I tore myself music and have a rum and coke, presents, but I’m not sure I’ll Carmelo Cruz where I walked into The Spanish all of which I recommend if you Being in Harlem you are always away to fi nd a place to eat. but leave room for fl an. be able to give them away. Senior Bookkeeper/ Payroll American Restaurant and are a vegetarian or just want exposed to a wide variety of Along the way I spoted a store enjoyed a great cup of coffee and to feel healthy. I must compli- music, from hip-hop to jazz to called The Demolition Depot, For dinner I had to go to La Before leaving Harlem I stopped a hot bowl of oatmeal and eggs ment their friendly staff as well. reggae to African rhythms. El 216 E. 125th St. It looked so Fonda Boricua, 169 E. 106th at the Scarf Lady at 408 for less than $5. A great way to Rinco Musical, 1936 3rd Ave. interesting I walked in and found St. (212-410-7292). which is Lenox Ave. (212-862-7369). start the day. Walking down the street I also (212-828-8604), offers a unique myself among a collection of famous for their Puerto Rican The Scarf Lady has original came across a couple of street selection of musical instruments home-décor treasures, everything meals, just like my grandmother scarves and enough variety that My next stop as I walked up vendors. You can purchase books, and accessories, from a single you could want to make your used to cook. From rice and you can fi nd that perfect scarf 125th Street was the Uptown CDs, oils and soap at a bargain guitar string to an entire drum living space unique and vibrant. beans to steak and seafood, you or accessory, no matter how Juice Bar on 54 W. 125th St. prices. And if you haggle a little, set. They also have a large The eclectic antiques and post- are going to taste the best unique your personal style is.

StudioSound: DJ Scientifi c Power, Art and Mosaics to the People!!! By John T. Reddick

1. What are your top fi ve greatest records of all time? Who’s buried in Grant’s Tomb? The answer’s pretty obvious! Ask what’s behind Grant’s Tomb, though, and it’s It’s impossible for me to say what my fi ve greatest records are simply because there is too much I’m infl uenced by. In every a mystery to most. For the curious among you, I encourage a trip to Riverside Drive and 122nd Street. Just slip past the genre of music I listen to there are at least 10 top albums, so to make it easy I’ll deal with hip hop, because I started out as tomb’s entry stairs to the shady plaza behind it and you’ll come upon a delightful surprise. Wrapping the plaza’s perimeter an MC/DJ. First I have to say Public Enemy’s Takes a Nation of Millions to Hold Us Back; it had progressive cutting edge walls like an extended Chinese dragon is a 400-foot long serpentine bench covered in colorful mosaic images ranging from production with progressive lyrics. Secondly Ice Cube’s Amerikkka’s Most Wanted, The Bomb Squad and Ice Cube what a fl owers and serpents to General Grant and Smokey the Bear. great combination! Too Short’s Born To Mack showed me local talent can be big too. EPMD’s Strictly Business, that group Executed as a project of CITYarts, the benches were commissioned in 1972 by the National Park Service to commemorate single-handedly made me want to produce music. Rizing Sun Production’s Rule Self Power my groups second album but the centennial of Grant’s signing of the legislation designating Yellowstone as the world’s fi rst national park. Construction fi rst major accoplishment, confi rmed that we can do this. continued over three summers under the design direction of artist Pedro Silva, working with artists Nelson Mercardo, 2. What is your all-time favorite vinyl record or album cover art? Warren Fox and Alan Okada, and ably assisted by hundreds of community participants. Silva, a teacher in Harlem’s 1960s Hmm, I really don’t know. As a child I loved alot of the Parliment and Funkadelic album covers. HARYOU-ACT Art program, which fostered community self-help and included artists Norman Lewis and John Steptoe, saw the park site and its mosaic project as an opportunity for community empowerment through art. 3. What other artistic practices function as inspiration for you? I write rhymes and freestyle in my spare time. Before I was a DJ I was an MC in the politacally charged group Rizing Sun Reminiscent of Spanish architect Antonio Gaudi’s work, the benches also represent a unique architectural manifestation of 1970s Productions. I was also really into video editing/production. rebellion and confrontation, with their vivid contrast in form and color to the tomb’s neoclassical architecture. With each mosaic image, one can sense the hand of neighborhood “folks” and the empowering energy those 1970s summers must have offered.

DJ Scientifi c (Chris Davis) is an engineer and turntablist who creatively integrates electronic software and live instrumentation in his musi- John T. Reddick works on architectural preservation, planning and public art in New York City. He serves on Community Board #9 in cal productions. Scientifi c has been commissioned with Daniel Bernard Roumain (DBR) to compose a sound installation for the lobby of The Manhattan and is the Director of the Conservancy’s Cityscape Program. Studio Museum.This aural experience can be heard throughout the exhibition season.

Photo: John Walden Photo: John Reddick 46 / harlem: where we’re at Studio / Summer 05 47 / Studio / Summer 05

Photos: Ray Llanos 48 / harlem: where we’re at Studio / Summer 05 49 / shop! Studio / Summer 05 Museum Store Required Reading: Hilton Als The titles on your bookshelves say more about you than just what books you’ve read. In

When The New Yorker staff writer Jervis Anderson died in 2000 his memorial was held in Harlem. This was some ways, they describe who you are–what is most important and relevant to you in this fi tting, as the author of studies on A. Philip Randolph and Bayard Rustin (as well as a too long neglected book world. While each person’s book collection is distinct and personal, we’ve assembled here on gun control in America) found his masterwork in the place. This Was Harlem, published in 1982—the book a diverse, beautiful and handy mix of books available in the Studio Museum Store that you grew out of a series of pieces for The New Yorker—remains one of the most comprehensive examinations we can either add to your bookshelf or use to start one. have of the complex “village” that continues to foster dreams and a great many realities, especially when it comes to the idea of community and citizenship. The following excerpt from Anderson’s masterwork is from Cook Books a section called “The Promised Land.” One wonders what Anderson would make of today’s multi-racial Har- lem, given his examination of the reverse emigration he describes here.

Hilton Als is a staff writer for The New Yorker.

By 1930, most of Harlem’s white population had fl ed, and blacks inhabited virtually the Spoonbread & Strawberry entire district. “The old Harlem was dead,” a former white resident lamented in the mid- Wine : 25th Anniversary Edition twenties. “I lived there all my life until not long ago, when I was squeezed out by the By Norma Jean Darden Grace the Table: Stories Essence Brings You Great B. Smith’s: Entertaining Sylvia’s Family Soul Food and Carole Darden and Recipes from My Cooking and Cooking for Friends By Sylvia Woods and fam- Item# 1571 Negro population invading the old section. All the Gemütlichkeit of it is gone. Gone are Southern Revival By By Jonell Nash Hallelujah! By Barbara Smith ily with Melissa Clark Price: $18.95 Alexander Smalls Item# 4002 The Welcome Table Item# 722 Item# 4004 Members: $16.11 the comfortable Weinstuben where one could smoke his pipe and peacefully drink his Item# 130 Price: $29.95 By Maya Angelou Price: $18.95 Price: $26.95 Price: $17.95 Members: $25.46 Item# 4077 Members: $16.11 Members: $ 22.91 Member: $15.95 Price: $29.95 glass of rhine wine. Gone is the old Liedertafel and the hundred-and-one social organi- Members: $25.46 zations, and the Turnvereine and the singing clubs where one could pass the evening Children’s Books peacefully. They have all moved elswhere, and the new places do not have the atmo- sphere of the old ones.... It used to be so pleasant to pass a Harlem street on a summer evening. The young ladies were accompanying their Leider with the twanging of the soft zither, and the stirring robust melodies from the Lutheran churches used to fi ll the air on a Sunday. It is all gone now”.... As the community became predominately black, the very word “Harlem” seemed to lose its old meaning. At times, it was easy to forget that “Harlem” was originally the Dutch name “Haarlem”; that the community it described Celia Cruz, Queen of Salsa Come Look With Me The Big Box had been founded by people from Holland; and that for most of its three centuries—it By Veronica Chambers By James Haywood Rolling, Jr. By Toni Morrison, Item# 4214 Item# 4057 Slade Morrison Price: $15.99 Price: $15.95 Item# 2620 Be Boy Buzz was fi rst settled in the sixteen-hundreds—it had been occupied by white New Yorkers. The Neighborhood Mother Members: $13.59 Members: $13.56 Price: $19.99 By Bell Hooks Goose Members: $18.41 Item# 2615 “Harlem” became synonymous with black life and black style in Manhattan. Blacks liv- By Nina Crews Price: $16.99 Item# 4007 Members: $15.65 Price: $15.99 ing there used the word as though they had coined it themselves—not only to designate Members: $13.59 their area of residence but to express their sense of the various qualities of its life and atmosphere. Black Beauty Books

Excerpt from Jervis Anderson, This Was Harlem. Farrar, Straus, Giroux: New York, 1982, pp. 59-60

Elder Grace By Maya Angelou, Chester Intimate: Nudes by Marc Higgins Baptiste I am Iman Diana Ross: Going Back Midnight Item# 1278 By Marc Baptiste By Iman By Diana Ross Photographs by Arlene Gottfried Price: $ 40.00 Item# 3593 Item# 2362 Item# 3632 Item# 4100 Members $ 36.85 Price: $ 45.00 Price: $45.00 Price: $ 39.95 Price: $45.00 Members: $ 41.45 Members: $41.45 Members: $ 36.80 Members: $41.45 50 / benefi t Studio / Summer 05 Spring/Summer 2005 Donors Yes! I want to be a member of

Special Thanks Dedalus Foundation The Studio Museum in Harlem for: 2005 Spring Benefi t The Studio Museum in Harlem halle harrisburg and Michael thanks the following funders for Rosenfeld their generous support during May and Samuel Rudi Family 1 year renewal gift the last quarter. Foundation (Gifts of $1,000 and above only). Norman and Rosita Winston Foundation $50,000 and above NAME OF MEMBERSHIP HOLDER The Peter Jay Sharp $9,999 to 5,000 Foundation 2004/2005 Gayle Perkins Atkins and NAME OF ADDITIONAL MEMBER (FAMILY/PARTNER LEVEL MEMBERS AND ABOVE) Exhibition Fund Charles N. Atkins Nimoy Foundation American Express Company ADDRESS Pierre and Maria-Gaetana $49,999 to 25,000 Matisse Foundation CITY STATE ZIP Ehrenkrantz Family Foundation Lord & Taylor The Scherman Foundation WORK PHONE HOME PHONE $4,999 to 1,000 $24,999 to 10,000 Nancy L. Lane EMAIL ADDRESS Altria Group, Inc. Rodney M. Miller, Sr. Credit Suisse First Boston Please do not make my name, address and other information available to third party providers.

Development News Special Membership Groups Director’s Circle $2,500 Curator’s Circle $1,500 The Studio Museum in Harlem Gwendolyn Knight Photos: Ray Llanos has received two new major Lawrence Fund grants for its Artists-in-Resi- A fund has been established at The 2005 Contemporary Friends Benefi t outdid itself this year! Benefi t Steering Committee: Lybra Clemons, Marla Guess, Lea K. Contemporary Friends dence (A-I-R) program. The The Studio Museum in Harlem $60,000 was raised in support of education and public programs Green, Shannon J. Hales, Kelli Lane, Joycelyn McGeachy Kuls, Nimoy Foundation will provide for gifts in memory of Gwen- Couple $300 Individual $200 for the Museum. Ruthard C. Murphy, Robert A. Smith, Calum Stephenson, Keisha $50,000 for the program dur- dolyn Knight Lawrence. Please Sutton-James, Sharon A. Thompson The Benefi t buzz started early when fashion designer Tracy Reese and ing the coming year. Susan Bay send contributions to Cheryl the illustrious actor Hill Harper agreed to serve as Honorary Chairs Host Committee: Paul Ashley and David Hatcher, Sydne Bolden, A. Nimoy and her husband, actor/ Aldridge, Director, Develop- General Membership Groups and Fendi and Mercedes came on as sponsors for the event. Christiaan Burke, Marsha and Len Burnett, Nicole King Burroughs director/producer/photographer ment, The Studio Museum in and Jeffrey Burroughs, Garfi eld Clunie, CRG Gallery, Todd Dumas, Leonard Nimoy established their Harlem, 144 West 125th St., Benefactor $1,000 Family/Partner $75 The turnout was fabulous! Guests tore up the dance fl oor and lounged Frances Ferguson, Anthony K. Frempong-Boadu, Barbara Gladstone foundation in 2003 “to recognize, New York, NY 10027. Make Donor $500 Individual $50 in an atmosphere of beds custom designed by Museum supporters Gallery, Godfrey Gill, David Alan Grier, Stacy Haase, Steven P. Henry, encourage, and support the checks payable to The Studio Associate $250 Student $20 and artists Iké Udé, Peter Som, Kira Lynn Harris, Ron Norsworthy, Stacie J, Jayson Jackson, Mark E. Johnson, Persaud Brothers, Pam work of contemporary visual and Museum in Harlem and indicate Supporter $100 Sheila Bridges Design in collaboration with The Andrew Morgan Pickens, Shea Owens, Myiti Sengstacke, Jack Shainman Gallery, performing artists.” The Museum that it is for the Gwendolyn Collection, Henry Jackson, Carlos Mota and Stacy Haase at BED Carol Shuster, Cheryl and Jameel Spencer, David Watkins, Yvonna is honored to have received the Knight Lawrence Fund. New York. and Brett Wright largest grant awarded this year. Payment Method Their support, coupled with that of this year’s Benefi t Co-Chairs, Host Bed Contributors: A. Christiaan Burke, Anthony K. Frempong-Boadu, A second grant, from the Committee and a very devoted Benefi t Steering Committee set the I have enclosed my check Hughes Hubbard & Reed LLP and NY Life, The Anonymous II Elaine Dannheisser tone for the Contemporary Friends greatest success yet. (make check payable to The Studio Museum in Harlem) Special Thanks to: W Hotels, Saatchi & Saatchi, Katrina Parris Foundation, for $25,000, Many thanks to: Benefi t Co-Chairs Corey Baylor and Racquel Chevremont Please bill my Flowers, Uptown Magazine, Bliss, Mizani/A Division of L’Oreal USA, was received in January. Mrs. Baylor; Marsha K. Guess, MD; Idris Mignott; Holly L. Phillips, MD, and Crystal Light and Nu America Agency Dannheisser began collecting American Express MasterCard Visa Jose L. Tavarez; and Dr. Ian Smith. with her husband Werner in As of July 1, 2005, our sponsors include Uptown Magazine, Mercedes Benz, Fendi, Katrina the 1950s, focusing on such Parris Flowers and W Hotel. artists as Picasso, Leger and NAME OF CARDHOLDER For information about joining Contemporary Friends, please contact us at 212.864.4500 Roualt. By the mid-1980s, x221 or [email protected]. however, she found herself ADDRESS increasingly drawn to what she w no called “tough” art, becoming o k ns, st t itio CITY STATE ZIP e fi r hib among the fi rst to purchase the th ex and Be ew ts in What has been your favor- Being surrounded by the attend the Museum’s work of then-emerging artists t n ven um ou l e se ibe WORK PHONE HOME PHONE ab cia u scr ite work of art on view at beautiful works of art. I’m openings and programs. Jeff Koons, Felix Gonzalez-Tor- pe io M ub t s ud . S es a St ws tic g the Museum? an artist, so I am inspired You’re bound to meet res and Matthew Barney. The he ne o .or T m ail n um CARD NUMBER EXP. DATE David Hammons’ African- and appreciate the arts someone spectacular. arle -m use Museum’s A-I-R program is a H ee e m American Flag that hangs r fr dio environment. fo .stu strong vehicle for her legacy. w SIGNATURE Joseph Centeno on the Museum’s façade. ww What ‘tip’ can you give What is most interest- every visitor that comes to Thank you for your support and welcome to The Studio ing about working in a the Museum? Museum? Become a member and Museum in Harlem! The Studio Museum in Harlem offers the best way to explore Black culture and the latest trends in contemporary art! GeneralFrom the DirectorSpecial Visitor Museum HoursStudioSMH / Boa Summerrd of05 Membership Membership Groups Wednesday–TruFriday,stee 12s –6pm Members of the Director’s Circle Information Saturday, 10amRaymond–6pm J. McGuire Individual $50 and Curator’s Circle are the high- Sunday, 12–6pmChairman (Fully tax deductible) est level of Individual membership Address The Museum is closedCarol on Sutton Monday, Lewis • Free admission to SMH for one. and the starting point for people 144 West 125th Street Tuesday and majorVice-Chair holidays. • 5% discount on all Museum Store with increased interest in access New York, New York Reginald Van Lee to artists and the art world. These purchases. 10027(between Malcolm Admission Treasurer • Members’ only discount shopping exclusive membership groups have Gayle Perkins Atkins days. been instrumental in contributing X and Adam C. Powell, Jr. Suggested donation: Kathryn C. Chenault • Members’ discount on select to the success of SMH and pro- Blvds.) $7 (adults), $3 (seniors and Paula R. Collins education and public programs. vide vital support for the Museum’s students). Free for members Gordon J. Davis • Invitations to opening reception of exhibitions and programs. General Info and children (12 and under). exhibitions. which is a big, sprawling, some- phone:I’d also 212.864.4500 like to take this opportunity Anne B. Ehrenkranz Director’s Circle $2,500 1st Saturdays are FREE! • New! Discounts at select Harlem what inconclusive survey of recent to personally thank Lowery Stokes Susan Fales-Hill ($2,135 tax deductible) fax: 212.864.4800 restaurants. African art. I say inconclusive be- Sims, our new President, for Dr. Henry Louis Gates, Jr. • Visits to private collectors’ homes www.studiomuseum.org cause we often expect exhibitions creating this exciting environment Sandra Grymes Family/Partner $75 and/or viewings of their collections. Media Contact to start and fi nish an idea. But and for her enormous contribu- Joyce Haupt (Fully tax deductible) • Behind-the-scenes tours and talks often the best exhibitions are those212.864.4500 tions over the x213 past fi ve years. Arthur J. Humphrey,Jr. All the preceding benefi ts, plus: with art connoisseurs and curators. that are open-ended and allow [email protected] During her tenure as Director, the George L. Knox • Free admission for two adults at • Annual dinner with SMH Executive Nancy L. Lane the sameMany address of you and are children used to hearingDirector. many interpretations, those that Museum grew and blossomed, Public Programs Info Dr. Michael L. Lomax underfrom eighteen me yearsas a curatorof age. for the Studio• Advanced extend announcement possibilities of for different and I was able to create some of Museum. I’m thrilled to addressspecial travelresolutions programs to organized an idea and provide212.864.4500 the most exciting x264 shows of my Tracy Maitland Supporteryou for $100 the fi rst time in my newby SMH.us with a deeper understanding career. Although her title and role Rodney M. Miller ($70 roletax deductible) as Director and Chief Curator.• Invitations of tothat unique idea. events I say for this as we intro- are changing, you will surely see Eileen Harris Norton All theThis preceding summer, bene I’mfi ts, pleased plus: to Director’duces Circle hrlm only., a new series of proj- her imprint around this museum Corine Pettey • One complimentarybegin my tenure ticket with to an Scratch ,Curator’sects Circle and $1,500 exhibitions that begin our Directionsfor many years to come. David A. Ross education or public program. ($1,285ongoing tax deductible) investigation into Harlem: Charles A. Shorter, Jr. subway: Associate $250 • A visit towhere private wecollector’re at!’s Also home on view is our And don’t worry, I will continue Ann Tenenbaum ($200 tax deductible) and/or tour.annual Expanding the Walls student to offer you my completely biased, John T. Thompson A C B D Joyce A. Wein All the preceding benefi ts, plus: • Behind-the-scenesexhibition, tours Reclaiming and talks Beautiful. entirely opinionated hot picks in • Special SMH gift. with art connoisseurs and curators. 2 Elsewhere3 4 5 (pg.6 12). This fall, look Michael Winston • Annual dinner with SMH Chief • Free admission for one guest when to 125forward Street. to Frequency, a reprise Karen A. Phillips accompanied by an SMH member. Curator. of our groundbreaking 2001 ex-offi cio • Advanced announcement of bus:exhibition Freestyle. Hon. Kate D. Levin Donor $500 special travel programs organized M-2, M-7, M-10, M-100, M-102, or BX-15. ex-offi cio ($425 tax deductible) by SMH. All the preceding benefi ts, plus: Parking is available at the Municipal Garage at 126th St the 2004-05 Artists-in-ResidenceContemporary Friends • One complimentary copy of an between Malcolm X and Adam C. Powell, Jr. Blvds.Studio SMHexhibition. catalogue. The residency program(ages 21–40) Contemporary • Four guestis so passescentral for to friends the Museum ’s Friends is a dynamic membership Ali Evans 126 ST and families.mission and holds such an impor-group of young professionals who Editor-in-chief contribute to many new and exciting • Annualtant invitation place to in a it behind-the-’s history. And in These young artists, with the A Samir S. Patel initiatives at SMH. The Contempo- 2 4 scenesthe tour legacy of an SMH of our exhibition support for artists vibrancy and maturity of practitio- S Copy editor t

rary Friends represent the future in N C 3 125 ST 5 led by a Museum Curator. i of African descent, we enthusiasti- ners twice their age, take on the big c Kristia Moises charitable giving at the Museum. h o B l 6 cally present the beautifully issue of beauty and its role in their a Editorial assistant Members host an annual spring ben- s Benefactor $1,000 5 Ave A accomplished work of William lives and the world around them. See youv D around, and defi nitely Design ($835 tax deductible) efi t to raise funds to support SMH’s e Park Ave 2x4, New York Cordova, Michael Queenlandeducation and public programs. In Convent Ave uptown... All the preceding benefi ts, plus: Madison Ave

• Specialand invitations Marc André to Benefactors Robinson . return forI theirwant support, to thank Contem- all of the supporters Malcolm X Blvd Printing behind-the-scenes tour of SMH porary Friendsof our receive Artists-in-Residence Individual and Cosmos exhibitions led by the show’s curator. membersExpanding benefi ts, plus: the Walls programs: Communications, Inc. • One complimentary catalogue • DiscountNimoy tickets Foundation;to Contemporary The Peter from a major SMH exhibition. Friends SpringJay Sharp Bene fiFoundation; t Elaine Adam Clayton Powell Jr. Blvd Studio is published three times • Two complimentary tickets to an • Guided galleriesDannheisser tours Foundation; National a year by The Studio Museum education or public program. • An exclusive program of activities Frederick Douglass Blvd in Harlem, 144 West 125th St., Endowment for the Arts; New York 120 NewST York, NY 10027. Copy- • Free admission for two guests and special events. State Council on the Arts, a state right © 2005 Studio Magazine. when accompanied by an • Behind-the-scenes tours of SMH agency; The Greenwall Founda- All material is compiled from SMH member. exhibitions. sources believed to be reliable, tion; Helena Rubinstein Founda- but published without respon- Student $20 Individualtion; $200 Jerome Foundation; Dedalus sibility for errors or omissions. (Fully Thistax deductible) past spring, I went to Paris($175 taxFoundation; deductible) and two anonymous Studio assumes no responsibil- A copy of valid student ID must ity for unsolicited manuscripts or for the opening of Africa RemixCouple/Partner: donors in$300 honor of Rev. Frederick In the Playlist section of the Spring 2005 issue of Studio, the names of two artists in be submitted with membership photographs. All rights, includ- Contemporary Art of a Continent($250, tax& deductible)Mrs. Eikerenkoetter. the “Chris Ofi li Playlist” were misspelled. Obviously, “Talib Qualiing” translation should have into read other lan- application of renewal. (For two people at the same “Talib Qweli” and “Erika Badu” should have read “Erykah Badu.guages,” In the reserved Elsewhere by the pub- • Free admission to SMH for one. address) section of the same issue, the name of artist “Issac Julien” waslisher. misspelled. Nothing It in should this publication • 15% discount on all Museum have read “Isaac Julien.” And in the Check Out section of the samemay be issue, reproduced the image without the Store purchases. Matching Gifts of was wrongly credited as “Alma Thomas Spacepermission / 1966, Collection of the publisher. of • Members’ only discount Do you work for a company that The Studio Museum in Harlem, Museum / Purchase and gift fromPlease E. Thomas email comments Williams to [email protected]. shopping days. has a matching gift program? If so, and Audlyn Higgins Williams/ 97.9.19.” The image should have been credited as “Alma Thomas Splash Down Apollo 13 / 1970, Courtesy of Michael Rosenfeld Gallery.” • Members’ discount on select you can increase your gift to The education and public programs. Studio Museum by simply request- • InvitationsOperation to opening of the Studio reception Museum in Harleming is a matchingThe Scherman gift program Foundation, form Inc., Goldman, of exhibitions.supported with public funds provided by Thefrom New your Sachs employer. & Co., Credit Suisse First Boston, The Studio is published three times a year by The Studio Museum in Harlem, 144 West York City Department of Cultural Affairs; the New York Times Company Foundation, American125th St.,NATIONAL New York, NY 10027. Copyright © 2005 Studio Magazine. All material is For gifts of stock or other contribu- ENDOWMENT New York State Council on the Arts, a state Express Company, Altria Group Inc., Pfi zer, Inc.,compiled FOR from THE ARTS sources believed to be reliable, but published without responsibility agency; and the New York State Offi ce of Parks,tions, pleaseThe Norman call the and Development Rosita Winston Foundation, for errors or omissions. Studio assumes no responsibility for unsolicited manuscripts Recreation & Historic Preservation throughof thefi ce at Inc.,212.864.4500 The Cowles Charitable x223. Trust, The Moody’s or photographs. All rights, including translation into other languages, are reserved by offi ce of Sen. David A. Paterson. Major funding is Foundation, Pierre and Maria-Gaetana Matisse the publisher. Nothing in this publication may be reproduced withoutThelma’ sthe photo: permission Timothy also provided by The Peter Jay Sharp Foundation Foundation, Lord & Taylor, and The Young & of the publisher. Greenfi eld-Sanders and The Carnegie Corporation of New York, with Rubicam Foundation.

additional support from The Horace W. Goldsmith Cover image: Chato Hill / Harlem Week, 1931 Team, Dance Tap print silver gelatin Vintage VanDerZee Mussenden Donna Courtesy Foundation, JPMorgan Chase, LEF Foundation, Father and Son / 2005

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Summer 2005

The Studio Museum in Harlem Magazine / Summer 2005