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The Studio in Magazine

The Magazine Summer/Fall 2011 Summer/Fall 2011 STUDIO MAGAZINE BOARD OF TRUSTEES This issue of Studio is underwritten, in part, Editor-in-Chief Raymond J. McGuire, Chairman with support from Bloomberg Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Creative Director Rodney M. Miller, Treasurer The Studio Museum in Harlem is supported, The Studio Museum in Harlem Magazine Summer 2011 The Studio Museum in Harlem Magazine Summer 2011 in part, with public funds provided by the Teri Trotter, Secretary Managing Editor following government agencies and elected representatives: Allison Channing Jones Jacqueline L. Bradley Valentino D. Carlotti Associate Editor The City Department of Cultural Kathryn C. Chenault Dominic Hackley Affairs; Assemblyman Keith L. T. Wright, Joan Davidson 70th A.D.; New York State Council on the Editor-at-Large Gordon J. Davis Arts, a state agency; National Endowment Lea K. Green Reginald E. Davis for the Arts; The City of New York; Council Susan Fales-Hill Member Inez E. Dickens, 9th C.D. and Contributing Editors Dr. Henry Louis Gates, Jr. Speaker Christine Quinn and the New York Lauren Haynes, Thomas J. Lax Sandra Grymes City Council. Copy Editor Joyce K. Haupt The Studio Museum in Harlem is deeply Samir Patel Arthur J. Humphrey, Jr. George L. Knox grateful to the following institutional donors Design Nancy L. Lane for their leadership support: Pentagram Dr. Michael L. Lomax Bloomberg Tracy Maitland Printing Bloomberg Philanthropies Dr. Amelia Ogunlesi Finlay Printing Doris Duke Charitable Foundation Corine Pettey finlay.com Ford Foundation Ann Tenenbaum Goethe-Institut New York Original Design Concept John T. Thompson The Horace W. Goldsmith Foundation 2X4, Inc. Reginald Van Lee The Leona M. and Harry B. Helmsley Studio is published two times a year by Hon. Kate D. Levin, ex-officio Charitable Trust The Studio Museum in Harlem, Lambent Foundation Fund of Karen A. Phillips, ex-officio 144 W. 125th St., New York, NY 10027. Tides Foundation Pierre and Tana Matisse Foundation 1 2 Copyright ©2011 Studio Magazine. The Andrew W. Mellon Foundation Frank Stewart, Emma Amos , c. 1979 Seated Figure and Nude, 1966 MetLife Foundation All rights, including translation into other Courtesy the artist Photo: Becket Logan The David Rockefeller Fund languages, are reserved by the publisher. Courtesy the artist Target © Emma Amos/Licensed Nothing in this publication may be Upper Empowerment Zone by VAGA, New York, NY reproduced without the permission of Development Corporation the publisher. Joyce and George Wein Foundation Wells Fargo The Winston Foundation

Each issue of Studio is released with two covers and this season, we’re honored to feature an incredible portrait of Romare Bearden by Frank Stewart and a painting by Emma Amos, icon. Letter From the Director

Old and new. Contemporary and modern. Reconsidering the past and creating the future. In my work at the Studio Museum, I am by nature and necessity constantly looking ahead, but I am always conscious of the past. This, the second half of 2011, is an especially exciting time for me. The past and future are happily colliding in the Museum’s galleries, beginning with our summer 2011 exhibitions. Spiral: Perspectives on African-American Art Collective, an unprecedented and intimate look into a unique collective of 20th-century modern masters, brings to view a moment essential in the founding genealogy of The Studio Museum; while our annual Artists-in- Residence exhibition affords us an opportunity to explore in depth the latest iteration of the Studio Museum’s founding principle: support for emerging artists of African descent.

At the same time our acclaimed Expanding the Walls program, now in its 11th year, presents the work of its latest high school participants—the Photo: Timothy Greenfield-Sanders next generation of influential artists—alongside select works by James VanDerZee, the iconic Harlem photographer they have studied and taken as inspiration. Their work complements the exhibition : Self/Portrait; Harris, like VanDerZee, uses photography to document and interpret his community.

We continue intergenerational dialogue with our fall 2011 exhibitions, notably our tribute to Romare Bearden—the 100th anniversary of whose birth we celebrate on September 2, 2011—who we will celebrate through a new exhibition engaging some of the most exceptional contemporary artists working today with collage, the medium Bearden pioneered during his Spiral days. In addition, we feature this fall the second iteration of VideoStudio: Playback, an ongoing investigation into pioneering video and performance art from the 1970s and 80s.

As always, we are thrilled to feature in Studio diverse perspectives from our multitalented staff and guest contributors, including studio visits, book excerpts, a recap of our 2010-11 partnership with the Goethe-Institut and an overview of Studio Lab, our new program embracing ideas in formation.

As always, we want to hear from you about our exhibitions, programs and plans for the future. Check out page 26 for my Q&A engaging @studiomuseum’s more than 5,400 Twitter followers, and join the conversation: follow us on Twitter, “like” us on Facebook, explore studiomuseum.org, but most of all, come by for a visit.

I’ll see you around and definitely uptown!

Thelma Golden Director and Chief Curator Summer/Fall 2011 2

Lyle Ashton Harris Untitled (Face #155 Lyle), 2000 Courtesy the artist and CRG Gallery, New York Museum Features

What’s Up: Exhibition Schedule 05 My Harlem: Cash for Gold 58 Collected. A Brief History of our 07 In the Studio with the 2010-11 AIRs 60 Permanent Collection Pacific Standard Time 64 Harlem: Red, Black and Green 10 A Legacy Continues: Celebrating 68 StudioSound: OJO 13 the Bearden Centennial AIR Playlist 14 Be With Me: The Revelatory Work 72 of Dean Moss Harlem Postcards: Spring 2011 16 OFF/SITE: Marc Brandenburg: Version 18 Public Program Highlights 19 Art Invades the Museum Store: 21 ’s Diorama for Empathic Life Studio Jr. Emma Amos: Spiral Icon 22 Studio Lab 24 Collage DIY 75 #AskThelma 26 Coloring Page 76 In Conversation: Lyle Ashton Harris 28 and Chuck Close Friends Beyond Luncheon 2011 79 Member Spotlight: 83 Critical (Re)Issue: 31 Cheryl Bruce “Ralph Ellison’s Romare Bearden” Facts and Figures 84 Elsewhere 33 Members 86 A Beautiful Thing 36 Supporters 90 Kellie Jones’s Eyeminded 38 Membership Info and Form 94 A. Naomi Jackson’s 39 Visitor Info 96 Star Side of Bird Hill If you like... 42 ’s Yourself in the World 44 Studio Visit: Angel Otero 46 Studio Visit: Maren and 47 Ava Hassinger Happy 80th, ! 49 For Whom the Bell Curves 50 Dispatch: CA 51 Remembering Edouard Glissant 55 Summer/Fall 2011 4 Museum Museum 5 What’s Up? Exhibition Schedule Summer/Fall 2011

Check studiomuseum.org for the latest on our exhibitions and programs

July 14 – October 23, 2011 Spiral: Perspectives on an

Hale Woodruff African-American Art Collective Africa and the Bull, c. 1958 Gift of E. Thomas Williams Evidence of Accumulation | 2010–11 Artists in and Audlyn Higgins Williams, New York Residence: Simone Leigh, Kamau Amu Patton, 87.5.3 Paul Mpagi Sepuya Lyle Ashton Harris: Self/Portrait as it is, as it could be: Expanding the Walls 2011 StudioSound: Kamau Amu Patton

November 10 – March 11, 2012 Romare Bearden Centennial VideoStudio: Playback II

Always On View Harlem Postcards Glenn Ligon: Give Us a Poem : Collected (Flamingo George) Summer/FallPublications 2011 6 Harlem: A Century In Images

Home to writers and revolutionaries, artists and musicians, Harlem has also long been a source of inspiration for countless photographers. Offering a sweeping survey of this distinctive landscape and those who have called it home, Harlem: A Century in Images looks through the lenses of some of the most important photographers as they documented this vibrant and bustling neighborhood.

Harlem has long been considered the crossroads of the artistic, literary, and political currents of the African-American community, and this book features nearly two hundred vibrant images that narrate its history throughout the twentieth century. Images ranging from children playing in the streets, people dancing in the historic clubs, and storefronts evolving over the years to politically charged protests and street art combine to give us a window into Harlem’s dynamic life.

Thoughtful contributions by leading scholars of African-American studies and art—Deborah Willis, Cheryl Finley, and Elizabeth Alexander—add insightful voices to accompany the images.

Published by Skira Rizzoli in association with The Studio Museum in Harlem

Price: $55.00 / Member: $46.75 / Item#: 2907 Museum 7 Collected. A Brief History of Our Permanent Collection

by Tasha Parker, Curatorial Fellow

1 The permanent collection of The Studio museum. However, the Museum’s Collected. Reflections on the Permanent Museum in Harlem is a fundamental commitment to the presentation and Collection (installa- element of our institutional identity preservation of diverse works by black tion view), 2010 Photo: Adam Reich and has permitted the Museum to act artists soon made a permanent collec- on its mission of supporting and pro- tion necessary. The Studio Museum moting the work of African-American Board of Trustees adopted an acquisi- artists and artists of African descent. tion policy in 1979. In 1986, the Museum While not an encyclopedic survey of received the Award of Merit from the black visual arts, the collection reflects Municipal Art Society of New York for the Studio Museum’s history and the establishing the premier collection initiative and commitment of trustees, of black art in the country. Two years collectors and artists who understood later, the Museum was the first dedi- the importance of having a collection cated to African-American visual arts to complement the Museum’s exhibi- to be accredited by the American tions and education programs. Association of . When The Studio Museum in Harlem Today, the collection includes opened in 1968 in a rented loft on Fifth works ranging from portraits by eigh- Avenue and , the new teenth-century painter Joshua and experimental institution was ini- Johnson (1763–1824) to multimedia tially conceived as a non-collecting installations from recent Artist-in-

1 Summer/Fall 2011 8

Collected. A Brief History of Our Permanent Collection

2 Residence exhibitions, demonstrating expansive yet strategic priorities within the history of black culture and inter- national art. Areas of focus within the collection include American art and Modernism; nineteenth-and twentieth- century African- and Latino-American art; and contemporary African-American, African and Caribbean art. Within these areas of focus, the collection prioritizes iconic moments in black cultural his- tory, including the and the Black Arts Movement, as well as work by artists who do not easily fit into historical or aesthetic categories. With the Artist-in-Residence pro- gram playing a central role in the 3 Museum’s founding and its continued success, acquisitions from former artists in residence account for a sig- nificant part of the permanent collec- tion. Each year, the current artists in residence have a show during the summer exhibition season, from which artworks are acquired. Like most recent additions to the permanent collection, a number of these works are acquired through the Museum’s Acquisition Committee, which was formed in 2001 to steer collecting practices and con- tinue to build the enduring legacy of the Museum’s collection for genera- tions to come. The committee meets three times a year. 2 3 Collected. Vignettes Collected. Black & In recent years, The Studio Museum (installation view), White (installation in Harlem has heightened its focus on 2011 view), 2010 Photo: Adam Reich Photo: Adam Reich the permanent collection, finding new ways to re-contextualize familiar art- works and introduce new acquisitions. In 2009, the Museum marked its first forty years by presenting Collected. Propositions on the Permanent Collection, the largest collection exhi- bition held at the Studio Museum to that date. Collected. took over the Museum 9 4

entire Museum, and included fourteen Other recent collection shows include 4 Melvin Edwards themed takes on the collection and ’s Harlem USA (fall 2010), Working Thought over two hundred artworks. Among a series of photographs the artist (from the “Lynch Fragment” series), the themes in the show were “By Hand: took in Harlem during the 1960s, and 1985 The Craft Tradition in Contemporary Sculpted, Cut and Etched: Metal Works Gift of the artist 86.14 and Visionary Art,” “New Additions: from the Permanent Collection (spring Recently Acquired Works on Paper,” 2011), an intimate grouping of works “Internationalisms,” “A Family Affair” made either with metal or using metal and “Forms and Figures.” The Museum in their techniques or processes. continued the tradition started by that In 2010, the Museum published landmark exhibition into what has Re:Collection: Selections from the come to be recognized as a Collected. Studio Museum in Harlem, the first book exhibition series. In spring 2010, the documenting the Studio Museum’s per- Museum presented another massive manent collection. The book includes collection show, Collected. Reflections reproductions of eighty-one works on the Permanent Collection, again of art, each with an accompanying featuring several themed mini-exhibi- essay contributed by an artist, curator, tions and isolated highlights. Smaller scholar, writer, historian or Studio iterations of Collected. have followed, Museum staff member. Re:Collection including Collected. Black & White (fall offers a less conventional approach 2010), an exhibition of works in various to a permanent collection text, with media and from time periods that are essays written in a variety of styles linked by their color palette of black, that provide personalized readings white and gray, and Collected. Vignettes as an alternative and complement to (spring 2011), an exhibition taking Hale more straightforward scholarship. Woodruff’s (1900–1980) 1970 painting In 2011, the Museum continues to ex- Vignettes as a point of departure. Overall, pand public access to the permanent the Collected. series offers alternatives collection with a growing online to chronological presentations of art. archive of works. Summer/Fall 2011 10 Expanding Harlem: Red, Black and Green the Walls

Edited by Gerald L. Leavell II, Expanding the Walls and Youth Programs Coordinator

Expanding the Walls: Making Connections Between Photography, History and Community is an eight-month photography-based program that challenges young artists to explore the legacy and work of photographer James VanDerZee, learn digital photography and engage with the larger Harlem community. This year’s Expanding the Walls artists were asked to investigate the neighbor- hood through a personal lens and share their photographic interpretations. This is how they see Harlem.

Expanding the Walls is made possible with support by the New York State Council on the Arts, a state agency; Colgate-Palmolive; Deutsche Bank; The Leona M. and Harry B. Helmsley Charitable Trust; Dubose and Dorothy Heyward Memorial Fund and The David Rockefeller Fund.

2 Alexandra Barlowe Harlem’s Baptism, 2011

1 Amyrah Arroyo The Watermelon Man of Boulevard, 2011

4 Edwin Doval Death After Life, 2011 3 Trevin Dehere Art Outside a Museum, 2011 Museum 11

5 6 Victor Ferreras Senetchut Floyd Strength in Harlem Got Numbers, 2011 Game, 2011

7 Sapphire Hilton Harlem’s Desecration, 2011

8 Matthew HRW Morgan The Journey Ahead, 2011

9 Nadienka Morillo Black Supremacy, 2011 Summer/Fall 2011 12

10 Genevieve Pierre Untitled, 2011 11 Jamilla Reid Love Not Hate, 2011

12 Neil Robinson The Prison, 2011 13 Sim E. Smith Legacy, 2011

14 Genesis Valencia Harlem: Connected, 2011 15 Michael Vargas Untitled, 2011 Museum 13 Studio Sound: OJO

by Abbe Schriber, Program Assistant

StudioSound, the Studio Museum’s boundaries and limits of sound using ongoing audio installation in the Mu- unconventional materials and means. seum’s lobby, continued in the spring In one performance at the Museum of with -based collective Contemporary Art, Los Angeles, audi- OJO, a group that experiments with ence members were asked to push two the spaces between music, art and cars (wrapped in wallpaper depicting performance. Comprised currently human flesh) down the street, each of six members—Joshua Aster, Chris blaring different parts of a musical Avitabile, Justin Cole, Moises Medina, score, creating compositions that dif- Eamon Ore-Giron and Brenna Young- fered depending on where one stood. blood—OJO first came together in In the end, the cars crashed, and OJO 2005, evolving out of a mutual pas- sampled and looped the sound of sion for improvisational sounds and in- the collision to reverberate throughout teractive, multisensory performances. the composition. Public participation Voluminous Sparks, the group’s Stu- and interaction of this sort is vital to dioSound contribution, blends studio- OJO’s practice, and they often leave recorded material, and recordings of ample space for spontaneity and im- OJO, Voluminous Sparks, 2011 live performances, into one continu- provisation, allowing their composi- ous, looping playlist. OJO often wields tions to grow and change every time the background noises of daily life they are performed. as instruments, weaving everything OJO has created projects at numer- into their pared-down, textural sound- ous Los Angeles venues, including scapes from Roland-TR 808 drum Esthetics as a Second Language, the machines, bass, and synthesizer, to Hammer Museum and LAXART, among the clapping, whistling and chanting others. In 2009, they were invited by of live audiences. The group’s loose, the Museum of Contemporary Art, Los ambling tracks also take notes from Angeles to participate in the annual, hip hop, dubstep and electronic mu- three-month “Engagement Party” sic, among other genres. As implied series dedicated to presenting art by by the collective’s name—OJO means Los Angeles-based collectives. “eye” in Spanish, and is also slang for This summer, look for a StudioSound “look out!”—there is a deliberate play presentation in the lobby by current with synesthesia underpinning their artist in residence Kamau Amu Patton! work. Each member is a practicing Stay tuned . . . visual artist (Youngblood is represent- ed in the Studio Museum’s permanent collection), and their experimentation with music, performance and experi- ence maintains a dynamic, at times interchangeable, connection with visual art. OJO balances their traditional stu- dio-recording practice with experi- mental performances that test the Summer/Fall 2011 14 AIR Playlist Artists in residence share what they’re listening to in their studios

SIMONE LEIGH

Alice Coltrane Journeys in Satchidananda (1970) Universal Consciousness (1972)

Donny Hathaway Extension of a Man (1993) LIVE (1994)

Queen Brian Eno News of the World (1977) Another Green World (1975)

Lijadu Sisters Double Trouble (1984) Museum 15

PAUL MPAGI KAMAU AMU SEPUYA PATTON

Sugarcubes Glasgow Improvisers Orchestra MEV Life’s To Good (1988) and George Lewis Musica Elletronica Metamorphic Rock (2009) Viva (1968)

Womack & Womack Yasunao Tone Pamelia Kurstin Love Wars (1983) Noise Media Thinking Out Language (1961) Loud (2006)

Eurythmics Philip Jeck and Touch (1983) Jacob Kirkegaard Soaked (2002) Ciara Deuces (NGUZUNGUZU MIX) (2010)

Lansing-Dreiden Suggested Arrangement (2008) Summer/Fall 2011 16 Harlem Postcards

MATTHEW DAY JEANNE JACKSON MOUTOUSSAMY-ASHE

Born 1974, Panorama City, CA Born 1951, Chicago, IL Lives and works in Brooklyn, NY Lives and works in New York, NY March 19, 2011 at about 10:30 pm, 2011 Holcombe Rucker Playground, 2000

This image is an abstraction of the moon at its closest posi- Also known as The Rucker, this playground was founded tion to the Earth since 1993. Originally, I attempted to show in 1946 by Holcombe Rucker, a Harlem schoolteacher who the moon as accurately as possible by taking a photograph wanted to use sports as a way to provide direction and through a telescope on 125th Street. But after numerous teach life skills to thousands of boys and girls. An immedi- attempts, I came to realize that we actually see the moon ate success, it expanded to after-school programs and, as a reflection, or perhaps projection, of ourselves. We in 1950, a pro division for professional basketball play- see it as it exists in the imagination. I chose to include the ers anxious to assist Rucker. By the 1960s, The Rucker, in the photograph to indicate my location located on 155th Street and Boulevard, with respect to the moon and to make the image distinct was the place for top college and pro stars to prove their to Harlem. And there is a connection between the celestial skills. Today Chris Rucker continues the legacy started by body and the famous theater. Both the Apollo Theater Holcombe years ago. While many consider The Rucker a and the Apollo moon missions have provided stages to place for building hoops skills, “its real success has been in which to aspire and feature the best humanity has to offer. building a community,” according to Chris. This photograph Fitzgerald, Wonder, Armstrong and Aldrin, to name a few, shows the rhythm, fluidity of form and expression of the took steps into the unknown, at the risk of great harm and human spirit that came from Holcombe Rucker’s commit- potential failure. ment over half a century ago. Museum 17

DEMETRIUS HANK WILLIS OLIVER THOMAS Born 1975, Brooklyn, NY Lives and works in Harlem, NY Born 1976, Plainfield, NJ Argentum, 2011. Design by Stephanie Gonzalez-Turner Lives and works in New York, NY Change gonna come, 2010 For The Studio Museum in Harlem I created a postcard that also serves as an invitation to a show outside of the Change gonna come is a tribute to the lyrics of a Sam Museum, along the Harlem River. On the appropriate Cooke song that refers to the hope and aspirations of the dates, visitors can observe the work on the surface of African-American community during the 1960s. It also the river after sundown. Much of my work deals with frames the new and old businesses and entertainment ven- nighttime phenomena when the firmament is unobstruct- ues that sustain the notion of change—cultural, economic, ed. Ancient astronomers thought the moon contained iconic. I find it intriguing that the song was likely performed oceans, which is why they named portions of it “mare.” by Cooke at the Apollo on 125th street. As someone who Until recently, this theory was ignored, but then it was virtually grew up at the Schomburg Center on 135th Street discovered that at one time in its four-billion-year history, and has been coming to the Studio Museum his entire life, the moon did, in fact, contain water. I use the camera in I have countless recollections of walking down these streets. much of my work, so it’s worth noting that the moon is Harlem has once again become an epicenter of change. also associated with silver, a reflective metal that aids Striking to me now is the bold presence of new buildings, in the production of photography. chain stores and high-end restaurants, and fewer street vendors. Also I see a marked change in the diversity of the residents of Harlem. This piece speaks to nostalgia and many complex thoughts of times—good and bad—that have come and gone, and continue to come again. Summer/Fall 2011 18 OFF/SITE Marc Brandenburg: Version

Marc Brandenburg: Version (installation view), 2011 Photo: Adam Reich

From May 6 to June 4, 2011, the political protests, as well as celebrities Brandenburg’s stunning transfor- Goethe- Institut Wyoming Building and consumer objects borrowed from mation of the Wyoming Building space hosted Marc Brandenburg: Version, the mass media. was a spectacular finish to the OFF/ the final installment of OFF/SITE, The exhibition Marc Brandenburg: SITE collaboration. Both the Studio the Studio Museum’s partnership Version built off of the artist’s ongoing Museum and the Goethe-Institut with the Goethe-Institut New York. “Hirnsturm” series into a site-specific New York are committed to examining Marc Brandenburg (b. 1965) is a installation of screenprints in an contemporary ideas from a culturally multimedia artist born in Berlin, where enclosed space illuminated by black specific, global context—black culture he currently lives and works. Interested light, as well as a sound installation and culture from Germany, respectively. in scenes of power and excess, the in the storefront entrance. Referencing OFF/SITE featured two site-specific artist is known for his graphite-on- the aesthetics of cinema, music and artist projects and a series of public paper drawings that adopt the look of dance club culture, Version empha- programs at the Goethe-Institut photographic negatives. Brandenburg sizes the tension between the preci- Wyoming Building in the East Village. makes and appropriates original and sion of photo-realist figuration and To learn more about the OFF/SITE found photographs in his drawings to the abstraction of images from their collaboration, visit studiomuseum.org. depict crowds at soccer games and original contexts and forms. Museum 19 Public Program Highlights

by Amalia Mallard, Public Programs Coordinator

Left to right: Amalia Benjamin Patterson spoke at the them aloud. The highlight of the Mallard, Professor Brenda Dixon Studio Museum on Thursday, March evening was Paper Piece, a rousing Gottschild, Misty 31, about his exhibition Born in the performance in which Patterson Copeland, Raven Wilkinson after the State of FLUX/us: Scores. The conver- conducted the audience in a concert Intersections: sation was moderated by Valerie of sounds produced by rustling Conversations on Art and Culture panel. Cassel Oliver of the Contemporary our programs. Photo: Dominic Arts Museum Houston, who curated Pamela Newkirk’s edited volume, Hackley the Patterson retrospective from Letters from Black America: Intimate which the Studio Museum exhibition Portraits of the African American was excerpted. They discussed the Experience, was featured as part of artistic landscape of the early 1960s our Books & Authors series in April. and how Fluxus ushered in a new We were deeply honored to have wave of experimental music by mak- legendary performer, writer, and activ- ing the leap between action and ist join us for a dramatic music. This important exhibition show- reading, as well as distinguished actor cases Patterson’s compositions as a Anthony Chisholm. Their resonant founding member of the artistic col- voices filled the theater and captured lective. Although he is a classically the profundity of the letters they read. trained musician, contra bassist and For example, Dee read a letter from composer, Patterson challenges mul- enslaved woman Annie Davis to Presi- tiple senses—clearly demonstrated by dent Abraham Lincoln written a year those in attendance who volunteered after Lincoln issued the Emancipation to perform scores as Patterson read Proclamation: Summer/Fall 2011 20

Public Program 1 2 Benjamin Patterson Ruby Dee speaking Highlights prompts audience during the Letters volunteer Matthew D. from Black America: Morrison to eat a Intimate Portraits of banana while holding the African American an umbrella. Experience event. Photo: Liz Gwinn Photo: Liz Gwinn

Mr. President It is my Desire to go to see my people on the eastern shore my mistress wont let me you will please let me know if we are free and what I can do I wrote to you for advice. Please send me word this week or as soon as possible and oblidge. Dee poignantly closed the evening by reading author Alice Walker’s letter to President Obama from November 2008—in direct symmetry with Annie Davis’s letter from 147 years prior. Also in April, nearly four hundred people attended the second install- ment of this year’s Artist-in-Residence Open Studios. Guests were treated to previews of works by Simone Leigh,

Kamau Amu Patton and Paul Mpagi 1 Sepuya. Be sure to check out their summer exhibition, Evidence of Accumulation (July 14–October 23, Popular Music, and was a conversation 2011). Please also join us on July 21 at with singer/songwriter Eric Roberson, 7pm for The Artist’s Voice to hear them author David A. Jasen, and radio per- discuss their art and practice with sonality and Black Music Month co- Assistant Curator, Lauren Haynes. founder Dyana Williams, moderated by Spring 2011 also featured two install- Terrance McKnight, host for Classical ments of Intersections: Conversations WQXR 105.9 FM. This lively conversa- on Art and Culture. The May event tion addressed the racial climate of the featured Misty Copeland, the first nineteenth and early-to mid-twentieth African-American female soloist for centuries, when many black songwrit- the American Ballet Theatre in over ers did not receive credit—or payment, two decades, and Raven Wilkinson, royalties or recognition—for their the first African American to become compositions. a member of a major ballet company. And on June 24, DJ1NEn2WO spun The conversation was moderated the latest and greatest tunes for by Brenda Dixon Gottschild, Professor the kick-off of Uptown Fridays! and Emerita at Temple University. The three gave us a preview of the rest of the discussed the roles and opportuni- summer series. ties—or lack thereof—for African- As always, I look forward to see- American ballerinas and dancers in ing you Thursday evenings for Adult general. “Where are all the real Black Programs! For more information about 2 Swans?” was a common theme for Public Programs, including Adult discussion. June’s session focused on Programs and Target Free Sundays!, The Legacy of Black Songwriters in please visit studiomuseum.org. Museum 21 Art Invades the Saya Woolfalk’s Diorama Museum Store for Empathic Life

by Allison Channing Jones

Visit the Museum Store and you might suspect that you’ve stumbled on a rift in the space-time continuum. In the area where you previously would have found our usual displays of fan- tastic books, jewelry and gifts, you’ll encounter mysterious figures clad in elaborate costumes, emerging from an otherworldly terrain. This fantastical diorama by former artist in residence Saya Woolfalk (b. 1979), Empathic Life (2010), allows visitors to engage with art beyond the Museum galleries. Woolfalk is the first artist to participate in a new, ongo- ing project in which artists are invited to install artwork in the store. The diorama is a site-specific installation of pieces from Woolfalk’s recent exhibition, Institute of Empathy, at Real Art Ways in Hartford, Connecti- cut. Stop by the store to learn more about Empathic Life and experience it for yourself!

Saya Wooldfalk Diorama for Empathic Life (installation view), 2011 Photo: Dominic Hackley Summer/Fall 2011 22 Emma Amos Spiral Icon

by Lauren Haynes, Assistant Curator

“I like that people can read their own meanings into my paintings and that those readings may be quite different from mine.” – Emma Amos1

In late April, I had the amazing op- portunity to visit the studio of visual artist Emma Amos (b. 1938). Amos is a painter, printmaker and weaver who has exhibited in museums and galler- ies worldwide for almost fifty years. Amos was born and raised in Atlanta, Georgia. She lived there until she went off to school—first to Antioch College in Ohio and then to graduate school in London and later at . Since then, Amos has lived in New York. In addition to her career as a visual artist, Amos is also a teacher; she taught at the Mason Gross School of the Arts at for twenty-eight years and served as Chair of Visual Arts for two years. Although Amos has retired from 1 teaching, she has not retired from making art. Not only is her studio filled 1 Emma Amos; Flower with work she has created over the Sniffer, 1966 years, it is also filled with materials she Photo: Becket Logan Courtesy the artist is currently using on new works. She © Emma Amos/ has been in the same incredibly orga- Licensed by VAGA, New York, NY nized studio in NoHo for twenty years. The walls of the space are filled with 2 Richard Mayhew artwork—her own and by other artists West, 1965 she has known and whose work she Gift of David L. Schneider, Ph.D., appreciates, including Norman Lewis New York (1909–1979) and 86.11.2 (1900–1982). While in Amos’s studio I was able to see artwork she’s created from the mid-1960s to the present, including works in progress. Most of Amos’s paintings since the late 1980s have been acrylic paintings on linen, surrounded by a border of African 2 fabric. Amos and her studio assistants were in the process of picking the Museum 23

3 Emma Amos Two Standing Women, 1966 Photo: Becket Logan Courtesy the artist © Emma Amos/ Licensed by VAGA, New York, NY

3 border for a recently completed paint- 1980) and Lewis, Spiral’s membership 1972). Although the Spiral group only ing during our visit. eventually expanded to fifteen. Amos showed together a limited number of Much of Amos’s work is figurative. was one of the youngest and the only times, their legacy has made a mark Amos has a series of works featuring woman. Woodruff, who was also from on art history and influenced genera- bodies moving through water (“The Atlanta and a professor at New York tions of artists. The Studio Museum’s Water Series”), a series of bodies falling University while Amos was in graduate 2011 exhibition Spiral: Perspectives through the air (“The Falling Series”) school, invited her to join. “I was the on an African-American Art Collec- and a series that juxtaposes images only woman and I was the youngest tive takes an exhibition of the same of athletes with those of animals. member, when they did invite me,” name organized by the Birmingham She began working on these series Amos says. “I’m not sure they invited Museum of Art as its starting point, in the mid-1980s and continues to add other people by looking at their work, and then brings selections from the to them today. While in her studio, but they were very nervous about hav- Studio Museum’s permanent collec- I was able to see images of an artwork ing a woman in their group, and they tion and significant works from New called The Gift. In the early 1990s, wanted to make sure I was a real artist York-area collections, including rarely Amos painted fifty-five watercolor and not a dilettante or something. seen paintings from the mid-1960s by portraits of her female artist friends. I think they asked me to join the club Amos and the Studio Museum’s iconic Together, these paintings make up (which met once a week for discus- Bearden photo projection, Conjur The Gift, which includes no male artists sion) instead of the women they knew, Woman (1964). because, as Amos told me at the time, because those women represented Spiral: Perspectives on an African- “There were enough images of them.” some sort of threat, and I was only American Art Collective was organized During our studio visit, we also ‘a little girl.’”2 During our visit, Amos by Emily G. Hanna and Amalia Amaki discussed Amos’s involvement in the talked about how much she enjoyed for the Birmingham Museum of Art legendary Spiral group and the Mu- being in Spiral and how she spent (December 5, 2010–April 17, 2011). Or- seum’s exhibition Spiral: Perspectives the meetings yelling, laughing and ganized by Studio Museum Assistant on an African-American Art Collective, arguing just like everyone else. Other Curator Lauren Haynes in collabora- which will be on view from July 14 to members of Spiral were Calvin Dou- tion with Hanna, the Studio Museum October 23, 2011. The Spiral group glass (b. 1931), Perry Ferguson (active presentation of Spiral will be on view was a collective of African-American New York, New York, mid-60s), Regi- July 14 to October 23, 2011. artists that met once a week from the nald Gammon (1921–2005), Felrath summer of 1963 to 1965 to discuss Hines (1913–1993), Alvin Hollingsworth 1. Emma Amos, Artist Statement, http://emmaamos. com/about/statement (accessed May 5, 2011). the role of black artists in the civil (1928–2000), William Majors (1930– rights movement. Founded by Charles 1982), Richard Mayhew (b. 1934), Earl 2. bell hooks, “Straighten Up and Fly Right: Making History Visible,” in Emma Amos Paintings and Prints Alston (1907–1977), Romare Bearden Miller (b. 1930), Merton D. Simpson 1982–1992, (exhibition catalogue) (Wooster, OH: (1911–1988), (1900– (b. 1928) and James Yeargans (1908– The College of Wooster Art Museum, 1993), 19. Summer/Fall 2011 24 Studio Lab

by Thomas J. Lax

Studio Lab is an artist-centered shifts in Yiadom-Boakye’s practice, program designed for ideas in forma- extending her interest in landscape, tion. Inaugurated in October 2010, (which to this point had appeared only this twelve-month project is divided a handful of times) and emphasizing into two components: Artist-Initiated an observational, even voyeuristic, Explorations and Think Tanks among quality. Rather than looking out at the artists, scholars and curators. viewer, as many of her sitters do, the The Think Tanks, which will take individuals in this series are caught place and be documented in summer in simple acts of meditation and 2011, explore three interrelated topics: reflection. Titled according to the time cultural specificity now, performance of day that each was created, these in the expanded field and conceptions works emphasize the ephemeral, tran- of “public-making” in contemporary sient interplay of color and light—and art. In addition to these multidisci- of experience more generally. plinary conversations, over the course While Ohio-born, Houston-based of the year, three artists living and artist Steffani Jemison (b. 1981) lived for working locally, nationally and glob- several years in uptown Manhattan— 1 ally were invited to Harlem and New where she completed her undergrad- York to use the urban environment uate education before moving to for one to two weeks. Given free rein Texas—in her return to Harlem for to identify and develop hypotheses Studio Lab, she was interested “in de- of their own, they were guided by a veloping an itinerary that would shape single caveat: that their residencies a slightly different path to the city.” should facilitate their ongoing artistic During her week-long stay, Jemison interests and in some form engage in visited five sites, across the city’s bor- the idea of public conversation. oughs, where stand-offs had occurred In November 2010, British artist Ly- between patients who had escaped nette Yiadom-Boakye (b. 1977) arrived from psychiatric institutions and law at the Studio Museum in anticipation enforcement authorities. In her expan- of her exhibition Any Number of Pre- sive multimedia practice, Jemison occupations. After exploring Harlem explores and frames the impositions with Studio Museum Visitor Services and possibilities of moving-image and Assistant Timothy Stockton, she head- reading cultures in American urban ed out to Coney Island, Brooklyn, with communities. Her research for Studio a stack of paper and a carton of pastel Lab is part of an ongoing series of sticks. While Yiadom-Boakye is known videos she started in 2008 that exam- for her large-scale paintings of figures ines the cinematic representation of and small-scale busts, she describes escapees from mental institutions drawing as formative to her paintings. at the turn of the twentieth century. Like her portraits, the artist’s drawings Jemison is particularly drawn to the are composites. Made from memory, 1904 film Maniac Chase, Escaped they are formal and fictional impres- Lunatic that depicts four African- sions of multiple encounters. Yet these American figures running through a works on paper also reflect subtle looping urban landscape. Interested Museum 25

2 in the film’s simple narrative and re- artists work—itinerantly, between ductive form, Jemison directs our multiple institutional locations and attention to the ways pre–World War I in direct response to opportunities anxieties around racial terror and psy- and community formations. This new chic disorder influenced the structure endeavor also reflects how the Studio of the earliest fiction films, and sug- Museum as an institution relates to gests perhaps that its recursive orga- our various constituencies, including nization continues to resonate within artists, funders, supporters and a contemporary matrix of visual plea- visitors. At a time when artists have sure and fugitiveness. extended far beyond traditional Across the Artist-Initiated Explora- media—or even the making of art tions and the Think Tanks, two themes objects—to include time-based emerged. Site, place and space not performances, the formation of social only inform aesthetic experience, relationships and virtually-mediated but also are tools for making and experiences, contemporary art institu- contesting social meaning. Process, tions have relocated to new regions unknowing and vulnerability are criti- of the globe and are reevaluating cal to the development of meaningful the basic demands of the architectural 1 Steffani Jemison’s ideas. As museum curators, it is our footprint. In this context, what do we Studio Lab research task to converse with artists as they mean then when we invoke an “artist” led her on a journey throughout New York. develop projects, and ultimately trans- or a “museum”? Thus far, Studio Lab Photo: Amiel Melnick late their ideas from objects and has shown that even as the identities, 2 experiences into the physical and expectations and aspirations of both Lynette Yiadom- social space of a gallery and the print- remain in flux, they continue to be Boakye’s pastel drawings created ed format of a publication. Studio Lab linked by their relationship to a during the inaugural frames and formalizes this role to draw viewing, hearing, thinking, acting Studio Lab, November, 2010. attention to the ways contemporary and participating public. Photo: Liz Gwinn Summer/Fall 2011 26 Director’s Q&A #AskThelma

Recently, we asked our Twitter followers if they had any burning questions for Director and Chief Curator Thelma Golden. They asked, and she answered. We hope you’ll join the conversation: follow @studiomuseum and visit facebook. com/studiomuseum for up-to-the-minute news and interactive features like #AskThelma!

@artfagcity: Does Golden have any Freestyle-type exhibitions planned for the future? TG: Freestyle (2001), Frequency (2005-06) and Flow (2008) were large, group exhibitions of emerging artists, the support of whom remains central to our curatorial focus. There might be another “F” show in the future…but exhibitions in that vein develop as the work demands, so all I can say is: stay tuned!

@ohashuhlee: What books are you currently reading, Ms. Golden? TG: in addition to what seem like thousands of exhibition catalogues and art books that come across my desk, two current favorites are the amazing Open City (2011) by Teju Cole and Gabrielle Hamilton’s fantastic memoir Blood, Bones & Butter (2011).

@hragv: Which public constituency has been the hardest for the Studio Museum to attract into its galleries? TG: We work especially hard to engage audiences who don’t think an art muse- um is a place that’s interesting or relevant to them. Through innovative programs and nontraditional outreach, we hope that they will see us in a new way.

@weegee: What can museum do 2 improve follow up? If I like an artist, how can I follow their career after I leave the Museum? TG: You can start by exploring the web! Many artists have their own websites, but of course studiomuseum.org is a great place to begin your search. Our commitment to the artists we show continues even after their exhibitions come down and we love to share what they’re working on in Studio and Studio Blog. Museum Internships 27 Make More Than Copies

The Studio Museum in Harlem offers paid internships during both the summer and the academic year. The Museum’s internship program provides high school, college and graduate students, as well as recent graduates, with a wide range of experiences designed to provide insight into the daily workings of a professional museum environment. Interns also engage in a series of workshops, meetings, off-site visits and public programs. For more information or to apply, visit studiomuseum.org/learn/internships Summer/Fall 2011 28 In Lyle Ashton Harris Conversation and Chuck Close

Lyle Ashton Harris: Self/Portrait in- I wanted to make sure that they ended scar in an accident during a perfor- cludes works reproduced in the book up looking like my work somehow. mance. Another example would be Excessive Exposure (2010), a compen- They’re real professional posers, so For Cleopatra, 1994, a photograph of dium of approximately two hundred they want to make it look like their my cousin Peggy’s back which bears photographs from Harris’s decade-long work. Of all the people you’ve photo- the evidence of corrective surgery for work with a large-format (20" � 24") graphed, how many of them… scoliosis. While the back may imply Polaroid camera. Excessive Exposure vulnerability, there’s also the sugges- also features a foreword by Henry Louis LAH: Self-fashion themselves? It’s tion of concealment. Gates Jr., an essay by Okwui Enwezor quite obvious with artists such as Iké CC: It’s also kind of an anti police mug and a conversation with fellow artist, Udé, Vanessa Beecroft, and Renée shot, as nobody’s interested in the portraitist and Polaroid user Chuck Cox. But I also think it extends to back of the head! Close—a section of which we are people like my grandmother, Joella thrilled to share with you here. Johnson [Untitled (Face/Back #1 Joella)], LAH: These images also play on the This conversation between Lyle or Mother Dear, an amazing Jamaican discourse of ethnographic photogra- Ashton Harris and Chuck Close took woman with a botanica in phy and the pseudo-science of phre- place in April 1999, in , [Untitled (Face/Back #34 Mother Dear)]. nology with its history of cataloguing as Harris was beginning this series I have observed that people have a and pathologizing difference. I’m of portraits. strong desire to present themselves curious, where do you see this project in a particular way. vis-à-vis the history of painting and Lyle Ashton Harris: Chuck, what’s It was interesting when you recently photography? your experience of being photo- took my portrait for the painting you’re CC: They are very painterly photo- graphed by me? Let’s begin there. doing and suggested that perhaps we graphs, actually. Chuck Close: For somebody who should select one where I’m smiling. It sort of caught me off guard because shoots as many people as I do, I have LAH: I was thinking about an observa- I always imagine myself as being quite to occasionally submit myself to the tion by Roland Barthes, that the best serious. Your comment made me process—it’s only fair. But it’s really a portraitists are mythologists—whether realize that perhaps I smile more than different experience. I’ve dealt with my it’s Nadar in terms of the French bour- I think I do. own image through my self-portraits— geoisie, Sander in terms of pre-Nazi which I’ve done way too many of! CC: You had an interest in the back Germany, or VanDerZee in terms of I’m used to posing myself, being in of the head for a long time, but it’s the African diaspora in Harlem. control of my own image, but it’s very never come to the fore as much as CC: One of the things that amazes me different to submit to someone else, in this series. after making portraits for thirty years to try and let someone else direct you. looking at so many other portraits— Of course, I wanted it to end up look- LAH: To me the back suggests a cer- particularly after the experience of ing like your work. tain vulnerability. I’m also fascinated doing the portrait show at MoMA in It’s the same problem I had when by indexical markings on the body, 1991, where I picked portraits and self- I did paintings of Francesco Clemente, and how many people come to ac- portraits from the Modern’s collec- , Lucas Samaras, and quire them. For example, Untitled (#17 tion—is that for something which Alex Katz—all of whom we recognize Mystery) is a photograph of Mystery, seemed so bankrupt in the middle through their own self-portraits. an exotic dancer who acquired his Museum 29 of the century, it’s an incredibly elastic set of conventions and traditions. Portraiture always ends up being ca- pable of embracing something else. And it’s great to see somebody con- siderably younger than me who’s find- ing new urgency and new reason to extend and expand the possibilities.

LAH: When you say the portraits are painterly photographs, what do you mean? CC: I suppose that I think they’re painterly because I bring as much painting baggage with me when I look at them as I do photographic baggage. It’s interesting that photog- raphy was supposed to put painting out of business. In some way it did. There was no reason to make slavishly duplicated images. In fact, painting started going to all those places that are very different from what a camera can do. It was black and white, so Lyle Ashton Harris paintings became much more about Untitled (Face #17 Mystery), 1998 color. There were these long, static, Courtesy the artist and fixed poses—so we got impression- CRG Gallery, New York ism, post-impressionism, futurism, various kinds of flickering impressions or effects rather than detail. Lots of things drove painting somewhere else, but at this point, at the end of this century, it’s interesting to see how photography has been affected by painting. So it’s all come full circle; I think there’s a dialogue happening.

LAH: Yes, I would agree.

Originally published in Lyle Ashton Harris, 20 � 24: Recent Portraits, The Aldrich Museum of Contemporary Art (1999). Excessive Exposure is available in the Museum Store for $75 ($63.75 for Members)

Lyle Ashton Harris Untitled (Back #17 Mystery), 1998 Courtesy the artist and CRG Gallery, New York Summer/Fall 2011 30 Beyond Beyond 31 Critical Ralph Ellison’s Romare Bearden (Re)Issue

Edited by Thomas J. Lax by Darby English

Critical (Re)Issue is a new feature in the nature of art were frequent and Studio magazine that reproduces pre- esteemed enough to compete with viously published scholarly engage- what Kenneth Burke called his ments with artistic practice and “epoch-making” Invisible Man.1 As a critical theory. The following excerpt longtime and close friend of the from Darby English’s “Ralph Ellison’s painter, Ellison was well positioned Romare Bearden” accompanies the to address this issue on Bearden’s Studio Museum summer 2011 exhibi- behalf. But it is Bearden the artist tion Spiral: Perspectives on an African- and artistic comrade—not Romie American Art Collective as well as the the friend—who animates “The Art fall 2011 Bearden Centennial Project, of Romare Bearden.”2 The essay is an organized by The Studio Museum in impassioned, defensive text that Harlem. The essay was originally pub- Ellison wrote to accompany Romare lished in Romare Bearden, American Bearden: Paintings and Projections, Modernist (2011), a monograph that a small exhibition mounted at the emerged from a symposium of the State University of New York at same title organized on the occasion Albany in autumn 1968.3 of the exhibition The Art of Romare In Ellison’s essay, the stresses fall Bearden (2003) at the National Gallery on what he calls the black artist’s of Art. Darby English is Associate “freedom of self-definition” with Professor of Art History at the respect to black anxieties concern- University of Chicago. ing art.4 Ellison’s art writing aims at nothing less than “that which [is] To look critically at how meaning affirmative beyond all contradictions has been made from what black art- of social hierarchy and racism,” and ists do, even and especially by their it is well known that Ellison regarded advocates, yields valuable instruc- these “contradictions” as historical tion about historical relationships and complex.5 For instance, he deep- between blackness, the work of art, ly appreciated the kinds of thought and the social functions of both. and creation that the notion of a On the assumptions that the exag- separate “Negro aesthetic” had pro- geration of these functions has voked on the American scene. But El- proved as dangerous as it is easy, lison’s endorsement of this approach and that a black artist’s work is itself was conditional: more precisely, it only ever as black as the language was a function of his commitment to that describes it, I address the issue a more broadly conceived American here through the narrow, hopeful modernism. Thus in 1973 Ellison— lens of a single essay on Bearden’s knowing that Alain L. Locke’s seminal work by Ralph Ellison. collection of 1925, The New Negro, The difficulties that arise from had helped establish the conditions even the most innocent confusion in which contemporary late-sixties of aesthetics and sociality were not and early-seventies aesthetic racial- lost on Ralph Ellison. By 1968, his ism fomented—told the audience at essays on culture, democracy, and a Harvard symposium on Locke that, Summer/Fall 2011 32

although “I didn’t always agree with 1 him,” Locke “did point a direction… he did move in the direction of some sort of conscious assessment of the pluralistic condition of the .”6 The trouble was, when it remained singularly black, the con- sciousness produced in that assess- ment did not sufficiently pluralize its own condition. It was on such grounds that Ellison had famously dismissed the nation- alist Richard Wright as “no spiri- tual father of mine.” Explaining this heresy in 1964, Ellison wrote: “While one can do nothing about choosing one’s relatives, one can, as artist, 2 choose one’s ‘ancestors.’ Wright was, in this sense, a ‘relative,’ Hemingway an ‘ancestor.’”7 Here Ellison refused a compulsory, commonsense identifi- cation with Wright the fellow novelist and “race man” in deference to his own expressive priorities. In doing so, Ellison not only distanced himself from a simplistic vision of blackness as a duty but also drew an important distinction between black inspiration and black style, the latter being less desirable in requiring that one take a creative exemption from whatever nonblack contexts one inhabits. In this way, Ellison showed an alertness 1 to the presence of competing univer- Romare Bearden salities within black cultural politics, Homage to Duke, Bessie and Louis, and a willingness to negotiate them c. 1980 Museum in his work, that were rare at the Purchase and a gift from E. Thomas 8 same time. Williams and Audlyn Higgins Williams 97.9.4

2 1. Kenneth Burke, “Ralph Ellison’s Trueblooded 4. Ellison, “ARB,” 689. Romare Bearden Blue Rain, Bildungsroman” in Speaking for You: The Vision of 5. Ralph Ellison, “Alain Locke,” in Ellison 2003, 448. Mecklenburg, 1987 Ralph Ellison, ed. Kimberly W. Benston (Washing- Museum Purchase 6. Ellison, “Alain Locke,” 446. ton, 1987), 350. and a gift from E. 2. Ellison’s legacy acquired a new shade in Arthur 7. Ellison, quoted in Kenneth W. Warren, So Black Thomas Williams and Audlyn Higgins M. Schlesinger Jr.’s 1991 attack on black essential- and Blue: Ralph Ellison and the Occasion of Criti- Williams, New York ists, against whom Schlesinger uses Ellison as a cism (Chicago, 2003), 18. See Ellison, “The World 97.9.14 foil. See Arthur M. Schlesinger Jr., The Disuniting of and the Jug,” in Ellison 2003, 155-188. America (New York, 1991), 91. 8. The term competing universalities is Judith 3. “The Art of Romare Bearden” (hereafter “ARB”), Butler’s. See Judith Butler, “Contingent Univer- in The Collected Essays of Ralph Ellison, ed. John salities,” in Contingency, Hegemony, Universality: F. Callahan (New York: Modern Library Classics, Contemporary Dialogues on the Left, ed. Judith 2003), 688-697. Unless otherwise indicated, all Butler, Ernesto Laclau and Slavoj Žižek (London, citations of Ellison’s prose refer to this edition. The 2000). 168. term Projections describes the photostatic enlarge- ments that Bearden from his collages; it was sug- gested by Bearden’s dealer, Arne Ekstrom. Beyond 33 Elsewhere Completely Biased, Entirely Opinionated Hot Picks

by Thelma Golden

Surface Value The (S) Files 2011 May 6–September 4, 2011 June 14, 2011–January 8, 2012

Keys to Our Heart , New York May 6–July 31, 2011 elmuseo.org

Des Moines Art Center, The (S) Files 2011 is the sixth Des Moines, Iowa installment of El Museo del Barrio’s desmoinesartcenter.org biennial surveying the latest work by New York’s Latino, Caribbean Surface Value features recent work by and Latin American artists. This (2002–03 Studio year’s iteration focuses on the Museum artist in residence) as well aesthetics of street art, and aims to as James Gobel and Alison Elizabeth develop a broader, more complex Taylor. All three artists create understanding of the phenomenon. meticulous two-dimensional works Through the work of seventy-five that incorporate unusual everyday artists, the show examines core materials—rhinestones, felt, wood, elements of street art, including yarn—to convey their singular visions. graffiti and murals, as well as the If you make it to Des Moines before medium’s broad influence on July 31, don’t miss ’s popular culture, music and fashion. Keys to Our Heart (2008), a short The (S) Files 2011 extends beyond El melodrama inspired by cinema Museo to satellite venues throughout history. Linzy (who you will remember New York, including the Lehman from Frequency (2005–6) and College of Art Gallery, the Northern If it Don’t Fit (2009) at the Studio Manhattan Arts Alliance, Socrates Museum) plays Lily, a woman who Park and Times Square. dispenses advice to three people caught in a love triangle. Daniel González Pop-Up El Museo Disco Club, 2011 Mickalene Thomas Courtesy the artist Don’t forget about me Photo by Matteo Danesin (Keri), 2009 The Sender Collection Image courtesy the artist and Lehmann Maupin Gallery, New York Summer/Fall 2011 34

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

The Whole World Was Watching: Civil Rights–Era Photographs from Edmund Carpenter and Adelaide de Menil March 5–August 20, 2011

The Menil Collection, Houston, Texas : Sub Mirage Lignum menil.org April 3, 2011–February 28, 2012

This exhibition presents remarkable MASS MoCA Impressions from South Africa, photographs that capture the civil massmoca.org rights movement through the eyes 1965 to Now MASS MoCA’s cavernous galleries of photographers Bob Adelman, March 23–August 14, 2011 provide rare opportunities to Dan Budnik, Bruce Davidson, Elliott The , New York experience artwork that requires Erwitt, Leonard Freed and Danny moma.org freedom from spatial constraint. Enter Lyon. The Whole World Was Watching Nari Ward’s extraordinary exhibition, features a selection of the 230 civil This exhibition of roughly one Sub Mirage Lignum. Ward has rights–era photographs recently hundred prints, posters, wall stencils constructed immersive installations gifted to the Menil Collection by and books from MoMA’s collection that test visitors’ ability to discern Carpenter and de Menil, and will be reflects the remarkable printmaking reality from the imaginary with complemented by a summer film practices that have come out environments that evoke the artist’s series curated by Gerald O’Grady of of South African communities. childhood memories of Jamaica. the W.E.B. Du Bois Institute. Featuring artists Sandile Goje, William Kentridge and John Nari Ward; Nu Colossus Bruce L. Davidson Muafangejo, Impressions from South (detail), 2011 Woman being held by Courtesy MASS MoCA, two policemen, Africa explores how printmaking North Adams, MA © Bruce Davidson/ has provided a versatile means of Magnum Photos. The Menil Collection, expression in moments of political Houston, gift of Edmund and social turmoil. Carpenter and Adelaide de Menil Medu Art Ensemble You Have Struck a Rock, 1981 The Museum of Modern Art, New York. General Print Fund © 2011 Judy Seidman Beyond 35

Elsewhere Completely Biased, Entirely Opinionated Hot Picks

Stephen Burks: Are You a Hybrid? May 3–October 2, 2011

Museum of Arts and Design madmuseum.org

While Stephen Burks: Man Made at the Studio Museum focused on the designer’s collaboration with Senegalese basket weavers, Are Hard Truths: The Art of You a Hybrid? examines a different February 25–September 18, 2011 dimension of his work—his penchant Indianapolis Museum of Art for joining diverse cultural practices imamuseum.org with contemporary modernist aesthetics. Thornton Dial’s large-scale abstract paintings take on sculptural Radcliffe Bailey: Memory as Medicine qualities—found objects are lodged June 26–September 11, 2011 Becoming: Photographs from the Wedge Collection in the surface, subsumed by layers High Museum of Art August 11, 2011–January 8, 2012 of paint. Close inspection reveals high.org discarded or forgotten remnants Nasher Museum of Art at Atlanta, where Radcliffe Bailey of daily life, including dolls, shoes, Duke University grew up and continues to live and plastic flowers and rags. In addition nasher.duke.edu to his paintings, Hard Truths will also work, celebrates the artist with his include drawings and , largest and most comprehensive Toronto-based collector Kenneth J. as well as a continuous loop of Mr. exhibition to date. Pieces in Memory Montague (recently featured in the Dial Has Something to Say (2007), as Medicine range from works on Studio Member’s Spotlight!) has, an award-winning documentary on paper to large-scale mixed-media under the auspices of the Wedge the artist. installations, and will be divided into Collection, amassed a significant three sections that signify central collection of artwork with a focus Thornton Dial themes in Bailey’s work: “Water,” on photography and explorations The Beginning of Life in “Blues” and “Blood.” of cultural identity. Becoming, the Yellow Jungle, 2003 Collection of Nancy curated by Montague, presents over and Tim Grumbacher Radcliffe Bailey sixty photographs from the Wedge Courtesy the Indianapolis Winged, 2008 Museum of Art Collection of Alioune Collection that examine identity N’Diaye, New York through portraiture. Artists include Courtesy the High Museum, Atlanta Dawoud Bey, Rashid Johnson, Dawit Petros (2008-09 artist in residence), Jamel Shabazz, Malick Sidibé and James VanDerZee. Summer/Fall 2011 36 A Beautiful 9/11 Peace Story Quilt Thing

We are thrilled that the Metropolitan Museum of Art will be showing the 9/11 Peace Story Quilt. Made by New York students in a 2006 master class taught by artist , the quilt expresses the significance of global communication in the pursuit of peace.

9/11 Peace Story Quilt is on view August 30, 2011–January 22, 2012. Beyond 37

Faith Ringgold and young New Yorkers (ages 8-19) 9/11 Peace Story Quilt, 2006 Commissioned by InterRelations Collaborative, Inc. Courtesy the Metropolitan Museum of Art Summer/Fall 2011 38 Preview Kellie Jones’s EyeMinded

by Lauren Haynes, Assistant Curator

Working at the Studio Museum has offered many fantastic opportunities, including chances to meet people whose artwork or scholarship helped shape my thought processes and my career goals when I was in school. They are surreal and amazing moments. Meeting Kellie Jones was one of those moments. Her essays on and conversations with artists such as , and Pat Ward Williams guided me, and her writings con- tinue to be an incredible resource for us here at the Studio Museum. Her new book, EyeMinded: Living and Writing Contemporary Art, is a collection of some of her writing on contemporary art from the last twenty years. The book is divided into four sections—each featuring an introduction and contribution by a member of her family (her father, activist and writer Amiri Baraka; her mother, poet and author Hettie Jones; her sister, screenwriter, jour- nalist, playwright and author Lisa Jones; and her husband, professor, author and musician Guthrie P. Ramsey Jr.). All are amazing writers who provide new insight into her writing and career as an art historian and curator. EyeMinded is at the top of my summer reading list. Beyond 39 Preview A. Naomi Jackson’s Star Side of Bird Hill

The following is an excerpt from Andre murmured. His eyes were A. Naomi Jackson’s forthcoming book caught on the shimmer of Deidre’s Star Side of Bird Hill. yellow lace panties. Deidre and Andre’s younger Summer 1989, Bird Hill, St. Michael, siblings, Chris and Phaedra, played Barbados tag down below. They ran and hid The people from the Hill liked behind the miniature graves of chil- to say that God’s smile was the sun dren who were casualties of the shining down on them. In the late af- 1952 cholera epidemic. Nineteen ternoon, before scarlet ibis bloodied girls and one boy had died before the view of sunset, light flooded the the Hill folks abandoned their suspi- Photo: Sophia Wallace stained glass windows of Bird Hill cion of the outside world in general Church of God in Christ, illuminating and doctors in particular to seek the renderings of black saints from help, motivated more by the death Jesus to Absalom Jones. On days of a prized boy child than by trust when there wasn’t prayer meeting, in what they called outside people. choir rehearsal, Bible study, or Girl This was just one of the stories Guides, the church was empty ex- that Deidre and Phaedra’s mother cept for its caretaker, Mr. Jeremiah. summoned as evidence for why she It was his job to chase the children left the Hill as soon as she could. away from the cemetery that sloped “They’re clannish. They wouldn’t down behind the church, to shoo know a free thought if it smacked them from their perches on graves them on the behind,” their mother that dotted the backside of the hill would hiss, her mouth specked the area was named for. Despite his with venom. best intentions, Mr. Jeremiah’s noon- Deidre, the oldest, was a copy of time devotionals at the rum shop her mother at her age. The summer brought on long slumbers when she turned sixteen, her mouth was children found freedom to do as fixed into a permanent scowl just like they liked among the dead. her mother’s. They shared beauty So it was that Deidre and Andre too; Deidre had the same long legs came to lie on their backs on the that had first led her father to Tara, cool limestone of Deidre’s great- and a freckle that disappeared when grandmother’s grave, talking about either woman wrinkled her chin. their morning at Vacation Bible Now, Deidre’s frame was slim com- School. Deidre strutted along the pared to her mother’s, which was stone slab, imitating their Texas puffed first by inertia and then by teacher’s nasal twang while Andre medication. She hoped that one day looked up her skirt. she and her mother would again be “Accepting Jesus Christ as your mistaken for sisters like some of the Lord and Savior is the only sure flirtatious shopkeepers in Flatbush way to avoid a life of eternal damna- used to do back when her mother tion,” Deidre pronounced, her still made small talk. arms akimbo. Summer/Fall 2011 40

Preview Star Side of Bird Hill

Deidre sat down on the grave and traced the name of her ancestor while Andre’s hand worked its way underneath her dress and along the smooth terrain of her upper thigh. From their earlier conversations in the cemetery and long walks made longer by their slow gait beneath the hot sun, Deidre knew that Andre was small-minded like the other people on the Hill her mother so scorned. He would do, for now. “What do you think will happen when you die?” Deidre said to Andre. “I don’t know. Seems to me it’s just like going to sleep. Except you never wake up. Why do you think so much about death anyways?” Two steps down, the grass gave way to red dust, gravel, and graves. Chris and Phaedra darted between the tombstones, browning the soles of their feet, losing track of the shoes they shook off on the steps at the top of the hill. They were fast friends since Phaedra and her sister had arrived from Brooklyn four weeks before. Phaedra was small for her ten years; her head reached only the crook of Chris’ elbow. tape. He often found himself looking Untitled, c. 1969 Her knees were a deep cacao, scar- at Phaedra, admiring her hair, the Gift of Nina Felshin pocked and darkened from running almonds of her eyes, her serious 86.15.1 in the sun all day in spite of her turns of phrase. After hearing her grandmother’s protests. She wore go on about how their VBS class- her hair in one long French braid, mate Thomas Benton’s hands were its length tucked away from the girls so soft, he stuffed the stocky fingers who threatened to cut her locks of both his eternally ashy hands into after reading the Bible story about his pockets, willing them to be like Samson and Delilah. Thomas’ and if not like his, then at Until this summer, Chris hadn’t least invisible. known what it meant to like a girl. “Touch it,” Chris said. He dared But now Chris could see Phaedra’s Phaedra to touch the grave of her future beauty peeking out from be- namesake, her great-aunt Margue- hind her pink heart-shaped glasses rite Phaedra Hill, who had died from that were taped together with scotch cholera like the others. Beyond 41

Preview Star Side of Bird Hill

“What if I don’t want to touch it?” where she always was, sitting on her he had done this to her. She was Phaedra said. veranda, listening while her radio struck by a rough sense of his mind “Then I’ll make you.” played worn cassettes of Jamaican turning. If Phaedra’s mummy and Chris picked up an enormous rock rockers. Something in the way that grandmother are still alive and they from the graveyard’s edge and threw Mrs. Loving stared out for hours over are both wail women and they can’t it at Phaedra. It landed, opening her the hillside, unmoving except to tell die, if she is one, then she can’t dead right temple in the same place where her helper what to do, reminded and she shouldn’t bleed. His logic the doctor had almost succeeded Deidre of her mother. went round and round, ending at the in pulling her prematurely down the Deidre told Mrs. Loving what had same point, dizzying him and then birth canal. The force of the blow happened to her sister and bade her Phaedra as she tried to follow. knocked Phaedra to her feet. come. Mrs. Loving went running behind Before a trickle of yellow leaked Just as Andre succeeded in Deidre, moving unexpectedly fast. down Chris’ bare calf, Phaedra could touching the lace frill of Deidre’s Hill women were busy putting feel Chris say to himself, I think I’m panties, the dull thud of stone laundry out on the line, picking okra going to have an accident. Chris’s against skull roused the mischievous for cuckoo, and humming along to thoughts crashed hard against the couple, stopped them cold. the grand old gospel of salvation on ringing inside her ears. And just as Deidre ran to see what happened family radio. They formed a circle at she was adjusting to this feeling, and gasped when she saw her sister the Hill’s bottom, looking on. Mrs. Loving’s sadness as she remem- prone on the grave, her head turned “Christopher Alexander Loving, bered the last time that she held sideways and blood running down. what have you done?” Chris’ mother her own baby girl crushed Phaedra’s “But what happen here?” Deidre said. bellowed as she walked towards him. already aching head. Give the child Her voice broke into the patois she Upon hearing his full name, Chris to me, the man said. But I could see usually kept hidden under her tongue. would usually have run to hide. In- the devil behind his eyes and there “Why did you do that?” Deidre stead, he stood still at Phaedra’s feet, was no way I was going to hand my asked Chris. her shade from the noon high sun. baby girl over to him. Just give me “Mummy said wail woman head Chris looked down at Phaedra, trans- one more day with my baby before can’t break,” Chris said, incredu- fixed and still mumbling to himself. you wash her in the blood, I told him. lously, over and over again. Blood Mrs. Loving took Phaedra’s head One more day before you feed her seeped out of Phaedra’s head and in her lap and let the blood soak to the demons. merged with the Hill’s red dust. her white dress. She slapped at For the first time, Phaedra was Deidre thought about shaking Phaedra’s face, coaxing her to stay unsure of where her thoughts ended Chris, but took off instead up the Hill awake. “Come now, child, don’t and others began. Her grandmother with Andre trailing behind her. She let sleep take you. I’m not ready to had warned her that one day she pressed her hands to her breasts to lose any more children.” would have to learn how to turn still the shaking there. She’d long Finally, Phaedra opened her eyes. down the volume on everything that since outgrown the training bras that “Mummy, what happened? Every- came from outside so she could hear she’d brought with her; the home- thing’s starry.” The words were sharp herself be. Now, that day had come. made ones her grandmother had pebbles in her mouth. A. Naomi Jackson is a writer born and raised and sewn lay unused at the bottom of “Hush, child, hush. Mummy’s not Brooklyn. She will begin the fiction program at the Iowa Writers’ Workshop fall 2011. her dresser drawer. here, but she soon come,” Mrs. Lov- Deidre and Andre swept past the ing whispered. “Everything’s going church and stopped at the rectory, to be all right,” she said, still cradling a white clapboard house with a view and hushing her. of all the other houses on the Hill. Phaedra looked up into Chris’s The boys’ mother, Mrs. Loving, was long shadow and knew for sure that Summer/Fall 2011 42 If you like...

by Tasha Parker

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Kerry James Marshall Nathaniel Donnett Born 1955, Birmingham, AL Lives and works in Houston, TX Lives and works in Chicago, IL Broad Caste Systems, 2010 SOB, SOB, 2003 Courtesy Jenkins Johnson Gallery, Courtesy the artist and Jack Shainman New York Gallery, New York

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Kara Walker Toyin Odutola Born 1969, Stockton, CA Born 1985, Ile-Ife, Lives and works in New York, NY Lives and works in San Francisco, CA

Untitled, 2009 Letting the Ring Finger In, 2009–10 Courtesy Sikkema Jenkins & Co., Courtesy the artist and Jack Shainman New York Gallery, New York Beyond 43

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Laylah Ali Devin Troy Strother Born 1968, Buffalo, NY Born 1986, West Covina, CA Lives and works in Williamstown, MA Lives and works in Los Angeles, CA

Untitled, 2000 Keep It In Line & Everything Will Be Fine, 2011 Courtesy 303 Gallery Courtesy Richard Heller Gallery, Santa Monica

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Wangechi Mutu Firelei Báez Born 1972, Nairobi, Kenya Born 1980, Santiago, Dominican Republic Lives and works in Brooklyn, NY Lives and works in New York, NY

Magnificent Monkey-Ass Lies, 2004 Ciguapa Habilis, 2010 Museum purchase with funds provided by the Courtesy the artist Acquisition Committee and a gift from Jerome Stern, New York 04.13.4 Summer/Fall 2011 44 Preview Glenn Ligon’s Yourself in the World

3. Another quotation by Hammons— flashlight and from those of other this time from a 1993 interview with people walking around in the space Deborah Rothschild, curator at the with you. Williams College Museum of Art. When talking about Turrell, Ham- In reference to James Turrell, mons said, “We’re too oppressed Hammons says: for me to be dabbling out there,” and Turrell, he’s on a different wave- “I want to get to that, I’m trying to length. He’s got a completely different get to that, but I’m not free enough vision. Different than mine, but it’s yet.” The movement to “get free,” to beautiful to see people who have a cross boundaries, is what’s interesting vision that has nothing to do with in Hammons’s recent work, in partic- presentation in a gallery. I wish I could ular its radical dematerialization over make art like that, but we’re too the last several years. But let me re- oppressed for me to be dabbling out ject a reading of Hammons’s project there. . . . I would love to do that that sets up too strict an opposition because that also could be very black. between “free” and “not free,” “mes- You know, as a black artist, dealing sage” and “post-message,” objects In conjunction with the exhibition just with light. They would say, “How in and dematerialization, “white” work Glenn Ligon: America, Yale University the hell could he deal with that, com- (Turrell) and “black” work (Hammons). Press and the Whitney Museum of ing from where he did?” I want to For one, Hammons’s work has never American Art are publishing Yourself get to that, I’m trying to get to that, been “on point” because it’s always in The World, the first-ever compila- but I’m not free enough yet. I still feel too Fellini, too carnivalesque, too tion of Glenn Ligon’s writings and in- I have to get my message out. damn freaky-deke to be useful as terviews, edited by America curator Ten years after that interview a set of cheering fictions, an expres- Scott Rothkopf. The book begins with Hammons indeed figured out how to sion of an essential, unchanging “Black Light: David Hammons and the make light “very black” for Concerto blackness, or a standard-bearer Poetics of Emptiness,” the first of a in Black and Blue, his exhibition at for some multiculturalist agenda. number of articles that propelled Ace Gallery in New York.3 At the What to make, for example, of a Ligon into “the ranks of ‘artists who entrance to the gallery visitors were work like Flying Carpet, 1990, where write about art.’” 1 given tiny pressure-activated LED fried chicken wings are attached “Black Light” comprises seven flashlights no bigger than gumballs. with fish hooks to a Persian carpet riffs, each centered around a quote, When the flashlights were clicked on hanging on the wall? Or Traveling, recollection or anecdote. It address- they gave off a blue light, which last- 2002, a drawing made by bouncing es Hammons’ work specifically as ed until the pressure was released. a basketball covered in Harlem dirt well as the broad and sometimes Visitors were ushered through a on a piece of paper with a suitcase problematic construct of “African- door into the main gallery space, stuck behind the frame pushing the American Art,” which Ligon calls “a which comprised more than twenty drawing off the wall: playground noisy cul-de-sac at the end of a long thousand square feet spread over virtuosity, nomadism, performance and winding road that lots of folks several rooms with twenty-five-foot art, and Rauschenberg’s tire print, are curious about but only want to ceilings. The gallery was completely all elegantly rolled into one? Also, visit during the summertime.”2 Here dark. And what was in that twenty- it would be a misreading of Ham- we reproduce #3 and #7. Pick up a thousand-square-foot space? Noth- mons’s project to describe it as a copy of Yourself in the World at the ing. It was completely empty except linear movement toward demateri- Museum Store to read more. for the blue light emitted from your alization, for that doesn’t take into Beyond 45

consideration earlier pieces like suggestion that Hammons could Cold Shoulder, 1990, giant blocks of write a masterpiece with one-syllable ice with coats thrown over them, or words, and it pointed me toward Bliz-aard Ball Sale, 1983, where the the one-syllable words in the work’s artist sold snowballs on the streets of title: “black” and “blue.” “What did New York, or more recent pieces like I do to be so black and blue,” or Global Fax Festival, 2000, an empty “the blues,” or Amiri Baraka’s “Blues exhibition hall with ceiling-mounted People,” or “Kind of Blue,” or “Say it machines spewing faxes, or his Flash- Loud . . . ,” or “Fugitive Blue,” or “Blue light Drawing, 2000, which records on Blue,” or “Black is the color of my the movement of a flashlight in a true love’s hair,” or “I wear black on darkened room. Process, ephemeral- the outside, as black as I feel on the ity, and transformation have always inside,” and on and on and on. You been part of Hammons’s work. In a went into the show looking for the word: Lightness. art, but you came out having been the art. What’s there is what we bring David Hammons Concerto in Black 7. One last David Hammons quote: to the space. Blackness is a transient and Blue, 2002 I like being from nowhere; it’s a hotel, as a drawing by William Pope.L Installation view, Ace Gallery, beautiful place. That means I can suggests. If blackness is a construct, New York, 2002 look at anyone who’s from some- then we are all construction workers, where and see how really caught and what Hammons has done is to they are. provide the space in which black- Sun Ra wasn’t from here either— ness can be constructed in light, like “here” meaning Earth. He also wasn’t the famous photo of Picasso drawing human. “I’m not real,” he says in a centaur in the air with a flashlight, a 1974 film, to a group of black except this time it’s us with our children. “I’m just like you. You don’t little blue flashlights, signaling one exist, in this society. If you did, your another in the dark. What was black people wouldn’t be seeking equal about Concerto in Black and Blue rights.” For Sun Ra—and for Ham- is whatever you think blackness is, mons—not being from here is a whatever you brought to it, and what movement toward placelessness, you did with what you brought when toward the utopic, the posthuman, you got there. and a deep critique of American society. Their genius was to employ “Black Light: David Hammons and the Poetics of Emptiness” first appeared in Artforum 43 a postmodern concern with the (September 2004): p 242-49. © Artforum, emptying out of the self as a critical 2004. Reprinted with permission of the author and Artforum. strategy, one that might have par-

ticular resonance with a people historically positioned at the margin 1. Glenn Ligon, “Foreword,” Yourself in the World, of what was considered human. ed. Scott Rothkopf. (New Haven: Yale University Press, 2011), iv. Hammons says light could be 2. Ligon, “Black Light” in Yourself in the World, 2. “very black,” but how to reconcile the desire to be from nowhere, to 3. Concerto in Black and Blue was on View at Ace Gallery, (date) to February 1, 2003. have no identity and no personality, with the desire to make light “very black,” when “black” is suggestive of a particular history, culture, and practices? What, for example, made Concerto in Black and Blue “very black” as opposed to merely “dark”? Well, nothing really, at first. But then I remembered a friend of mine’s Summer/Fall 2011 46 Studio Visit Angel Otero

by Dominic Hackley

Working in his sunlit Ridgewood offers the viewer an experience of a studio, Angel Otero (b. 1981) pro- painting that is not dictated by his duces three or four new oil paintings initial inspiration, often a memory of on glass each day. After drying, he his family. Though many of Otero’s scrapes the paintings off the glass paintings begin as depictions of (creating “oil skins”) and applies family members and past experi- them to large, resin-coated can- ences, he insists that they “are not vases. The process results in the meant to be narratives about my rippled, semi-abstract paintings that family.” Otero’s fondness for chairs characterize the artist’s signature is apparent in both his painting and style. Otero stumbled upon this sculpture work. “I haven’t figured out unusual technique while at the Art why I’m so attracted to chairs, but I Institute of Chicago, where he saved find myself painting them a lot and scraps of dried oil paint and col- incorporating them into many of my laged them on to canvas in an effort sculptures.” In Up All Night (2011), a to save money. “I didn’t have the sculpture spawned from a memory courage to throw [the scraps] away of returning home to a very angry because oil paint is very expensive mother after being out all night, Angel Otero and I was dead broke,”1 he remarks. Otero impales a Victorian chair Up All Night , 2011 Courtesy the artist Heavily influenced by artists Mark with wooden rods covered in oil and Lehmann Maupin Bradford (b. 1961), Robert Rauschen- paint skins. Gallery, New York berg (1925–2008), and Gerhard Recently, Otero has been ex- Richter (b. 1932) Otero’s use of text perimenting with variations on his manipulation and image distortion process by eliminating the can- vas. After the scraping is finished, the complete oil-skin painting is mounted and framed. “I think the results of this experiment are pretty successful and really cool,” he com- ments proudly while posing with the neon-yellow, text-based painting Volar (2011). Otero’s work has garnered much- deserved attention and acclaim. I look forward to the evolution of his craft and the continued success of his ca- reer. This summer, check out Otero’s newest work in El Museo del Barrio’s sixth biennial, The (S) Files 2011, on

Angel Otero Angel Otero view through January 8, 2012. At 11:11pm I’m Still Asking Photo: Dominic Hackley for the Same Thing, 2011 1. All quotes from Angel Otero, in conversation Photo: Dominic Hackley with the author, April 15, 2011. Beyond 47 Studio Visit Maren and Ava Hassinger

by Allison Channing Jones

Maren Hassinger and Ava Hassinger performing during Flux This! on March 25, 2011 at The Museum of Modern Art, New York Photo: Paula Court Copyright the Museum of Modern Art

Maren Hassinger (b. 1947) is no in a project at the Museum of stranger to collaboration. The artist Modern Art (MoMA) that the right has a longstanding partnership with opportunity arose. Senga Nengudi (b. 1943) and has In celebration of the Fluxus worked with (b. movement, MoMA asked artist 1947) and Ulysses Jenkins (b. 1946), Pope.L (b. 1955) to organize a among others. But her latest collabo- day and a half of Fluxus-inspired ration is markedly different from the workshops and performances. rest. This time, the artist is working Pope.L gathered a list of seminal with her daughter, Ava Hassinger. performances by Fluxus artists Born in 1986 in New York, Ava and invited contemporary artists Hassinger is a curator and an artist to respond. Maren chose Eric in her own right. In 2008, she Andersen’s (b. 1940) Opus 9 (1961) received a BFA in Photography and (“Let a person talk about his/ Imaging from the New York University her death”) but decided to invert Tisch School for the Arts, and she Andersen’s directive to create recently co-founded The Project a piece that would lead to the Collective, a community based contemplation of life, rather than emerging artists and musicians inita- death. While crafting her response, tive. While Ava’s artistic practice has Maren reached out to Ava, who largely been separate and distinct she describes as “more concerned from her mother’s, her appreciation with images” whereas Maren is of Maren’s work led to an interest more interested in “movement and in collaboration. However, it wasn’t space”. As they exchanged ideas, until Maren was invited to participate their first collaboration emerged. Summer/Fall 2011 48

Maren Hassinger and Ava Hassinger performing during Flux This! on March 25, 2011 at The Museum of Modern Art, New York Photo: Paula Court Copyright the Museum of Modern Art

The resulting piece, SEE LIFE, was the audience, so that the viewers’ weaving around traffic. As Leigh later an interactive workshop and multi- own facial features were projected recounted, the gesture was simple media performance. During the in large scale on the screen before but the impact was great. “I just love workshop portion, Maren and Ava them. The objective, the artists the economy in Maren’s work,” Leigh installed mirrors in a classroom in stated, was to explore life, kinship says. “She engages with so little— MoMA’s education building and and visual likeness to discover a newspaper and movement—her work invited visitors to examine them- greater sense of connectedness. is ferociously economic and to the selves and compare their physical Following the success of their point. Ava and Maren transformed characteristics with those of the art- first collaboration, the mother and Grand Street and we will forever be ists and other participants. Later that daughter teamed up again soon after grateful to have witnessed the begin- day, the work moved to a theater for another interactive performance. ning of their work together.”1 space for a performance that further The occasion was the third install- Indeed, this is just the commence- explored physical semblance. Maren ment of “Be Black Baby a House ment of Maren and Ava’s artistic part- and Ava stood a few feet apart, and Party Presents,” an exhibition series nership—which they have named two cameras stationed in front of at Recess Activities Inc. in Soho, “Matriarch”—and they anticipate each sent a live feed that was pro- organized by current Studio Museum much more to come. As both mother- jected onto a screen behind them. artist in residence Simone Leigh and-daughter and artists with immense Mirroring one another, they danced (b. 1968). This iteration, co-curated respect and admiration for one anoth- in ways that accentuated particular by former Studio Museum Assistant er’s work, this unusual collaboration is body parts, complementing each Curator Naomi Beckwith, prompted sure to yield remarkable results. other’s movements. As the feed artists to respond to activist and alternated from one camera to the writer Emma Goldman’s (1869–1940) 1. Simone Leigh, email message to author, April 21, 2011. other—focusing on Ava’s fluid move- famous statement, “If there’s no ments and then Maren’s—it formed dancing at the revolution, I’m not a comparison of their physical like- coming.” Charged with this task, nesses. All the while, the ethereal Maren and Ava presented a twenty- sounds of an original composition minute performance, Dancing in the specially produced by Walrus Ghost Street (2011). While a soundtrack for the occasion reverberated including 1960s hits by The Shirelles throughout the room. Maren and and Martha and the Vandellas Ava concluded the performance by played, the two danced in front removing the cameras from their of the gallery, inviting viewers and tripods and directing them towards passersby to join and, at times, Beyond 49 Happy 80th, David Driskell!

by Nora Woodin, Research Fellow

The Studio Museum is pleased to folk traditions. His oeuvre covers a wish David Driskell a very happy range of media, including printmak- eightieth birthday, with enormous ing, collage, painting and drawing. gratitude for his outstanding contri- Nature is often the subject of his butions as a preeminent professor, work as a means of exploring spiritu- historian, curator and artist. ality and personal experience. Other Born in Eaton, Georgia, on June works include iconographic and geo- 7, 1931, David Clyde Driskell was metric forms that reference the art instilled with the essential belief in of Africa but are reappropriated with education at an early age. In 1950 he his individual as well as collective began his undergraduate studies at American sensibilities. As Driskell Howard University where, under the explains, “Part of the message that tutorship of James A. Porter (1905– I desire to communicate in my art is 1970), his focus quickly turned to art. that I am a Black American. I have In 1962 he received his MFA from experienced the haunting shadow of Catholic University of America and an African past without knowing its Photo: John Woo thereafter embarked upon a career full richness. I am American.” of teaching in art and art history. Driskell has been the recipient As a professor and historian, of countless awards and honors Driskell transformed the field of throughout his career. The University African-American art with curricula of Maryland appointed him Distin- that expanded its historical narrative guished University Professor in and cultivated the next generation 1995 and established the David C. of artists and scholars. He taught at Driskell Center for the Study of the Howard University (1962–66), Fisk Visual Arts and Culture of African University (1966–77) and the Universi- Americans and the African Diaspora ty of Maryland (1977–98). Throughout upon his retirement in 1998. In 2000 each of these positions, Driskell cu- he was awarded the National Humani- rated pioneering art exhibitions and ties Medal from President Clinton published numerous books, articles and, in 2007, the title of National Aca- and catalogues. In particular, his 1976 demician from the National Academy. exhibition at the Los Angeles County Museum of Art, Two Centuries of Black American Art: 1750–1950, and accompanying catalogue helped so- lidify his legacy. The groundbreaking show realized his goal of integrating African-American art into the canon of American art history. Driskell has also achieved enor- mous acclaim as a studio artist. Favoring an aesthetic of saturated colors and overlaid forms, Driskell blends modernist abstraction and Summer/Fall 2011 50 For Whom the Bell Curves

by Pulane Mpotokwane, Winter 2011 Public Relations and Publications Intern

Golden yokes adorn necks dignified and burdened, heavy with the chains of trade against a bleached background, shushing the quiet noise of the passage.

Dig farther. A golden chain holds the shimmer of your name. Gently curving, swaying, quietly screaming an intertwined, hanging chorus on a whitewashed sea.

These are different necks, but some of the chains – some of the chains remain the same.

Robert Pruitt For Whom the Bell Curves, 2006 Museum purchase made possible by a gift from Rena Bransten, San Francisco and a gift from Burt Aaron 06.14.1 Beyond 51 Dispatch: California

by Rujeko Hockley

Headlands Photo: Louis M. Schmidt

As a New Yorker, making the move to San Diego was my destination, versity of experience in its multitude. California was difficult. It seemed an and at first it seemed just a sprawling Similarly, I have been pleasantly alien place, unfamiliar and unwel- suburban city of swaying palm trees, surprised by the number of exciting coming. The landscape was arid and crisscrossing freeways and people cultural institutions, thriving arts- forbidding, and temperatures fluctu- isolated in their cars. It did not have related businesses and nonprofits, ated wildly—I was quickly acquaint- the supposed glamour and glitz of and other random places of interest ed with the two seasons of Southern Los Angeles, or the counter-culture I have come across up and down California: day and night. This was allure of San Francisco. Instead, it the coast. not a landscape for whiners, a truth had beaches and the military—at What follows is a semi-trans- borne out even in the vegetation: least in the popular imagination. But, planted New Yorker’s suggestions water-retaining succulents, spiny as I have found out over the last two of places to hit up in San Diego, Los prehistoric cycads, shockingly color- years, there is much more to each Angeles and San Francisco. It is by ful sprays of hardy desert wildflow- of these cities. Narrow first impres- no means a complete guide, and it ers Image 1 (page 52). Add to this my sions and superficial reputations do is without a doubt entirely biased. distaste for driving and a sneaking not tell the whole story. Though my However, a little insider knowledge suspicion that all I would find in the unshakeable belief in the virtues of makes all the difference when you’re way of culture was Us Weekly and walking and public transportation in a new place. New York will always self-tanner, and you can see why I persists, I have come to appreciate be home, but in the meantime I’m was worried about adjusting. the vastness of the state and the di- on a California adventure! Summer/Fall 2011 52

SAN DIEGO Balboa Park | balboapark.org Balboa Park is San Diego’s , albeit with fifteen museums, beautiful gardens, indoor and out- door performance venues, hiking trails, the San Diego Zoo, and more. It is simultaneously a place to go for a walk, visit the dog park or sun- bathe, and a place to hear lectures (Deborah Willis recently spoke at the San Diego History Center), learn about the cosmos (at the San Diego Air & Space Museum) or view works of art (at the Museum of Photograph- Image 1 Image 4 San Diego wildflowers ic Arts, the Timken Museum of Art or Jennifer Steinkamp, Madame Photo: Rujeko Hockley the San Diego Museum of Art). Curie at MCASD Downtown Photo: Rujeko Hockley Chicano Park | chicano-park.org In the mid-1960s, San Diego embarked on two major construction tables and benches, and decorated projects: Interstate 5 and the the concrete pylons with vibrant Coronado Bay Bridge. When com- murals—it’s an ongoing process. pleted, they bisected Barrio Logan, Too few visitors to San Diego get a predominantly Mexican-American to Chicano Park, which is a shame neighborhood. Although the com- considering it is such a historic munity was heavily impacted, there and striking landmark! Image 2 was little dialogue and no compen- sation. In defiance, community mem- Museum of Contemporary Art Image 2 Chicano Park bers staged fierce protests, forcing San Diego | mcasd.org Photo: Louis M. Schmidt the city to give them the land beneath The Museum of Contemporary Art the freeway to create Chicano Park. San Diego is the city’s only museum They planted gardens and installed dedicated exclusively to contem- porary art. With two locations, its people put on a wide range of exhi- bitions and play an integral role in San Diego’s arts community. Recent noteworthy events include lectures by William Kentridge (b. 1955) and Robert Storr; the 2010 exhibition Viva la Revolución: A Dialogue with the Urban Landscape, which featured work by (b. 1961), (recently on view at the Studio Museum) and William Cordova (b. 1971, 2004–05 Studio Museum artist in residence); and the current exhibi- tion Jennifer Steinkamp: Madame Curie. I’m looking forward to the upcoming Pacific Standard Time Image 3 exhibition, Phenomenal: California Nancy Rubins, Pleasure Point at Light, Space, Surface! Images 3,4 MCASD La Jolla Photo: Rujeko Hockley Beyond 53

Dispatch CA

LOS ANGELES Skylight Books | skylightbooks.com One of the things I miss most about New York is the independent book- stores. The experience of wandering idly down the street and popping into an enticing bookstore to browse Image 5 is, sadly, not easily had in Southern Recent finds at Skylight Books California. Enter Skylight Books. Photo: Rujeko Hockley Located in Los Feliz, it fulfills all my bibliophile needs. There’s a general store stocking the usual fiction, non- fiction, children’s books and more, as well as an Arts Annex next door Watts Towers | wattstowers.org | where you can find art books, exhibi- wattshouseproject.org tion catalogues, graphic novels, The Watts Towers were created by an magazines and more. Image 5 Italian immigrant named Simon Rodia (1875–1965) who settled in the Watts Ooga Booga | oogaboogastore.com neighborhood. Motivated by a desire Ooga Booga is a gallery/art/book/ to “do something big,” he spent over clothing/music/everything shop in thirty years (1921–54) working on this Los Angeles’s Chinatown. Packed iconic monument. Almost a hundred into a teeny space above a delicious feet tall, the towers are made of steel bakery, the store organizes exhibi- girders and mortar inlaid with bits tions and regular parties, and sells of found glass, shell, ceramics, tile Image 6 everything from zines, glossy art and stone, and was made without Watts Towers books, scholarly works and artist- Photo: Rujeko Hockley heavy machinery. The site is a National commissioned prints to mixtapes, Historic Landmark and has inspired one-of-a-kind jewelry and highly several cultural projects in the com- covetable heels and/or sneakers— munity, including the Watts Towers depending on your taste. My recent Arts Center, which offers guided purchases include a back issue of tours and other public programming, Chimurenga magazine and a back- and organizes exhibitions, an artist pack; recent coveted items include residency and annual festivals. Also a tie-dye cutout dress and a gor- inspired by the work is the Watts geous Bas Jan Ader catalogue. House Project, an “ongoing, collab- Their online shop, while lacking the orative artwork in the shape of a tactile experience of squeezing past neighborhood redevelopment” fellow patrons and display shelves, directed by artist Edgar Arceneaux is also excellent! (b. 1972, included in several past Studio Museum exhibitions). The Watts Towers are definitely a Los Angeles must-see! Images 6+7 Image 7 Watts Towers Photo: Rujeko Hockley Summer/Fall 2011 54

SAN FRANCISCO Headlands Center for the Arts | Marcus Books | headlands.org marcusbookstores.com You can find the Headlands Center Marcus Books has been around for for the Arts just over the Golden over fifty years, making it the oldest Gate Bridge, on the other side of a independent black bookstore in single-lane tunnel that bores through the country, according to the propri- a mountain. It is only twenty minutes etors. Stocking “books about black outside the city, but the quiet and people everywhere,” they have two

Image 8 contemplative atmosphere and stun- Bay Area locations. I went to their Headlands ning coastal setting make it literally Oakland branch one evening as Photo: Louis M. Schmidt feel a world away. A nonprofit arts they were setting up for a reading. organization, Headlands hosts a There, I found a copy of ’s range of public programs including seminal text Women, Race and Class lectures, exhibitions and perfor- and a warm and welcoming atmo- mances. Most notably, they run an sphere that transported me right artist-in-residence program that back to Harlem. They say Oakland offers support of some kind to up to is the West Coast’s Harlem, and I fifty artists annually. Past residents think there might be some truth to who have been exhibited at Studio that. I felt right at home! Image 9 Museum include Hurvin Anderson Park Life | parklifestore.com (b. 1965), (b. 1970), Located in the Inner Richmond, (b. 1959) and Shin- Park Life is a store and art gallery. ique Smith (b. 1972), among others. The store sells an eclectic range of Additionally, the Marin Headlands art-related items, including books Hostel just down the road is a de- (exhibition catalogues, academic lightful place to stay—board games texts, artist books and graphic design), and books galore, no TV, and no design objects, housewares, prints cell phone reception! and original works of art. Meanwhile, Image 9 Images 8 + 10 A bag from Marcus Book Stores, they also self-publish books and Photo: Rujeko Hockley catalogues, and operate a gallery in the back showcasing emerging and established contemporary artists. I’m looking forward to their summer show—a two-person show of individu- al and collaborative, mostly drawing- based works, by artists Sadie Barnette and Ian Johnson. Image 11

Rujeko Hockley is a writer, curator and student currently pursuing a PhD in art history at the University of California, San Diego. She advises you to always dress in layers when in California.

Image 10 Image 11 Headlands Center for the Arts Park Life Photo: Rujeko Hockley Photo: Louis M. Schmidt Beyond 55 Remembering Edouard Glissant

by Derica Washington, Director’s Office Intern

Acclaimed Martinican poet, scholar tural relationships as a fundamental and novelist Edouard Glissant’s element of identity, in opposition to (1928–2011) work illuminated the the concept that identities emerge complexities of the colonial condi- from singular, nationalist roots. tion in the Caribbean and through- Glissant belonged to a generation out the African diaspora. Born of Caribbean intellectuals, includ- September 21, 1928, in Sainte-Marie, ing Frantz Fanon and Aimé Césaire, Martinique, Glissant has become a who carved out a formidable space major influence in Caribbean and for thinking about and through the postcolonial literature as a writer Caribbean as a crucial site of the cul- and theorist. His oeuvre includes tural development of the Americas. eight novels, nine volumes of poetry, Glissant’s contemporaries and inheri- fifteen collections of essays and one tors remark on his legacy as one of play, cementing him as one of the the preeminent twentieth-century most important writers of the French French Caribbean scholars. He is Caribbean. Glissant received his PhD remembered by Anthony Bogues of in philosophy at Paris-Sorbonne Uni- Brown University, associate editor of versity, and then studied ethnology at Small Axe and an associate director Photo: Jacques Sassier the Musée de l’Homme. He split his of the Center for Caribbean Thought time between Martinique, Paris and at the University of the West Indies, New York. In 1989, he obtained a post Mona. “Glissant opened an intel- as distinguished professor at Louisi- lectual space in which literature ana State University and later left to could be worked through as history,” teach at the City University of New Bogues states.1 York, where he continued to teach Glissant has been widely recog- until his death on February 3, 2011. nized and his work has been studied In the 1950s, Glissant began his closely. A brilliant visionary, activist prolific literary career, publishing his and scholar, his legacy lives on and first collection of poems, Un champ has been the subject of study for d’iles (1953), and his first novel La many scholars. For further reading Lezarde (1958). Motivated by the on Glissant, see J. Michael Dash’s Ed- complexity of blackness and identity, ouard Glissant (1995) and Celia Brit- Glissant looked away from Africa ton’s Edouard Glissant and Postcolo- and into the diaspora as a harbor for nial Theory: Strategies of Language Carribbean and New World identities and Resistance (1999). in the Americas. He posited the no- tion of Antillanité, the presence of a 1. Anthony Bogues, e-mail message to the author, May 3, 2011 distinctly Caribbean identity, during the waning of Négritude, a move- ment that characterized diaspora identities as firmly rooted in African culture. Furthermore, Glissant’s theory of creolization positioned the fusion of multiple linguistic and cul- Summer/FallEvents 2011 56 Target Free Sundays

Thanks to the generous support of Target, Museum admission is free every Sunday. Target Free Sundays reflects a shared commitment to engage the community and offer a vital cultural experience to all. To learn more about upcoming events, visit studiomuseum.org/event-calendar Features 57 Features Summer/Fall 2011 58 My Harlem: Cash for Gold by William Armstrong, Development Assistant

The glow of a Harlem brownstone, as it is cooled by the asked to have tea with him while here for the 1976 Bicenten- evening, is what I look forward to on my daily meanderings nial. Not only has his living room hosted tea with a queen, around Harlem. I like to believe that each brownstone but his home was also once a pop art house in the 1970s represents a chapter in the illustrious . (evidenced by the hot pink radiator in the living room). While walking on my daily commute to work, I look for a Thometz bought the home from a fellow rare book dealer, story in each brownstone I pass. Multiple doorbells tell he told me, before quickly rattling off the history of his me which ones are now apartments and iron gates reveal home and the surrounding community. He told me which newer buildings, while differences in decay lead me to jazz legend, black leader or artist lived where, and guided suspect whether additions had been made to the exterior. me through the history of the oldest home in Manhattan— While growing up in the suburbs of Maryland, the most ex- the Jumel Terrace mansion directly across the street. citing neighborhood observations I could make were newly After a tour of the four libraries in his home, he led me paved speed bumps—so imagine how my affection for to the bookstore on the ground floor. city architecture has replaced the vinyl siding I’m used to. Thometz selects what he sells based on who lived in There's always something new to arrest my attention: the neighborhood. To him, the bookstore is more for the an art gallery hidden here, a bakery, barbershop or small community and socializing than for a source of income. boutique there. The beauty of a brownstone mixed with Organized by categories such as R&B, Autobiography, the energy of a local business reinforces why I love Harlem Art, Drama, etc., the selection is so overwhelming I had an so much. It's invigorating when you find something that extremely hard time making a choice. Caught between can only be found in your community. As if collecting pieces his rarest book, The Confessions of Rick James: Memoirs of a of gold, I wander, capturing experiences only I can keep. Super Freak, and his best seller I Was a White Slave in Harlem, My most recent treasured experience lead me to up- I came away with three relatively cheap and rare finds: town’s only antiquarian bookstore, Jumel Terrace Books, Time on Two Crosses: The Collected Writings of in Harlem’s historic Sugar Hill district. In a beautiful 1891 ($45), I Was a White Slave in Harlem ($35) and Beware ($50), brownstone, which also functions as a bed and breakfast, a catalogue of work from artist Michael Ray Charles Kurt Thometz has one of the most fascinating homes in (b. 1967). I truly paid cash for gold, not only walking away Harlem. Thometz’s home was once owned by Dr. Thomas with chapters in books, but also unlocking one of Harlem’s Matthews, the first black neurosurgeon to graduate from many brownstone chapters. Harvard Medical School. His reputation was so prominent- For more information, visit jtbandb.wordpress.com and ly known throughout New York that Queen Elizabeth II jumelterracebooks.com Features 59

All photos William Armstrong Summer/Fall 2011 60 In the Studio with the 2010-11 AIRs

As they prepare for their summer exhibition, Evidence of Accumulation, 2010-11 artists in residence Simone Leigh, Kamau Amu Patton, and Paul Mpagi Sepuya take a moment to share a bit of their experience thus far. Features 61

1 Video still from soda/ salt kiln firing with Reed Fahnestock at Watershed Center for the Ceramic Arts in Newcastle, Maine. Courtesy the artist.

2 + 3 Simone Leigh Ceramic cowrie shell (material for All That Glitters [after Brenda Fassie], 2011) Courtesy the artist

1

2 3 Simone Leigh

This year was marked with by the passing of Poly Styrene, said, “One malicious columnist, wrote that I look like a lead singer of British punk rock band X Ray Spex. “I chose horse. And some people say that I am ugly. I don’t want to the name Poly Styrene because it’s a lightweight disposable be beautiful. My ugliness has taken me to the top. I have product . . . that’s what pop stars are meant to be, and proved that I have style, and all that glitters is not gold.”2 therefore I thought I might as well send it up,” she said in a For the installation, I made cowrie-shell–like objects 1978 interview.1 As we now know, polystyrene has proved with molds made from a cast of watermelons. These objects to be anything but an easily disposed product. This highly were created via a firing process that produces a glossy, durable toxic substance has contributed to widespread orange-peel–like texture formed by throwing common environmental degradation. I hope to bring the irony and salt into the kiln when it attains the highest temperatures. humor of Poly Styrene’s statement to my sculptural objects Sodium from the salt reacts with silica in the clay body to of heavy, durable materials, such as clay, iron, and salt. form a glassy coating of sodium silicate. During this residency, I returned to experimenting This year, working within a museum dedicated to with atmospheric firings, a term that refers to the type and African-American art, has led me to think about African- quality of air in a kiln during the firing process. The creation Americana, such as face jugs created by slaves in the South. of such an environment, where clay bodies interact with These grotesque pots are part of an array of diasporic the atmosphere often results in unpredictable and varied modes of production that I’m interested in. At the same surfaces, colors and textures, depending on the object’s time, I continue to think about AfriCobra aesthetics placement within the kiln. I have found these kinds of like the quality called “shine”—a quality in work that firings both formally and metaphorically rich. glistens like the luster of a “freshly washed Afro.” I draw Last fall and this spring I traveled to Watershed Center inspiration from shine as an aesthetic that develops from for Ceramic Arts in Maine to fire in a soda/salt kiln. I created an exploration of the body and how it is constructed via objects for my current installation All That Glitters, with intimate everyday rituals in domestic space. reference to Brenda Fassie (1964–2004). Fassie was an iconic singer known as the Queen of South African pop. Her popu- 1. Who is Poly Styrene?,,(1978; London, British Broadcasting Corporation). larity was often attributed to her illuminating wit. She once 2. Njabulo Ndebele, “Thinking of Brenda.” Chimurenga, no. 1 (2000). Summer/Fall 2011 62

Kamau Amu Patton The Aberrant Form in the Infinite Field of Possible Outcomes Is Insistent, 2011 Courtesy the artist

Kamau Amu Patton

If one proceeds with intention, in a general direction, day will establishing a particular atmosphere. Lately I’ve been follow night and so on. Having embarked upon a coherent experimenting with ways to photographically reimage my production, the movement is toward an image of the intended installation and sculptural work. I guess I’m trying to capture destination, recognizable to a degree consistent with the outcome the aura of the moment and present that as an analog to the imagined. It is true that such measured processes manifest ex- original. I think of these images as repetitions, other-spaces, pected results. Then, there is noise and distortion. The aberrant mirror images, copies or new iterations of the original. form in the infinite field of possible outcomes is insistent. I think The image above is an example of the necessity of this form that this is the fundamental question. Compelled in the direction of repetition in my work. I built a mirrored wall sculpture of introspection does one choose to recognize only the state or that I designed to function as an object to sculpt reflected conditions that meet the intended objective? Or does one push light. The finished work fell off of the wall. The event the limits of the system and allow the process to communicate captured is a moment of failure. It is an event that defies beyond the range of intention? The criteria for failure are a mat- inclusion in most institutional settings. For me the image/ ter of individual perspective. They are dependent on the context repetition of the event allows for the concept of failure to of use. Existing as such, within a floating frame, I accept myself exist in a form that has enough distance from the original as a reference point and allow for differential outcomes and to support contemplation. The actual failure, through an unanticipated appearances. image repetition, becomes a representation of the concept In my work I am concerned with the construction of of failure. Pushing this forward, the concept expands to space. I then fill this space with objects as a means toward considerations of improvisation and chance in my practice. Features 63

Paul Mpagi Sepuya Studio, April 5 (detail), 2011 Courtesy the artist

Paul Mpagi Sepuya

This is an image of a print pinned to my wall, a detail of a larg- and inviting friends to spend time and have their portraits er, linear, evolving edit of portraits and snapshots that I have made as well, in formal setups as well as snapshots. Each installed along several walls of my studio. The central print portrait is constructed amid the unfinished editing process in this image is of a self-portrait taken while arranging images of the works that preceded it, and in reference to the other along the line. The print itself has taken the place along the images that surround us. wall of the framed portrait being arranged in the image. I make portraits, snapshots and text-based works mainly in During my Studio Museum residency, I am exploring photography, about the pleasures and burdens of portraiture. how the studio environment, as the site of reflection The portraits are of the people in my life and my projects focus on “after-the-fact,” affects the initial act of making itself, and the roles the camera, the act of portrait-making and the resulting its effects on the development of meaning and context image-objects play in the understanding of and construction of the resulting image-objects. Brian O’Doherty suggests of friendship, sex and intimacy. The portrait does not claim an this in his 2006 essay, “Studio and Cube”: objective record of the subject, as the portrait is by nature tied to The studio is more or less crowded with artworks, peri- my own desires and concerns. I use repetition and simple formal odically depleted as they migrate to the gallery. Artworks lie elements to set up a visual language to open the possibilities of around, parked, ignored in remote corners, stacked against reading the work, which is often presented in simple, nonnarra- the wall, reshuffled with the cavalier attitude allowed only to tive shelf installations. The presentation and installation of these their creator. As one work is worked on, the others, finished projects, involving un-fixed placement of these works on shelves, and unfinished, are detained in a waiting zone, one over the tables and floors, reflects my shifting views and relationship to other, in what you might call a collage of compressed tenses. the work over time. In treating photographs as objects I am mak- All are in the vicinity of their authenticating source, the art- ing works that must be “dealt with.” ist. As long as they are in his or her orbit, they are subject to alteration and revision. All are thus potentially unfinished. 3. Brian O’Doherty, Studio and Cube: On the Relationship Between Where Art is They—and the studio itself—exist under the sign of process, Made and Where Art is Displayed (New York: Princeton Architectural Press, which in turn defines the nature of studio time, very different 2007), 18. from the even, white, present tense of the gallery. 3 The Artists-in-Residence program is supported by the National Endowment for the In short, how does the accumulated experience in the Arts; New York State Council for the Arts, a state agency; Milton and Sally Avery Arts studio influence me as an artist and work that is continually Foundation; The Greenwall Foundation; Jerome Foundation; New York Community Trust and by endowments established by the Jacob and Gwendolyn Lawrence Trust made there? In this studio I have been making self-portraits and Andrea Frank Foundation. Summer/Fall 2011 64

by Allison Channing Jones Pacific Standard Time Features 65

1 In the often told narratives of the evolution of the arts in America, accounts of the celebrated post–World War II years when the country rose to dominance as a major pres- ence in the international art scene tend to revolve around New York. Too often untold are the stories of Southern California during that period, where the art scene flourished and gave rise to many of America’s notable artists and insti- tutions. In an effort to preserve and illuminate California’s rich artistic heritage, the Getty Foundation has provided over $5 million in grants to museums, libraries, archives and other cultural institutions throughout Southern California. This generous resource has funded an extensive research and programming initiative known as Pacific Standard Time: Art in L.A. 1945–1980, uniting more than fifty institutions— including virtually all museums in the greater Los Angeles area—in the largest partnership of its kind. From October 2011 through April 2012, this initiative will present a series of concurrent exhibitions that will examine the vibrant and prolific Los Angeles postwar art scene. The postwar era was a crucial period for African-Amer- ican artists in the Los Angeles area. Despite their exclu- sion from the collections and exhibitions of Los Angeles museums—save a few rare exceptions—they persisted in creating art and establishing platforms for their work to be seen. Two Pacific Standard Time exhibitions, at the Hammer Museum and the California African American Museum (CAAM), focus on the African-American community and illuminate different facets of its vital contributions to the Los Angeles art scene. The Hammer Museum will present Now Dig This! Art and Black Los Angeles 1960–1980, an expansive exhibition featuring the work of thirty-five artists and guest-curated 1 by Kellie Jones, Associate Professor in the Department David Hammons Bag Lady in Flight, c. 1970. of Art History and Archaeology at . Collection of Eileen Harris In the 1980s, Jones came to know many artists in New York— Norton, Santa Monica, California. Courtesy her hometown—who originally hailed from Los Angeles, the Hammer Museum, including Maren Hassinger (b. 1947), David Hammons Los Angeles (b. 1943) and Senga Nengudi (b. 1943). Jones’s effort to seek a greater understanding of the context from which these artists came—a distant community where their ideas and practices took shape—led to a prolonged academic investi- gation of the Los Angeles African-American art community. Her forthcoming book, Taming the Freeway and Other Acts of Urban HIP-notism: African American Artists in Los Angeles in the 1960s and 1970s, examines the subject. Jones always intended to do an exhibition based on her research, and when the Hammer approached her with an offer, she seized the opportunity. The resulting exhibition, Now Dig This!, explores the Los Angeles African-American art scene during the postwar decades through a narrative divided into four thematic sections. With a checklist count- Summer/Fall 2011 66

3

2

2 4 Charles White Love Letter #1, 1971 Private Collection. Courtesy the Hammer Museum, Los Angeles

3 Black Girl’s Window, 1969 Collection of the artist Courtesy Michael Rosenfeld Gallery, LLC, New York

4 Dale Brockman Davis Swept, 1970 Blocker Collection c/o Rick Blocker. Courtesy the Hammer Museum, Los Angeles Features 67 ing one hundred and forty works, the exhibition represents art, artifacts, photos and ephemera that will shed light on the output of a broad range of artists, both established and the cultural framework that made it possible for work by lesser known. Among the artists included are Fred Eversley African-American artists to be shown. (b. 1941), John Outterbridge (b. 1933), Noah Purifoy (1917- One institution that played a key role was Brockman 2004), Betye Saar (b. 1926) and Charles White (1918-1979). Gallery, founded in 1967 by brothers Dale and Alonzo Davis. Understanding the story of African-American artists in The brothers opened the gallery in Los Angeles’s Leimert Los Angeles in the 1960s and 70s requires an examination Park neighborhood to show their own work and that of of the political atmosphere of the time. With the Watts Ri- their peers, and to provide a space where black artists ots of 1965 and the Black Power movement in full swing, the including Houston Conwill (b. 1947), Hammons, Ulysses city was gripped by the intensely charged debate surround- Jenkins (b. 1946) and Outterbridge could convene and ing the rights of African Americans and what defined Afri- exchange ideas. The gallery also functioned as a commu- can-American culture and identity. Now Dig This! addresses nity arts center, offering art classes, public programs and this history in a section titled “Assemblage,” which explores festivals. Though the gallery closed in 1989, it has a lasting how African-American artists in this context viewed their legacy: Leimert Park remains the locus of the black artistic art in relation to the larger community in which they lived activity in the city, due in large part to the community sur- and worked. The title bears multiple meanings, referring to rounding the Brockman Gallery. assemblage as an artistic practice, assembly in the political The exhibition will also celebrate the prolific career and social activism sense, and assembling as the formation of Samella Lewis (b. 1924), a revered leader who has pro- of a community of artists and supporters. Artists responded vided tireless support to California’s African-American to and engaged the political events of the 1960s and 70s in a art community. Originally from New Orleans, Lewis multitude of ways. As Jones highlights, Purifoy and the art- moved to Los Angeles in 1963 and became a critical force ists who worked around him used the detritus of the Watts in the art scene as a painter, scholar and curator. In 1976, Riots to make work that served as an abstract commentary Lewis founded the Black Art: An International Quarterly, on African-American life. a journal dedicated to publishing leading scholarship on This is but a glimpse of what Jones has in store for Now African-American artists. The journal continues to do so Dig This!, which opens October 2, 2011 and runs through today under its new name, International Review of African January 8, 2012. While the exhibition marks the culmina- American Art. Lewis also wrote African American Art and tion of Jones’s research and is a telling of a significant Artists (1978), the first definitive text on the contributions chapter of American history, Jones is more than eager to of African-American artists. give thanks to the curators and scholars whose tremendous CAAM itself emerged in 1977 out of a need to remedy work has helped elucidate the subjects of her scholar- the dearth of support for African-American artists and ship. “My research is heavily indebted to all of the people the museum has since stood as a pillar of that community. who have been working in this area for many years,” she Since its inception, CAAM has presented groundbreaking states1, citing the research and exhibitions produced by exhibitions that focus on both art and history to provide many, including Lizzetta LeFalle-Collins, Dale Davis, Mark an experience of African-American culture with context Greenfield, Malik Gaines, Samella Lewis and CAAM, whose and depth. Places of Validation furthers this commitment own Pacific Standard Time exhibition will provide a different and will be on view from September 29, 2011–April 1, 2012. perspective on Los Angeles’s postwar African-American Now Dig This! and Places of Validation serve as indispens- art community. able contributions to the momentous Pacific Standard Time CAAM will present Places of Validation, Art and Pro- initiative, without which our understanding of California’s gression, an in-depth exploration of the cultural institu- significant cultural history would be far from complete. tions, organizations and communities formed to support For more information on these exhibitions, visit the African-American artists in Southern California. Curated Hammer Museum at hammer.ucla.edu and CAAM at by Charmaine Jefferson, Executive Director at CAAM, and caamuseum.org. More information on the full scope of pro- Mark Greenfield, artist and Curator at CAAM, the exhibi- gramming at all of the institutions participating in Pacific tion tells the story of African-American artists, curators Standard Time can be found at pacificstandardtime.org. and scholars who, in response to their exclusion from major cultural institutions, created their own spaces and 1. Kellie Jones, phone interview with the author, April 27, 2011. platforms to validate their work. The exhibition will include Summer/Fall 2011 68 Features 69

Opposite Romare Bearden Conjur Woman, 1964 Gift of the artist 72.5 A Legacy Continues: Celebrating the Bearden Centennial by Lauren Haynes, Assistant Curator Summer/Fall 2011 70

Romare Bearden: Conjur Woman by Mary Schmidt Campbell

This year, 2011, marks the centennial of the birth of visual When Romare Bearden first publicly exhibited his artist Romare Bearden. Bearden was born in Mecklenburg collages—“Projections,” he called them—in October 1964, County, North Carolina, on September 2, 1911 and then he launched a revolution in the representation of black went on to live in New York and St. Maarten in the Carib- people. Conjur Woman was one of these “Projections.” bean. He is very important to the Studio Museum—his His scenes of black life in this series go beyond the literal, involvement was critical to the Museum’s founding and documentary images of black people common in popular his work stands at the center of our collection. In honor culture of the time. He constructed rituals and ceremonies of this occasion, the Studio Museum initiated a project in of black life that metaphorically allude to the paintings of conjunction with the Romare Bearden Foundation to mark European masters, ancient African art or black folk tradi- this special moment. From September 2, 2011, to Septem- tions. Process is as important as product in these works. ber 2, 2012, museums big and small, across the tristate Starting with a surface the size of a sheet of typing paper area, will install Bearden works from their respective and filling it with his memories of people and places from collections. This project is a way to celebrate Bearden’s life his youth in Charlotte, and Harlem, Bearden and artistic practice, and for museum-goers to see a wide constructed photomontages from bits and pieces of paper selection of his works. Participating museums include the and photographs cut from popular magazines. He then Bronx Museum, , Hofstra University photographically enlarged them to billboard-size black- Museum, The Metropolitan Museum of Art, Museum of and-white images. The result in this case is a startling image Modern Art, Montclair Art Museum, Parrish Art Museum, in which the figure of a woman from black folklore—who Queens Museum of Art and Whitney Museum of American some believed was magical and whom Bearden pieced Art. Works will be put up starting this June. For additional together from disparate photographic elements—stands information on the special Bearden Centennial exhibitions alone in the woods with her power. Iconic, her authority is and programs at cultural institutions both in the tri-state uncontested. As a black woman, she has few precedents in area and beyond, visit BeardenCentennial.org. the history of art. In addition to the centennial project, for our main fall/ Bearden continued to develop his collages until his winter 2011–12 show, the Studio Museum will host an exhi- death in 1988, eliminating the photographic enlargement bition featuring work by contemporary artists inspired by step and, in some cases, photographic elements altogether. Bearden’s legacy. This exhibition will feature recently cre- In some of these later works, he invented dazzling solu- ated collages and feature a cross-generational selection of tions to the problem of representing space and light, using artists who work in a wide variety of media. Check out the meticulously cut and painted paper, or fragments of fabric. next issue of Studio and our website, www.studiomuseum. The revolution he launched with the “Projections”—to org, for more information. represent black life in rich symbolic terms—remained, as Conjur Woman (1964) will be on view in Spiral: Perspec- in the collage Prelude to Farewell. His collages often contain tives on an African-American Art Collective from July 14 to motifs that appear and reappear in different guises. Some October 23, 2011. Read Mary Schmidt Campbell’s illuminat- are present in Prelude to Farewell: a woman bathing, gen- ing essay on this work and then come see it in person! erational contrast, sensuous treatment of the black nude, a train (which Bearden has said represents departures and arrivals), contrast between exterior and interior space, and an aura of constrained yearning and desire. Bearden successfully invented a new visual language for commu- nicating and understanding the beauty and complexity of black life that, in the words of one critic, is “like a personal dictionary whose self-definition is its own voice and its own authority.”1

1. Charles Childs, “Bearden: Identification and Identity,” Art News, 63 (October, 1964): 24-25, 54, 61. Features 71

Romare Bearden The Farmer, 1968 Museum Purchase and a gift from E. Thomas Williams and Audlyn Higgins Williams 97.9.12 Summer/Fall 2011 72 Be With Me: The Revelatory Work of Dean Moss by Abbe Schriber, Program Assistant

A sense of becoming, or metamorphosis, permeates the of understanding, embodying, and ever really knowing work of artist/choreographer/curator Dean Moss. As an another human being. attendee to one of Moss’s immersive, multidisciplinary Over the last decade, in addition to becoming more performances, you might be selected to transition from concerned with the role of the audience, Moss has audience to performer, in a shift that is sure to forever alter investigated collaboration as a conceptual conceit and your conceptions of the roles of each. Moss is above all creative process. Though he works closely with musicians, committed to his audience and trusts the intense emotional set designers, dancers, choreographers and writers, Moss’s and aesthetic power of the ultimate surrender: of audience collaborative efforts with visual artists in particular have to the performers’ instructions. And conversely, Moss proved to be especially fruitful starting points for the open engages in a kind of surrender of his own, by allowing room exchange and reconfiguration of ideas, usually through a for spontaneity and risking the direction of an artwork on performative translation of the artist’s body of work. participation and interaction. As audience contribution has Moss’s first collaboration was the 2005 piece figures on been increasingly privileged by performance artists and art a field with artist (b. 1968), whose work is repre- institutions, Moss’s work stands out as especially generous sented in the Studio Museum’s permanent collection. and powerfully about his viewers in a way that differs figures on a field, like Moss’s collaborative performances from most performance, which might use participation to since, translated the experience of the artwork to the stage, further the ends of the artist. All of Moss’s work displays rather than the work itself. Based on Ali’s ongoing series a vested dedication to the contradictions and fragility of of detailed paintings that depict flat, brightly colored interpersonal connections—though his performances can characters called “Greenheads,” figures on a field included be quite dark, they constantly work toward the possibilities a docent-led tour of the performance during the perfor- Features 73

Ramseur and lighting by Vincent Vigilante. Then there are the performers, representing a wide variety of back- grounds, technical abilities and interests, and ranging in age from twenty-six to fifty-seven. Many of the movements are derived directly from their idiosyncrasies and individ- ual responses to the choreography Moss—who does not appear in the piece—proposed. Again, Moss involves the audience, too, in a kind of ritual process of becoming that wavers between comfort and discomfort, intimacy and distance, stability and uncertainty. Discussing the piece, he invoked a quote by that begins with the

Video still of figures on a field (2005) phrase, “being born is like being kidnapped.” at The Kitchen, New York Though not quite a metaphor for birth, Nameless forest Left to right: Wanjiru Kamuyu, Okwui Okpowasili, Kacie Chang echoes the arbitrary, overwhelming reality of where and how we emerge into life, and how we then muddle through the isolation, pain, and crisis that weaves throughout it. Thus Moss describes the effect of the work on these partici- mance, rethinking the relationships between audience pants as “a wounding and examination of the audience.”2 and performer, and audience and work. In addition, Moss Up to twelve audience members are seated onstage and used movements, gestures and props—dodgeballs, cloth- called upon to interact directly with the performers, while ing, belts—that subtly referenced the suggested narratives the remainder of the audience watches from the traditional, in Ali’s paintings. removed perspective. This separation creates two vastly The artist’s latest project, two years in the making, is different experiences of Nameless forest: a full immersion a tour de force called Nameless forest that debuted at The into the events unfolding onstage and a more distant, Kitchen in May 2011. Nameless forest expands and challenges consumptive experience, in which we empathize with our the scale of collaboration and audience involvement found fellow audience members from afar. The brilliance of in Moss’s previously mentioned works, further questioning Moss’s work lies partly in this emotional mixture of com- the responsibilities of community and the individual in passion and confusion we feel while watching the meta- both art-making and society at large. It was created in morphosis, as audience members engage in situations that conjunction with Korean sculptor, painter and installation are by turns awkward, unpleasant, intimate and instructive. artist Sungmyung Chun (b. 1970) after the two recognized “Be with me,” the performers whisper at one point to the shared elements and processes in their respective audience participants, and no matter our level of spectator- practices. Part sculpture and part installation, Chun’s ship, we have no desire to do anything but—Moss’s work dystopic mise-en-scènes are heavily influenced by theater draws us in, invites us not just to be, but to become. and cinema, featuring a muted color palette and dramatic lighting. The figures, who wear striped shirts and whose 1. Dean Moss, in conversation with the author, April 19, 2011. faces are eerie clones of the artist’s, interlock in scenes of 2. Ibid. aggression and violence. As he did with Ali in figures on a field, Moss renders, translates and distills the unnerving aesthetics and theatrical storytelling of Chun’s work into the environment of Nameless forest. The choreography generates movement that, though meticulously tailored to each performer’s role, is unrestrained and highly physical, convulsive and even violent, seeming to trace the unresolved storylines in Chun’s work. Through motion, Moss establishes narrative in unconventional, fragmented ways, eschewing any linear, expository structure—as he put it, dance is itself an “automatic narrative,” one that by default provides an “abstract story of personhood.”1 Nameless forest is a collective enterprise on a larger scale than any of Moss’s previous works. In addition to the aes- thetic collaboration with Chun, there are audio recordings of journal entries by war photojournalist Michael Kamber, neon sculptures by artist Gandalf Gavan, original music Dean Moss in residency at Arizona State University; by sound artist Stephen Vitiello, costuming by Roxana Photo: Tim Trumble/ASU Summer/Fall 2011 74 Studio Jr. Studio Jr. 75 About Collage DIY Studio Jr.

Multimedia artist and educator Elan Ferguson invites readers to add some color to the figments of his or her imagination! Create a collage in- spired by artist Romare Bearden and check out Elan’s coloring page. Visit studiomuseum.org/event-calendar to find out when you can participate in an art making workshop here at the Museum led by Elan!

Romare Bearden created collages draw or paint scenery on your using many different types of paper, background with the crayons or photographs, fabrics, foils, found watercolors. You can draw things images and a variety of paints. With like grass and trees or sidewalks materials easily found around your and buildings. Once you have house and a few simple steps, you created your background you can can create a collage too! add paper cut-outs of shapes and images. Look through magazines and newspapers to find images of Here’s what you’ll need: people and things that you want to Newspapers and Magazines put in your collage. Remember that Watercolors or crayons you can mix and match images from Scissors different places. Using the pair of Glue scissors, carefully cut the images out of the magazines. Now, paste Start by cutting a large rectangle your images onto the background out of the newspaper. Make sure scenery using the glue. It won’t be to pick a page that has a lot of text. long be long before you’ve made a This will be your background. Next, fantastic collage! Summer/Fall 2011 76 Studio Jr. 77 Summer/Fall 2011 78 Friends Friends 79

Spring May 20, 2011 Luncheon

On Friday, May 20, 2011, The Studio of Cultural Affairs and Executive The proceeds from the Luncheon Museum in Harlem held its fifth Director of The Studio Museum are a fundamental source of support annual Spring Luncheon at the Man- in Harlem from 1977-1987. for the Museum’s outstanding darin Oriental New York. Marcus Samuelsson is an interna- exhibitions and public programs This year, guests saluted Dr. Mary tionally acclaimed chef and and help strengthen the Museum’s Schmidt Campbell and Marcus proprietor of Red Rooster Harlem, arts education programming. Samuelsson. the author of three award-winning The Studio Museum in Harlem would like to thank the following Dr. Mary Schmidt Campbell has cookbooks, the winner of the businesses and individuals for their been Dean of the New York Univer- second season of Bravo’s “Top Chef generous contributions to the sity’s Tisch School of the Arts for the Masters,” and was the guest chef success of the Luncheon 2011. past 20 years. Previously, she was for the Obama Administration’s New York City Commissioner first State Dinner.

Photo: Ray A. Llanos Summer/Fall 2011 80 Spring Luncheon

Benefactor Bloomberg Gladstone Gallery June Ambrose Jacqueline Bradley / Teri Trotter halley k harrisburg Andrea Rosen Gallery Sima Familant Marie-Josée Kravis Ariel Investments Debra Lee / BET Networks / Marva Smalls / Crystal McCrary Erica Barrish / Sotheby’s MTV Networks Marcus Mitchell & Courtney Lee Mitchell Aliyyah Baylor / Make My Cake Dr. Amelia Ogunlesi Morgan Stanley Shaun Biggers Alleyne MD Ann Tenenbaum & Thomas H. Lee Brooke & Daniel Neidich Saleda S. Bryant, Esq. NYU Tisch School of the Arts Melva Bucksbaum & Raymond Learsy Patron Portia Paterson Carla Camacho Maria & Bill Bell Amber Patton Agnes Cammock Judia Black Lisa Perry Lydia Carlston Patricia Blanchet / Bradley Family Foundation Holly Phillips MD Veronica Chambers Gwendolyn Frempong Boadu Jonelle Procope Pippa Cohen Berdie Brady Tracy Reese Harriette Cole / Harriette Cole Media Michèle Lallemand Brazil Tamara Harris Robinson Wendy Cromwell Amy Cappellazzo Jeanne Greenberg Rohatyn Lisa E. Davis / Frankfurt Kurnit Klein & Selz, PC Joanne L. Cassullo Michele Smalley Peggy Cooper Davis & Gordon J. Davis / Nicole Bernard Chaffin David Teiger Dewey & LeBoeuf Kathryn C. Chenault Warnaco Inc. Ria A. Davis, Esq. Malaak Compton-Rock Nina Mitchell Wells Lisa Dennison Saundra Cornwell Suzanne T. Donaldson Joan Davidson Donor Michelle Ebanks / Constance C.R. White / Charlotte Ford Shelley Fox Aarons Essence Hugh J. Freund Karen Alston Louise Eliasof Dr. Henry Louis Gates, Jr. Peg Alston Dr. Erika Faust Friends 81

Spring Luncheon

Patricia S. Favreau Miyoung Lee Jean Shafiroff Maya George Loida Nicolas Lewis Bershan Shaw-Bradley Emily Glasser Bernard Lumpkin & Carmine D. Boccuzzi Keisha Smith Gabrielle Glore Ginger McKnight-Chavers Marcelena Spencer Cristina Grajales Laura Michalchyshyn Jennifer Streaks Great Performances Tonya R. Miller Sophie Crichton Stuart Tamsen Greene / Joeonna Bellorado-Samuels / Alicia Hall Moran Keisha Sutton-James Jack Shainman Gallery Jeanne Moutoussamy-Ashe Jocelyn R. Taylor Jai Jai Ramsey Greenfield Deborah Needleman Mickalene Thomas & Carmen McLeod Jean B. Griffin Edris E. Nicholls Nicola Vassell Jean-Claude Gruffat / Citigroup / Midwin Janice Carlson Oresman Maria Weaver Watson / Interactive One, LLC Charles / Midwin Charles & Associates LLC Amber Patton Vanessa Webster Tiffany M. Hall Vanessa Y. Perez Susan White Kim Hastreiter John & Amy Phelan Dawanna Williams Joyce K. Haupt Patricia Pickens Karen Williams / Essence Karen M. Hopkins MD Marquita Pool-Eckert Patricia Miller Zollar Joan Hornig Kim Powell Dr. Rosemarie Y. Ingleton Erica Reid Vanessa Jacquemin The Robert Mapplethorpe Foundation Dana R. Johnson Deborah Roberts Jennifer Johnson Joanne Rosen Gayle King Daryl & Steven Roth Lana Woods Gallery Cynthia Rowley Evelyn Lasry Lisa Schiff Nyssa Fajardo Lee Annette Mitchell Scott & Wendell A. Scott Summer/Fall 2011 82

Spring Luncheon RayPhotos: Llanos A.

Contributor Christine Y. Kim Laurie Tisch Anonymous Isabelle Kirshner Susan Ungaro Amsale Aberra Angelina Kotinkaduwa Andrew I. Uriarte Khandi Alexander Jill F. Lloyd Ernestine Washington Sheril D. Antonio Trina D. Maynes Monique Ware Tracy L. Austin Julie Mehretu & Jessica Rankin Laura Warner Peggy & John Bader Jessica Miller Emil Wilbekin Yetta Banks Linda Mills Lyn & ET Williams Tai Beauchamp LouAnn Moore Alicin Williamson Rosalie Benitez Charolette M. Nicholson Olivia White Susan Sarnoff Bram Constance Orlando Cybelle A. Brown Benan Ozakbas List in formation as of Erika Irish Brown Patricia Pearson May 21, 2011 Lynn P. Brown Patricia Hayling Price Dr. Mary S. Campbell D.L. Quarles Lisa Caputo & Rick Morris Elza Rohan Sharpe Jocelyn Cooley Stacey Rosenthal Linda F. Daitz Louis W. Scheeder Brickson Diamond Melanie Shorin Elizabeth Ellis Lorna Simpson Lise & Michael Evans Sim E. Smith Ellen Gasnick Sharon Socol Kaiko Marie Hayes Joanne M. Stern Alicia D. Hurley Artie Thompson Rosemarie Y. Ingleton Brenda & Larry Thompson Friends 83

apartment on Vanderbilt, both in storage. I decorated the space with Member Fort Greene. I hail from the south lots of African textiles and baskets side of Chicago and grew up in a from home, and that night I sold Spotlight: modest, but comfortable, bunga- over a thousand dollars worth of low with a swing my father made merchandise! That little experiment Cheryl Bruce that sat in a big backyard with a ultimately led to full-time employ- birdbath and a garage. We had ment and I was home. by Ginger Cofield alleyways for garbage trucks and Black Folk Art in America, 1930– milk trucks, so New York and her

Photo: Janna Giocoppo 1980 was a profoundly moving ex- ways were a big shift for me. perience. During its run, especially I met my future husband, the on Mondays when the galleries are painter , while closed to the public, I slipped inside handling public relations for the and fell silent in the presence of Museum, and he was the Harlemite. riveting works by , Sister I spent lots of time in Harlem, and Gertrude Morgan and Harriet Pow- I explored solo and with friends. ers. That show was breathtakingly Many of them were in theater, so personal, too, because it uniquely together we sought out readings, touched and celebrated my African performances, dance classes and and American selves. openings. Harlem truly is Black Mecca, a City As someone who no longer lives in of Refuge and the Capital of the the New York area, how do you feel Black World. Oh, it was thrilling to you benefit from a Studio Museum As a former employee of the Studio walk down, work on, and explore membership? Museum in the mid-1980s, you the very same streets Harlem Through my membership I join have a direct connection here. Renaissance artists had a mere five forces with a broad and commit- How did you become interested in decades before. So now, when I ted cadre of believers dedicated to the visual arts? read plays set in Harlem, I know actively supporting and preserv- I’ve always found a world of wonder what the houses look like, where ing the varied artistic expressions in the visual arts. They're a tangible the streets are. It’s all very particu- of the black diaspora, and that’s a expression of the untouchable, lar and real for me. charge I embrace. Receiving this the ephemeral, and the unseen- magazine in the mail through my but-felt, and they throw my imagi- Could you tell us about a Studio membership is a great way to “keep nation into overdrive. I’m espe- Museum exhibition or project that our antennae bright,” and many of cially drawn to figurative work, but was of particular interest to you the artists profiled are good friends not exclusively. Perhaps because and why? of ours. I must also add that I cher- I’m a performing artist and tell Oh, yes, I have several personal ish the deep and lasting friendships stories with living pictures it holds favorites, but first among them is that began at the Studio Museum. particular sway, I'm not sure. I just the Museum’s inaugural debut in its know the human heart hungers for present home, because that was my So what’s next for you? stories, no matter the form. formal introduction to the world of Well, I’ve recently opened in a the Studio Museum. Chicago premiere that’s already You’ve performed in several plays I’d been hired specifically to pre- garnered critical notice. A couple set in Harlem, including The Old pare its mailing lists for the inaugu- of weeks ago I accepted an offer of Settler (2010) and Intimate Apparel ral events. That opening was really several juicy roles in what promises (2005). Could you speak about your to be a closing for me. However, to be a rollicking fall production. time in New York, and working in I’d so thoroughly enjoyed my time And I’m in the middle of an exciting Harlem, and how those experiences there, I couldn’t bear to leave. So I research residency at Yale. Just have influenced your work? offered to set up an ad hoc gift shop trying to hang loose and stay out of I lived happily in Brooklyn, first on for opening night stocked with trouble, I guess. the top floor of a lovely brownstone early Studio Museum postcards Ginger Cofield is a writer living in Brooklyn, on Grand Avenue and later in an and posters I’d come across in New York. Summer/Fall 2011 84

Facts & Figures 1,600+ 1906- 150 2011 1983

The number of paintings, sculptures, The Museum is the custodian of Now in it's 11th year, the Expanding watercolors, drawings, pastels, an extensive archive of the work of the Walls program has served prints, photographs, mixed media photographer James VanDerZee, nearly 150 high school students. works and installations in the the quintessential chronicler of by Gabrielle Lopez, Special Projects Assistant Museum’s permanent collection. the Harlem community from 1906 to 1983.

87,642 FOUNDED 63,29741 63,29887,642 87,6 63,297 Consider Giving 1968 1,333 to the Studio Museum As the nation’s leading venue for the Artist-in-Residence program for Museum’s exhibitions and black art and culture and a site for emerging artists and an extensive programs. Please consider making Since its inception in 1968 the Number of people from near and The number of New York the dynamic exchange of ideas schedule of enlightening education a 100 percent tax-deductible Studio Museum has been the far who have visited the Museum City students the about art and society, The Studio and public programs. We rely on the contribution today. At each nexus for artists of African in the last 12 months. Museum's Education Museum in Harlem is committed to generosity of members and donation level, your support will: descent locally, nationally and Department has served sustaining innovative exhibitions, individual donors to support the internationally and for work that over the last 12 months. has been inspired and in—luenced by black culture. 20 20 20

$25 Provide supplies for one child $150 Help allow one contemporary $1,000 Help cover the cost of ST during a community outreach artist to give a studio tour to a high conserving an artwork in our W 125 100+ 13,508 programming workshop. school art student in the ArtLooks: permanent collection. A Day in the Life of an Artist $50 Support one Expanding the program. $2,500 Help allow the Museum to Walls student. sustain its Books & Authors $250 Help allow the Museum to program $100 Provide funding for one continue The Artist’s Voice, intimate Amount of people who Located on Harlem’s historic 125th The number of artists who have gallery tour at the Museum for a conversations between artists and $5,000 Keep the Museum’s Lil’ participated in the Museum’s Street, the Museum has earned participated in the Museum's group of seniors. curators. Studio program free-of-charge. recognition for its catalytic role in Artist-In-Residence program. Target Free Sundays and promoting the works of artists of events this year. $500 Help keep Studio Magazine $10,000 Underwrite a portion of African descent. available and free of charge to all one of our exhibition seasons. Museum visitors and members.

To make a contribution or get more information on how you can support the Studio Museum, call 212.864.4500 x244 or visit studiomuseum.org/support/donate Friends 85

Facts & Figures 1,600+ 1906- 150 2011 1983

The number of paintings, sculptures, The Museum is the custodian of Now in it's 11th year, the Expanding watercolors, drawings, pastels, an extensive archive of the work of the Walls program has served prints, photographs, mixed media photographer James VanDerZee, nearly 150 high school students. works and installations in the the quintessential chronicler of by Gabrielle Lopez, Special Projects Assistant Museum’s permanent collection. the Harlem community from 1906 to 1983.

87,642 FOUNDED 63,29741 63,29887,642 87,6 63,297 Consider Giving 1968 1,333 to the Studio Museum As the nation’s leading venue for the Artist-in-Residence program for Museum’s exhibitions and black art and culture and a site for emerging artists and an extensive programs. Please consider making Since its inception in 1968 the Number of people from near and The number of New York the dynamic exchange of ideas schedule of enlightening education a 100 percent tax-deductible Studio Museum has been the far who have visited the Museum City students the about art and society, The Studio and public programs. We rely on the contribution today. At each nexus for artists of African in the last 12 months. Museum's Education Museum in Harlem is committed to generosity of members and donation level, your support will: descent locally, nationally and Department has served sustaining innovative exhibitions, individual donors to support the internationally and for work that over the last 12 months. has been inspired and in—luenced by black culture. 20 20 20

$25 Provide supplies for one child $150 Help allow one contemporary $1,000 Help cover the cost of ST during a community outreach artist to give a studio tour to a high conserving an artwork in our W 125 100+ 13,508 programming workshop. school art student in the ArtLooks: permanent collection. A Day in the Life of an Artist $50 Support one Expanding the program. $2,500 Help allow the Museum to Walls student. sustain its Books & Authors $250 Help allow the Museum to program $100 Provide funding for one continue The Artist’s Voice, intimate Amount of people who Located on Harlem’s historic 125th The number of artists who have gallery tour at the Museum for a conversations between artists and $5,000 Keep the Museum’s Lil’ participated in the Museum’s Street, the Museum has earned participated in the Museum's group of seniors. curators. Studio program free-of-charge. recognition for its catalytic role in Artist-In-Residence program. Target Free Sundays and promoting the works of artists of events this year. $500 Help keep Studio Magazine $10,000 Underwrite a portion of African descent. available and free of charge to all one of our exhibition seasons. Museum visitors and members.

To make a contribution or get more information on how you can support the Studio Museum, call 212.864.4500 x244 or visit studiomuseum.org/support/donate Summer/Fall 2011 86 Members

Members List: April 1, 2011- March 31, 2012

The Museum’s Membership Natasha Boysaw William Bowen King III Elizabeth Brown Elizabeth Szancer Kujawski Program has played an important Farrah Brown Lois & Edward Lewis role in the institution’s growth Saleda S. Bryant Joyce E. & Robert L. Marcus for over forty years. Thank you to Denise V. Burrell-Stinson Diane & Adam Max Veronica Campanelli Anthony Meier all the following who helped Samuel D. Carroll Dr. Kenneth Montague maintain our ambitious schedule Jocelyn Cooley Denise M. Murrell Valerie Cooper Virginia Joy Simmons, M.D. of exhibitions and public programs Charles Davis & Jeffrey Hoone during the 2011-12 season. Kathleen A. Dill Lyn & E. Thomas Williams Danielle DiPenti Allison Ecung Associate Latressa Fulton Cynthia D. Adams CORPORATE MEMBERS Nicole Gibbons Daryl & Rodney Alexander 2x4, Inc. James O. Gordon Barbara E. Anderson American Express Company Susan L. Halper Jennifer Arceneaux Con Edison Dee Kerrison Peggy & John Bader Pfizer, Inc. Ahovi G. Kponou Aliya & Reginald Browne Pillsbury Winthrop Shaw Pittman LLP Ana Paula Moss Heather Rae Byer UBS Obinna A. Onyeagoro Glenn Davis Melaina Sanderson Laura Donnelley SPECIAL MEMBERSHIPS Lacary Sharpe David C. Driskell Studio Society Kenyatta Skyles Elaine G. Drummond Berdie & Mairtin Brady Jennifer P. Streaks, Esq. Susan & Arthur Fleischer, Jr. Valerie S. Brown Randolph D. Sturrup Susan L. Fleischer Lydia & Mats G. Carlston Mirande Valbrune Arti & Harold Freeman Ria A. Davis Ira Goldberg halley k. harrisburg & Michael Rosenfeld GENERAL MEMBERSHIP Marc I. Gross & Susan Ochshorn Noel Kirnon & Michael Paley Benefactor Sanjeanetta Harris Ann & Alton McDowell Anonymous Marie C. & Wendell L. Johns Celia & Henry W. McGee III Douglas Baxter Kellie Jones & Guthrie Ramsey Pierre and Tana Matisse Foundation Spencer Brownstone Wanda Kemp-King & Hubert King Veronica Pollard & Joel Dreyfuss Jonathan Caplan & Angus Cook Phyllis L. Kossoff Michele & Gregory Weston Tarah Murphy & Tommy Cooke Peter D. Lax Francis H. Williams Mary Sharp Cronson Courtney Lee Mitchell & Marcus Mitchell Gunner & Alyson Winston Anne Delaney & Steve Stuso Bridget Moore National Karin & Timothy Greenfield-Sanders Laurie Nash Deirdre McBreen Agnes Gund Vanessa Y. Perez Darlene Moss Melva Bucksbaum & Raymond Learsy Marquita & Knut Eckert Dominique Shelton Rachel & Jean-Pierre Lehmann & Jeanne Gordon Jenna Lyons Brent Sikkema CF Couple Gwen & Peter Norton Jeanette Sarkisian Wagner & Paul A. Answorth A. Allen, M.D. & Rae Elizabeth D. Simmons Wagner Wright-Allen, M.D. Shirley M. Truman Gwen & Arnold Webb Hope & Mogolodi Bond Gordon VeneKlasen Terry A. Winters Joseph & Michèle Lallemand Brazil John Parker Willis Mia Enell & Nicolas Fries Supporter Anonymous Louis Gagliano & Stefan Handl Donor Peg Alston & Willis Burton Nyssa & Chris Lee Debra Tanner Abell, M.D. Richard Armstrong Daniel S. Loeb & Margaret Munzer Loeb Ellen Brathwaite George Arterberry Kathleen Adams Constance Caplan Yona Backer Joycelyn McGeachy Kuls & Norbert Kuls Anne Cohen Jacqueline A. Bailey Sheila Parekh Margarett Cooper Jo-Anne L. Bates Cheryl R. Riley & Courtney Sloane Dana Cranmer Linda K. Beauvil Elizabeth De Cuevas Wayne Benjamin CF Individual Nadja Fidelia L. Ann & Jonathan Binstock Anonymous Cassiana & Ego L. Hayes Rosemary Blake Karen Alston Marieluise Hessel William Blizzard Beverly J. Anderson Janet Hill Talbert Juanita Brown Jemina R. Bernard Barbara Jakobson Friends 87

William R. Brown Cerisa Mitchell Kristen B. Glen Edward Blake Byrne Lawrence D. Moreland Deborah Pilgrim Graham & Kenneth R. Graham Randolph C. Cain Isolde McNicholl Motley & Joel W. Motley Joshua Guild & Carla Shedd Anne B. Cammack Madeline Murphy Rabb Kenneth D. Hall Will & Charon Campbell Naiomi & Jason Murphy Jo-Ann W. Hamilton Elaine Carter Jill Nelson Laurie Harriton Deborah Cates Mark S. Nyon Karen & Michael Hearns Rodney Clayton Felix Okolo Ruth Eisenberg & Greg Hendren Nancy L. Clipper Dollene N. Palmer Geoffrey Hendricks & Sur Rodney Mr. and Mrs. Peter J. Cohen Jonathan W. Parker Sharon & John Hoffman Zita L. Cousens Karen A. Phillips Frances & Jeffrey Horne Helen & William Covington Nancy Delman Portnoy Mari Iki & Martin Maguss Julie Crooks Helen Redmond Gloria K. John Lynda & Raymond Curtis Jonell J. Pulliam Robert O. Johnson & Ann M. Menting Linda & Ronald Daitz Alvin Reed Denise Jones & Dennis Jordan Judith & Ronald Davenport, Sr. Sylvester Reese Sarah Krueger Tyrone M. Davenport Mary E. & John P. Riley Amy B. Kuhn & Stuart L. Rosow Andrew P. Davis Harriet J. Roaman Kimberly P. & Roderick E. Lane Carlton Davis Sandra Robinson Laiton Langley Yvonne Davis Jeanette & Granville P. Rogers Rosalyn Lee & Beverly Tillery Ellyn & Saul Dennison Carol & Aaron B. Russell Nashormeh Lindo Toni G. Fay Shahrazad A. Shareef Sylvia & John Lynch Regina Felton, Esq. John Silberman Fabian Marcaccio & Galia Solomonoff Jack A. Fogle Kenneth Sills Davella & Abraham May Jacqueline Fowler Patterson Sims James & Vanessa McKnight Anthony Foy & Monique Scott Laura Skoler Terry McMillan Carol E. Frazier Judith W. Smith William M. Miles James E. Frazier Mary Alice Smith Angeline Monroe-Mayo Patricia Freeman Seton Smith Aloma Moore Gerald Galison Clara R. Stanton John L. Moore Richard Gerrig Renée H. Sutton Dena Muller & Constantin Muamba Erin Gilbert Jean E. Steele Illuminadi Hilario & George Oliver Christopher Girard Robert E. Steele, M.D. Donna Olivia Owusu-Ansah Jeanine T. Givens Ernest L. Swiggett Nadine & Marlene Patterson Charlynn & Warren Goins Carl R. Sword Robert E. Penn Carol & Arthur Goldberg Beatrice Thomas Gloria C. Phares & Richard Dannay Alvia Golden Joseph Thompson Valerie Pinckney-Williams Arthur I. Golden Edith Van Slyck & James R. Hammond Farrell B. Redwine & Conway A. Downing III Constance E. Golding & C. Ellen Golding Clara C. Villarosa Donville Reid Elaine Goldman Margo & Anthony Viscusi Jeff & Melissa Reiter Constance & Alan E. Green Karen E. Wagner & David Caplan Christina M. Greer & Samuel K. Roberts, Jr. Rita Green Edward Walrond Hyacinth Ross Mary G. Gurney Eugene H. Webb Rahoul & Elizabeth Roy Leon L. Haley Colleen Werthmann & Gardiner Comfort Anna & Wolfgang E. G. Saxon Susan L. Halper Dolores White Evie E. Shockley Eric Hanks Olivia S. & Carey A. White Deborah A. Simon William A. Harper Karen L. Williams Carla & Edward Slomin Susan A. Harris Deborah Willis Howard J. Smith Colette E. Hawkins Jeanne Willis Eileen E. Smith-Grant & Robert D. Grant Steven P. Henry & Philip Shneidman Betty Wilson Ms. Lisa Swanson Judith & Martin Hertz Hugh A. Wilson Jack Tilton Gladstone E. Hinds Rae Wright-Allen, M.D. & Answorth A. Allen, M.D. Carolyn & Ed Wagner Sondra A. Hodges Harriet M. & Charles Weiss Charlayne Hunter-Gault & Ronald T. Gault Family/Partner Celia & Landon H. Wickham Marsha Y. Jackson Vernona Adams Jessie & Darryl Williams Sandra Jackson-Dumont Moji & Lemuria Alawode-El Alona C. & Louis E. Wilson Al-lyce Eloise James Elizabeth Alexander & Ficre Ghebreyesus Debra A. James Tarrie Alexis & Julius Butler Individual Barbara Johnson Joe M. Bacal & Anne Newman Anonymous Carl E. Johnson Jasmine Bellamy Jeanette Adams Albert Jones, Jr. Louise & Henry Bessire Kojo Ade Robert M. Jordan Paule Bros Virginia C. Adimora Wayne H. Kelton Alban Chaumet Adwoa Adusei Margaret & Tilden J. Lemelle Cynthia Clark & Johnnie Walker Sonja Ahuja Pierre Levai Kevin R. Curry Deborah W. Allen Dawn Lille Alvaro A. Dalton Nafeesah Allen Joyce Lowinson, M.D. Kay Deaux & Sam Glucksberg Adolf Alzuphar Cheryl Manns Deirdre Donohue Emma Amos Kerry James Marshall & Cheryl L. Bruce Michael Elsasser & Doug Robinson Keith D. Amparado Daisy W. Martin Cynthia & John Fletcher Frank Anderson Sheila Ann Mason-Gonzalez Vilma E. France Charles A. Archer, Esq. Bill Maxwell Lolita & Thomas Garvin, Jr. Jimmy Arnold Max McCauslin & Sal Miele Arleen Geller Lee Autry Carlie Meer Eleanor & Lyle Gittens Janeen Azare Summer/Fall 2011 88

Members

Gawanya Baity Joy Greenidge Mildred R. Murphy Hilary M. Ballon Roxanne Greenstein June C. Nelson Norma C. Barfield Constance Grey Eileen Newman Thelma V. Beale Janice Guy Derek G. Nichols Aaron Bell Susie W. Hampton Jide Ojo Carolyn Bell Bethann A. Hardison Adekunle Omotade John Belle Gregory D. Harnon Motonobu Otsu Daniel Berger Mahamadou Hassimi Oscar Palacio Regina Black-Middleton Veronica Hemmingway Lillian I. Palmer Dalila Bothwell Herbert Henry Monica Parham Barbara Boyd Hallie S. Hobson Mark Pappas Edith Boyd Marilyn Holifield Sandra M. Payne Leslie F. Brown Camara Holloway Patricia H. Peju Griffin Marie Dutton Brown Dorothy D. Holloway Olivia E. Perkins Rashida Bumbray Lakeshia Hudson Adrian Perry William H. Burgess III Danielle Huff Twila Perry Maryanne Byington Tresa Hughes Muriel Z. Pivalo Randolph C. Cain Sandra Hunt-Smith Caitlin Pollock Cathleen Campbell Cora Jackson Jane Ratcliffe Milton G. Campbell Wilma Jeff Landon Reid Nia Chambers Robin E. Jenkins Valerie A. Rhodes Catherine M. Charles Celeste M. Johnson Floree Roberson Edythe C. Cherry DéVon Johnson Kenneth C. Roberts Kenny Clark Patricia Jones Gregory Angela Robinson Patricia G. Coates Sosanya Jones Corane Robinson Elissa Cofield Daniel Jumpertz Vivian D. Robinson Michael Coleman Dorothy Elizabeth Kennedy Jean A. Rock Janet Collins Klaus Kertess Verraine Rock Sheryl Colyer Regtuiniah Khem Nada Rowand Nedra Janice Cook Eugene H. Knox Mildred B. Roxborough Erica Corbin Roseline Koener Bobby Savinis Debora L. Cox Maryellen Kohlman Ingrid Louise Schaffner Aeon L. Cummings Mary M. Kresky Medina Senghore Sylvia de Cuevas Beth Lawrence Regina Shanklin Dennis Decker Lee Lawrence Elza Rohan Sharpe Sasha Dees Marie LeDoux Stefanie Siegel Bunny Dell Mary Ann Lee Adelaide E. Simms Mary Deupree Gregory Lenhardt Marsha E. Simms Edward Dew Jerome M. Lewine Andrea C. Skinner James M. Dickens Linda A. Lewis Sippio Small Jessica H. Dille Lynn Lieberman Delores V. Smalls Louise S. Dockery Renee Linnen, Sr. Toni E. Smith Robert Durst Toya Liverpool Kimberly Snead Sylvia Christian Edwards Nathaniel Lodge Ilene L. Squires Peter Erickson Ray Llanos Ellen Sragow Gertrude F. Erwin Whitney Love Barry Stanley Rajeeyah Finnie Carrie Lowery Anthanio Stephenson James E. Frazier David Lucas Leslie W. Stern Jacqueline Francis Darryl J. Mack Connie Stewart Suzanne Frye Maureen Mahon Julian Taub Phyllis Galembo J. A. Maiden James P. Taylor Linda Galietti Carolyn Maitland Ethel Terrell Ervin J. Garrison Ramelle J. Massey Marvin Thomas Eboni S. Gates Jennifer Matthews Rhonda Thomas Robert S. Gibbs Tamara McCaw Susann Thomas Christa Giesecke Jerome McCluskey Lloyd E. Thompson Michael C. Gillespie Autumn D. McDonald Lori Thorrat Elizabeth M. Gilmore Julie McGee Anthony Todman Marilyn T. Glater Christine McKay Loretta Tolliver Caren Golden George McKinley Martin John David Treadwell Leonard T. Goslee Mary B. McRae Stacey Tyrell Jo-Ann Graham Sonia Mendez Jackson Susanna G. Vapnek Patricia Grayson Erich Meyerhoff Josef Vascovitz Vera I. Grant Jeanne-Marie A. Miller Terence Vaughan Cheryll Y. Greene Betty Minton Karen Elisa Venzen Denise L. Greene Abdul B. Muhammad Sametta W. Vick Marguerite D. Greene Eunice H. Murphy Ernestine Washington Friends 89

Lesley Webster, Esq. Mabel E. Johnson Alice Wade Jennifer Weissbach Pat J. Johnson David Walters Doris D. White Hettie Jones Winona Watson Michelle Joan Wilkinson Susan C. Joseph Eva Welch Diane Williams Lois M. Kahan Bernice Williams-Johnson Samuel Wilson, Jr. Ernece B. Kelly Bobbie Willis Thomas H. Wirth Julia Keydel Barbara M. Wilson Audrey Woods Regina M. King Doris M. Wilson Hilda L. Wradge Sue Kreitzman Dolores Winfrey Antoinette Young Susan Lawrence Aaron Woods III Sandra Lee Doris D. Wooten Senior James N. Lewis Ruth C. Wright Beverly C. Abisogun Janice Livingston Susan Diane Yarnell Edwina Ahenkora Willis H. Logan Goldie M. Yorke Maria Amor Lorenda Mable Ann B. Armistead Susan E. Madigan Student Jean Arrington Denise Marcovitch Laura Amerson Anna R. Austin Frank B. Marshall III Jason Auguste Grace H. Ayanru, M.D. Helen Marshall Angela Bankhead Frederic H. Bacon Dynna Martin Jennifer Berger Wanda Baker-Smith Laine Massey Claire Boedts Joseph Barker Carmen Matthew Karilyn Crockett Cornelia B. Barnes Shirley McCain Linda Cunningham Frederick R. Barno Dianne H. McDonald Danielle Dowrich Nubia Beazer Elspeth Meyer Orlando Flowers Dolores H. Bedford Bessie Q. Miles James O. Gordon Raeann Bessellieu Constance Mitchell Grambling State University Cynthia Blanchard Jeanne Nedd Christina M. Greer Elizabeth T. Bolden Robert Oba Cullins Uraline S. Hager Marion Bondurant Arlene Offord Ron Hansford Bertha Brandon Theodore V. O’Kelly Chiara M. Holloway Barbara A. Braxton Dr. Ademola Olugebefola Adrian Hopkins Lavonnie Brinkley Robert G. O’Meally Ren-Yo Hwang Dolores L. Brookes Oluyemi Omowale Danielle Jackson Laura D. Brown-Sands Benjamin W. O’Nealos Joshua Maddox Beverly Bryer James T. Parker Nomaduma Masilela Jean Bunce Sara Penn Bridgitte Montgomery Vinie Burrows Ginger Perowsky Michael Myers, M.D. Janice L. Bynum Barbara Poitier Akil Rose Diana Cagle Giselle King Porter Donia Saeidi Flossie Canada Hortense L. Powell Julia Sergeon Muriel R. Chess Andrea Ramsey Vanessa Sergeon Eugenia Clarke Ann Ranniar Moruna Sheppard Sadie Codling Rita I. Reid Candra Simon Milton Collins Nancy R. Reinish Langdon Soares Brent Crayton Ligia Sanchez Rivers Derica Washington Ruth Curtis Margaret A. Robbins Linda T. Woods Anne Cushman Virginia Robinson James J. Zaino II Carl F. Davis Nancy Rudolph D. DePrator Lois Safian Joan Deroko Thomas Schultz, M.D. The Studio Museum in Harlem makes every Guy L. deVeaux Joyce Pomeroy Schwartz effort to ensure the accuracy of its lists of Evelyn Dill Vernon Sears members. If your name is not listed as you Dorothy H. Divins Sidney E. Senior prefer or if you believe your name has been Gwen Dixon Dr. William Seraile, Ph.D. omitted, please let us know by contacting the Betty Donerson Gwendolyn A. Simmons Development Office at 212.864.4500 x244 or George D. Everette Joseph H. Simpson [email protected]. Theodore C. Fair Sallie A. Smith Barbara Flemmings Thomas Smithwick Benjamin Frankel Edward L. Snyder Frank Gimpaya Thomas Southern Margot Gordon Nancy A. Spannbauer Donna Gould Ann Sprayregen Elaine L. Greene Margaret E. Stokes Marlene Guy Edward Esty Stowell, Jr. Agatha M. Guzman Jewell B. Sutler Olivia C. Hector Tamara D. Tabb Bonnie Hornstein Charles Tarver, Sr. James Herbert Howell Beverly Taylor Joan Huggins-Banbury Bobrei C. Thomas Joanne Isaac Muriel F. Thomas Esther Jackson Reggie Thompson Faith R. Jacobs Inez B. Vanable Olga C. Jenkins Summer/Fall 2011 90 Supporters Summer/Fall 2011

The Board of Trustees and Director Debra L. Lee / BET Networks Gunner & Alyson Winston Macy’s and Bloomingdale’s Xerox Foundation of The Studio Museum in Harlem Pierre and Tana Matisse Foundation extend deep gratitude to the Raymond J. McGuire $5,000 to $9,999 donors who supported the Museum MetLife Foundation Raquel Chevremont Baylor & Corey M. Baylor Rodney M. Miller from July 1, 2010 to May 31, 2011. Shaun D. Biggers, M.D. & Kenneth Alleyne, M.D. Cheryl & Phillip Milstein Foundation, Inc. Judia & Daniel Black Amelia & Adebayo Ogunlesi $500,000 & above The Perelman Family Foundation, Inc. Colgate Palmolive The New York City Department of Cultural Corine V. Pettey Lisa E. Davis, Esq. / Frankfurt Kurnit Klein & Selz Affairs The David Rockefeller Fund Anthony Edson The Andrew W. Mellon Foundation Verizon Foundation Rebecca & Martin Eisenberg The Wachovia Wells Fargo Foundation Gladstone Gallery $100,000 to $499,999 Louise Grunwald Assemblyman Keith L.T. Wright, 70th A.D. $10,000 to $24,999 Alvin D. Hall Bloomberg Philanthropies Anonymous Jack Shainman Gallery The Leona M. and Harry B. Helmsley Charitable Bank of America Jenkins Johnson Gallery Trust Douglas Baxter Dana & Joe Johnson The City of New York Lois & Roland Betts Marie-Josée Kravis The New York State Council on the Arts Patricia Blanchet / Bradley Family Foundation Nyssa & Chris Lee Target Margaret A. Cargill Foundation NYU Tisch School of the Arts Council Member Inez E. Dickens, 9th C.D. Carver Federal Savings Bank L’Oréal Paris Speaker Christine Quinn and the New York City The City University of New York Bernard Lumpkin & Carmine D. Boccuzzi Council Pippa Cohen Marian Goodman Gallery Upper Manhattan Empowerment Zone Con Edison May and Samuel Rudin Family Foundation Development Corporation The Cowles Charitable Trust Mehretu and Rankin Family Joyce and George Wein Foundation Joseph and Joan Cullman Foundation for the MTV Networks Arts Ruthard C. Murphy II Peggy Cooper Davis & Gordon J. Davis / Dewey Rice Financial Products Company $50,000 to $99,999 & LeBoeuf Jeanne Greenberg Rohatyn & Nicolas S. Bloomberg Reginald E. Davis / RBC Bank Rohatyn Kathryn C. & Kenneth Chenault / American Lise & Michael Evans Daryl & Steven Roth Express Sima Familant Melissa & Robert Soros Mitzi & Warren Eisenberg GE Foundation José Tavarez & Holly Phillips, M.D. Ford Foundation GlobalHue UBS Goethe-Institut New York Godfrey R. Gill Mr. and Mrs. Milton Washington Valentino D. Carlotti / Goldman, Sachs & Co. The Greenwall Foundation Ted & Nina Wells The Horace W. Goldsmith Foundation Joyce & Ira Haupt, II George Wein Carol Sutton Lewis & William M. Lewis, Jr. The Audrey and Sydney Irmas Charitable Morgan Stanley Foundation National Endowment for the Arts $1,000 to $4,999 HBO / Henry McGee Susan & Donald Newhouse Anonymous J. Crew / Jenna Lyons Marilyn & Jim Simons Debra Tanner Abell, M.D. T. Warren Jackson / Charles E. Simpson Ann Tenenbaum & Thomas H. Lee Joree Adilman / The Robert Mapplethorpe JPMorgan Chase Bank Teri & Lloyd Trotter / GenNx360 Capital Foundation George & Gail Knox Partners Karen M. Alston Miyoung Lee & Neil Simpkins The Winston Foundation Peg Alston / Peg Alston Fine Arts Michael Rosenfeld Gallery June Ambrose Marcus Mitchell & Courtney Lee-Mitchell Ann & Steven Ames $25,000 to $49,999 The New York Community Trust Judy Hart Angelo & John M. Angelo Frank & Nina Cooper / Pepsi-Cola Beverages Amy and Joe Perella Charitable Fund Crystal McCrary North Americas Gwen & Peter Norton Charles A. Archer, Esq. / EDCSPIN, Inc. Credit Suisse Holly Peterson Foundation Ariel Investments Jacqueline Bradley & Clarence Otis, Jr. / Darden Pfizer, Inc. Art Production Fund Restaurants, Inc. Pillsbury Winthrop Shaw Pittman LLP Peggy & John Bader Joan Davidson & Neil S. Barsky Regen Projects Aliyyah Baylor / Make My Cake Dior May and Samuel Rudin Family Foundation Maria & Bill Bell Doris Duke Charitable Foundation James H. Simmons III Joanne Cassullo The Estée Lauder Companies, Inc. South African Tourism Nicole Bernard Chaffin General Electric Company Michael Ward Stout / The Robert Mapplethorpe Jemina R. Bernard Agnes Gund Foundation Jerry Burris / Barnes Group Inc. Mr. and Mrs. John B. Hess Time Warner, Inc. Berdie & Mairtin Brady Jerome Foundation Reginald Van Lee Michèle & Joseph Brazil Friends 91

Melva Bucksbaum & Raymond Learsy Bridget Moore / DC Moore Gallery Charlynn & Warren H. Goins Dr. and Mrs. Alan R. Butler Ronald L. Norsworthy II & Michael di Cesare Sunny & Brad Goldberg Cindy Butler / Lamarca-Butler Group Portia Paterson Tamsen Greene / Joeonna Bellorado-Samuels / Drs. George Campbell & Mary Schmidt Amber & Charles Patton Jack Shainman Gallery Campbell Lisa Perry Jai Jai Ramsey Greenfield Constance Caplan Patricia & William Pickens Jean B. Griffin Amy Cappellazzo Kim Powell Dr. Erika Faust, D.D.S. Christie’s Jonelle Procope Trina D. Hudson-Maynes Lisa & Dick Cashin Madeline Murphy Rabb Mr. and Mrs. Hughlyn Fierce Pamela G. Carlton & Charles Hamilton Tracy Reese Tiffany M. Hall Adela Cepeda Janelle Reiring Kim Hastreiter Deborah R. Chatman Deborah Roberts & Al Roker Karen M. Hopkins, M.D. Theresa & Martin Cole Tamara Harris Robinson Dr. Rosemarie Y. Ingleton Malaak Compton-Rock David Rockefeller Vanessa Jacquemin Constance Collins Margulies & Martin Royal Kennedy Rodgers & Jonathan Rodgers Tracey Kemble & Brian Mathis Margulies Desiree Rogers Gayle King Saundra W. & Donald Cornwell Andrea Rosen Gallery Lana Woods Gallery The Estate of Kathleen Crowe Cheryl Russell Evelyn Lasry Cultural Services of the French Embassy in the Annette Mitchell Scott & Wendell A. Scott Dorothy Lichtenstein United States Sikkema Jenkins & Co. Elizabeth McCabe Lisa Davis, Esq. / Franfurt Kurnit Klein & Selz Marsha E. Simms Alicia Hall Moran Elizabeth Davis & Luis Penalver Lorna Simpson & James Casebere Taso Mouhteros Brickson E. Diamond Lino A. Solis, Esq. / Arent Fox LLP Jeanne Moutoussamy-Ashe Thelma Dye, Ph.D. / Northside Center for Child Michele Smalley Deborah Needleman Development Bonita & Kevin Stewart Edris E. Nicholls Michelle Ebanks June Kelly & Charles Storer Janice Carlson Oresman Charles F. Etuk Renée H. Sutton Vanessa Y. Perez George Faison & Tadd Schnugg David Teiger Ron Person Pamela Fiori & Colton Givner Lucien Terras / D’Amelio Terras Gallery John & Amy Phelan Charlotte & Bill Ford Norma & John T. Thompson Erica Reid Dr. Henry L. Gates, Jr. Laurie M. Tisch Charles & Diana Revson Gavin Brown’s Enterprise Toby D. Lewis Philanthropic Fund Joanne Rosen Diana & William Gray Tyco International Stacey Rosenthal Arti & Harold Freeman Union Pacific Fund for Effective Government Cynthia Rowley Gwendolyn Frempong-Boadu Gordon VeneKlasen The Hugh J. Freund Althea Viafora-Kress Lisa Schiff Darrell S. Gay / Arent Fox LLP Laura Warner Jean Shafiroff Robert Gober & Donald Moffet Warnaco Inc. Melanie Shorin Cristina Grajales Maria Weaver-Watson / Interactive One, LLC Keisha Smith Alexander Gray & David Cabrera Dawanna Williams Marcelena Spencer Tracey Gray-Walker / AXA Equitable Donna Williams Ellen & Jerome L. Stern Great Performances Lyn & E. Thomas Williams Jennifer P. Streaks Kevin C. Greenidge, M.D., M.P.H. Janice Savin Williams & Christopher J. Williams Sophie Crichton Stuart Jean-Claude Gruffat John Parker Willis William S. Susman & Emily L. Glasser Samuel L. Guillory Jocelyn Taylor James F. & Sezelle G. Haddon $500 to $999 Mickalene Thomas & Carmen McLeod Carole & Ira Hall Anonymous Nicola Vassell Steven Henry / Paula Cooper Gallery Dr. Shelley Fox Aarons Vanessa Webster Marieluise Hessel Amsale Aberra Karen Williams / Essence Joan & George Hornig Jennifer Baltimore-Johnson Patricia Miller Zollar Arthur J. Humphrey, Jr. Erica Barrish / Sotheby’s Johnson & Johnson Bershan Shaw Bradley $499 and below Carolyn C. Jones Susan Bram Khandi Alexander Beryl Jones-Woodin Valerie S. Brown Sheril D. Antonio Pamela J. Joyner Saleda S. Bryant, Esq. Tracy Austin Noel Kirnon & Michael Paley Carla Camacho Lee Autry Malcolm M. Knapp, Inc. in honor of Jacqueline Agnes Cammock Joe M. Bacal & Anne Newman Bradley & Clarence Otis, Jr. Yvette & Michael Campbell Yetta Banks Jill & Peter Kraus Lydia Carlston Tai Beauchamp Nancy L. Lane Veronica Chambers Rosalie Benitez Cher Lewis Ginger McKnight-Chavers Cynthia Blanchard Loida Nicolas Lewis Harriette Cole / Harriette Cole Media Christopher Bertholf David Maupin / Lehmann Maupin Gallery Wendy Cromwell Hope & Mogolodi Bond The Honorable and Mrs. Earle I. Mack Art and Culture LLC Mahen & Luca Bonetti Dr. and Mrs. Michael L. Lomax Judith & Ronald Davenport, Sr. Cybelle A. Brown Yolanda & Meredith Marshall Ria A. Davis, Esq. Erika M. Irish Brown Liz & David McCreery Lisa Dennison Lynne P. Brown Jennifer McSweeney Suzanne T. Donaldson Denise V. Burrell-Stinson Shawna Menifee Thomas E. Dyja & Suzanne Gluck Brooklyn Academy of Music in honor of Steven Gregory R. Miller & Michael Wiener Marquita & Knut Eckert Edward Jones Milton and Sally Avery Arts Foundation Louise Eliasof E. Maudette Brownlee, Ph.D. Laura Michalchyshyn Elizabeth Ellis Heather Rae Byer Tonya R. Miller Patricia S. Favreau Lisa Caputo & Rick Morris Constance Mitchell E. W. Finley Darlene Chan & Ellen Shimomura in honor of Dr. Kenneth Montague Maya George George Wein Maryanne Mott Gabrielle Glore Summer/Fall 2011 92

Supporters

The Chenango County Council of The Arts, Inc. Patricia Pearson in honor of Steven Edward Jones Karen A. Phillips Evelyn Clarke Muriel Z. Pivalo Sadie & Roberto Codling Patricia Hayling Price Anne Cohen Reibman and Weiner Attorneys Jocelyn Cooley at Law Sophia & Eldzier Cortor Jacqueline A. Roberts Linda F. Daitz Kenneth C. Roberts Tyrone M. Davenport Virginia Robinson Sasha Dees Elaine A. Rogers Gwen Dixon Jeanette & Granville P. Rogers Sylvia Christian Edwards Vibert Ross John E. Ellis, M.D. Mildred B. Roxborough Marilyn L. Francis Helen Saffran in honor of Steven Vernon W. Griffith Edward Jones Reginald D. Harris Ingrid L. Schaffner Kaiko Marie Hayes Elza Rohan Sharpe IBM Corporation Matching Kenneth Sills Grants Program Sharon Socol Barry H. Jaruzelski Judith W. Smith Marsha Y. Jackson Seton Smith Dr. Christopher A. Johnson Sim Ellis Smith Eungie Joo Joanne M. Stern Sophie Juo Ardelia & Ronald L. Stewart Wayne H. Kelton Edward Esty Stowell, Jr. William Bowen King III Charles Tarver, Sr. / Blark Art Angelina Kotinkaduwa Beverly Taylor Ian B. Mac Callum, Jr. Artie Thompson Meredith Fife Day Brenda & Larry Thompson Georgia E. Ellis Darrell Thorpe Cynthia & John Fletcher Jacqueline Tuggle Louis Gagliano & Stefan Handl Susan Ungaro Ellen Rose Gasnick Andrew Uriarte Marilyn T. Glater Monique Ware Lettice L. Graham Ernestine Washington Constance Grey Margaret N. Weitzmann Alka Gupta in honor of Steven Olivia & Carey A. White Edward Jones Eleanor D. & James D. William A. Harper Williams, Sr. Gladstone E. Hinds Nicole Williams Alicia D. Hurley Sybil Williams Mabel E. Johnson Alicin R. Williamson Regtuiniah Khem Mark Willis Christine Y. Kim Barbara M. Wilson Isabelle Kirshner Betty Wilson Peter D. Lax Ruth & Alan Winnick in honor James N. Lewis of George Wein and the Joyce Jill F. Lloyd Alexander Wein Prize Dionne Mack Eric Woods Frank C. Mahon Doris D. Wooten Daisy W. Martin Mildred J. Yearby Alma Miller Antoinette Young Jessica J. Miller Mill Street Loft, Inc. in honor of In Kind Steven Edward Jones 2x4, Inc. Linda Mills Pillsbury Winthrop Shaw LouAnn Moore Pittman LLP Cathleen S. Morawetz Harlem Flo floral atelier Eunice H. Murphy June C. Nelson The Studio Museum in Harlem makes every Charlotte Nicholson effort to ensure the accuracy of its lists of Leona Nisbett supporters. If your name is not listed as you Adekunle Omotade prefer or if you believe that your name has been Constance Orlando omitted, please let us know by contacting the Benan Ozakbas Development Office at 212.864.4500x221 or Monica Parham [email protected]. Victoria Parker Patricia M. Pates Friends Parties 93 Have Your Next Party with us!

Consider The Studio Museum in Harlem for your business or organization’s next event! Hosting your event at the Studio Museum will allow your guests to: Experience the Museum’s exciting exhibitions Mix and mingle in the Museum’s glass-enclosed Atrium Enjoy personalized programming in the Museum’s new Theatre Take in Harlem under the stars in the Courtyard If you arrange to have the Museum Store open, your guests will also be able to find the right gift for any occasion.

The Museum is not available for weddings, wedding receptions, private/political social events or fundraisers. Nonprofit organizations receive a special rate. For more information, please call 212.864.4500 x247 Summer/Fall 2011 94 Membership Join today! Info Becoming a member has never been easier.

GENERAL MEMBERSHIP Associate $250 National Membership $1,000 Individual $50 ($220 tax-deductible) ($900 tax-deductible) (Fully tax-deductible) — All the preceding benefits plus: National members are a special group of sup- — Free admission to the Studio Museum for one — One complimentary Studio Museum porters outside the New York metropolitan — Personalized membership card exhibition catalogue area. All Individual membership benefits, plus: — One-year subscription to Studio magazine — Access to private tours with Studio Museum — Invitations to exhibition opening receptions Donor $500 staff when you’re in New York City — Invitations and e-mail reminders for upcom- ($450 tax-deductible) — Free admission for two guests when accom- ing events at the Studio Museum — All the preceding benefits, plus: panied by a Museum member — 15% discount on all Museum Store purchases — Invitations to behind-the-scenes tours and — Seasonal listings of exhibitions around town — 20% discount on exhibition catalogues pub- talks with art connoisseurs and curators — Invitations to select private events in your lished by the Studio Museum — Two complimentary guest passes for family town and in New York City — 10% discount at the Atrium Café at the Studio and friends Museum Contemporary Friends — Invitations to member shopping days at the Benefactor $1,000 Contemporary Friends is a dynamic leadership Studio Museum throughout the year, with ($900 is tax-deductible) group of young professionals committed to additional discount offers — All the preceding benefits, plus: supporting the Studio Museum and interested — Free admission or discounted tickets to all — A visit and/or tour of a private collection in gaining greater access to the world of con- Studio Museum educational and public — An invitation to a special gallery tour with a temporary art. programs Museum curator — Special Studio Museum member’s discount — Free admission for two guests when accom- Individual $200 at select local Harlem businesses panied by a Studio Museum member ($175 tax-deductible) — Annual recognition in Studio magazine Student/Senior $25 Couple/Partner $300 Family/Partner $75 (Fully tax-deductible) ($250 tax deductible) (Fully tax-deductible) — All the benefits of Individual membership. (For two people living at the same address) All — All the preceding benefits, plus: (Must present student or senior ID [62 years Individual membership benefits, plus — Free admission to the Studio Museum for or older] for eligibility) — Invitations and VIP passes to a variety of two adults (at the same address) and chil- events throughout the year, including dren under eighteen years of age SPECIAL MEMBERSHIP private previews, guided gallery tours (both — Personalized membership cards for two Studio Society on- and offsite), studio visits, seminars and Studio Society is comprised of major donors to networking events Supporter $100 the Studio Museum. For more information on (Fully tax-deductible) this special group, please call 212.864.4500 Membership Gift — All the preceding benefits, plus: x244. If you are looking for that special gift for a — Member privileges of the North American friend or loved one, give the gift of membership Reciprocal Museum Program, allowing free and share all the Museum has to offer. A Studio or member admission and discounts at hun- Museum membership makes a unique and dreds of museums across the United States rewarding gift that can be enjoyed throughout — Free admission for one guest when accompa- the year—perfect for birthdays, milestone nied by a Studio Museum member celebrations or any other occasion. Friends 95

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MAIL TO The Studio Museum in Harlem Work Phone/Home Phone 144 W. 125th St, New York, NY 10027

GENERAL MEMBERSHIP

Benefactor $1,000 Card Number/Exp. Date Donor $500 Associate $250 Supporter $100 Signature Family/Partner $75 Individual $50 Thank you for your support and welcome to The Studio Museum Student $25* in Harlem! The Studio Museum in Harlem offers the best way to Senior $25* explore black culture and the latest trends in contemporary art!

*(Student/Senior Membership will not be processed without Join online at studiomuseum.org/membership a copy of a valid ID) Summer/Fall 2011 96 Visitor Information

VISITOR INFORMATION DIRECTIONS Address Subway 144 W. 125th St. New York, NY 10027 (between Malcolm X and Adam C. Powell Jr. Boulevards) studiomuseum.org To 125th Street General Info T 212 864 4500 Bus F 212 864 4800 M-2, M-7, M-10, M-100, M-102 or BX-15 Media Contact 212 864 4500 ×213 Parking is available at the [email protected] Municipal Garage at 126th Street between Malcolm X and Adam C. Public Programs Info Powell Jr. Boulevards. 212 864 4500 ×264

Membership Info 126TH 212 864 4500 ×221

Museum Hours 125TH Thursday and Friday, noon–9pm; Saturday, 10am–6pm; Sunday, noon–6pm. The museum is closed to the public on Monday, Tuesday, and Wednes- day but available for school and group tours by appointment on these days. For more information on scheduling a tour visit studiomuseum.org AVE MORNINGSIDE BLVD FREDERICK DOUGLASS CLAYTON ADAM JR BLVD POWELL X BLVD MALCOM 5TH AVE MADISON AVE AVE PARK AVE LEXINGTON Admission Suggested donation: $7 (adults), $3 (seniors and students). Free for members and children (12 and under). STUDIO MAGAZINE BOARD OF TRUSTEES This issue of Studio is underwritten, in part, Editor-in-Chief Raymond J. McGuire, Chairman with support from Bloomberg Elizabeth Gwinn Carol Sutton Lewis, Vice-Chair Creative Director Rodney M. Miller, Treasurer The Studio Museum in Harlem is supported, The Studio Museum in Harlem Magazine Summer 2011 The Studio Museum in Harlem Magazine Summer 2011 Thelma Golden in part, with public funds provided by the Teri Trotter, Secretary Managing Editor following government agencies and elected representatives: Allison Channing Jones Jacqueline L. Bradley Valentino D. Carlotti Associate Editor The New York City Department of Cultural Kathryn C. Chenault Dominic Hackley Affairs; Assemblyman Keith L. T. Wright, Joan Davidson 70th A.D.; New York State Council on the Editor-at-Large Gordon J. Davis Arts, a state agency; National Endowment Lea K. Green Reginald E. Davis for the Arts; The City of New York; Council Susan Fales-Hill Member Inez E. Dickens, 9th C.D. and Contributing Editors Dr. Henry Louis Gates, Jr. Speaker Christine Quinn and the New York Lauren Haynes, Thomas J. Lax Sandra Grymes City Council. Copy Editor Joyce K. Haupt The Studio Museum in Harlem is deeply Samir Patel Arthur J. Humphrey, Jr. George L. Knox grateful to the following institutional donors Design Nancy L. Lane for their leadership support: Pentagram Dr. Michael L. Lomax Bloomberg Tracy Maitland Printing Bloomberg Philanthropies Dr. Amelia Ogunlesi Finlay Printing Doris Duke Charitable Foundation Corine Pettey finlay.com Ford Foundation Ann Tenenbaum Goethe-Institut New York Original Design Concept John T. Thompson The Horace W. Goldsmith Foundation 2X4, Inc. Reginald Van Lee The Leona M. and Harry B. Helmsley Studio is published two times a year by Hon. Kate D. Levin, ex-officio Charitable Trust The Studio Museum in Harlem, Lambent Foundation Fund of Karen A. Phillips, ex-officio 144 W. 125th St., New York, NY 10027. Tides Foundation Pierre and Tana Matisse Foundation 1 2 Copyright ©2011 Studio Magazine. The Andrew W. Mellon Foundation Frank Stewart, Emma Amos Romare Bearden, c. 1979 Seated Figure and Nude, 1966 MetLife Foundation All rights, including translation into other Courtesy the artist Photo: Becket Logan The David Rockefeller Fund languages, are reserved by the publisher. Courtesy the artist Target © Emma Amos/Licensed Nothing in this publication may be Upper Manhattan Empowerment Zone by VAGA, New York, NY reproduced without the permission of Development Corporation the publisher. Joyce and George Wein Foundation Wells Fargo The Winston Foundation

Each issue of Studio is released with two covers and this season, we’re honored to feature an incredible portrait of Romare Bearden by Frank Stewart and a painting by Emma Amos, Spiral icon. The Studio Museum in Harlem Magazine

The Studio Museum in Harlem Magazine Summer/Fall 2011 Summer/Fall 2011