NJIDEKA AKUNYILI CROSBY B
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NJIDEKA AKUNYILI CROSBY B
NJIDEKA AKUNYILI CROSBY b. 1983, Enugu, Nigeria EDUCATION 2011 MFA, Yale University School of Art, New Haven, CT 2006 Post-Baccalaureate Certificate, Pennsylvania Academy of the Fine Arts, Philadelphia, PA 2004 BA (Honors), Swarthmore College, Swarthmore, PA SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2016 Njideka Akunyili Crosby: Portals, Victoria Miro Gallery, London Njideka Akunyili Crosby: I Refuse to be Invisible, organized by Cheryl Brutvan, Norton Museum of Art, West Palm Beach, FL Before Now After (Mama, Mummy, Mamma), 95 Horatio Street, The Whitney Museum of American Art, New York, NY 2015 Hammer Projects: Njideka Akunyili Crosby, organized by Jamillah James, Hammer Museum, Los Angeles, CA The Beautyful Ones, organized by Jamillah James, Art + Practice, Los Angeles, CA 2013 I Always Face You, Even When it Seems Otherwise, Two-Person Show with Simone Leigh, Tiwani Contemporary, London Domestic Experiences, Foreign Interiors, Two-Person Show with Doron Langberg, Sensei Exchange, New York, NY I Still Face You, Franklin Art Works, Minneapolis, MN New Works, Two-Person Show with Abigail DeVille, Gallery Zidoun, Luxembourg SELECTED GROUP EXHIBITIONS 2017 Regarding The Figure, Studio Museum Harlem, NY POWER, Sprüth Magers, Los Angeles, CA African-Print Fashion Now! A Story of Taste, Globalization, and Style, Fowler Museum at UCLA, Los Angeles, CA 21 Artists Shortlisted for the Future Generation Art Prize 2017, Pinchuk Art Centre, Kiev, UKR 2016 The Grand Balcony, La Biennale de Montreal 2017 curated by Philippe Pirotte, Musee d’art Contemporain de Montreal, Montreal, QC NO MAN’S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington, D.C. -
Insite Art Practices in the Public Domain San Diego Lijuana
inSite Art Practices in the Public Domain San Diego lijuana N~ws Release FOR IMMEDIATE RELEASE July 2005 Contact: Papus von Saenger, Public Relations, inSite_05 (619) 230-0005 x 17; [email protected] Barbara Metz, Metz Public Relations (858) 677-0720; [email protected] in~ite_05 Announces Public Programming Beginning Aug. 26 SAN DIEGO/TIJUANA - inSite_05, the binational network of contemporary arts events and actions set in the San Diego/Tijuana region, will open its public phase Aug. 26, with public art projects and events ranging from a human cannonball being shot over the fence separating the US and Mexico, to the opening of artists' urban interventions sited on both sides of the border, to a major museum exhibition of contemporary art. Through Nov. 13, inSite_05/ Art Practices in the Public Domain presents a wide-ranging program that also includes on-line projects, dialogues, film and video installations, and performances. Four major weekends of intense activity will take place during inSite_05. Each of these focused weekends is constructed around the four components of inSite_05: 1) Interventions - commissioned artists' projects developed in a creative process of co-participation with communities on both sides of the border. These include projects that take place in physical space - such as Mark Bradford's Maleteros which requires visitors to walk through the San Ysidro border crossing, or Thomas Glassford and Jose Parral's urban park Garden Playas de Tijuana which reconfigures the extraordinary juncture of the US and Mexico where the border fence plunges into the Pacific Ocean. Other Interventions projects will take the form of performance or spectacle. -
A Timeline of Women at Yale Helen Robertson Gage Becomes the first Woman to Graduate with a Master’S Degree in Public Health
1905 Florence Bingham Kinne in the Pathology Department, becomes the first female instructor at Yale. 1910 First Honorary Degree awarded to a woman, Jane Addams, the developer of the settlement house movement in America and head of Chicago’s Hull House. 1916 Women are admitted to the Yale School of Medicine. Four years later, Louise Whitman Farnam receives the first medical degree awarded to a woman: she graduates with honors, wins the prize for the highest rank in examinations, and is selected as YSM commencement speaker. 1919 A Timeline of Women at Yale Helen Robertson Gage becomes the first woman to graduate with a Master’s degree in Public Health. SEPTEMBER 1773 1920 At graduation, Nathan Hale wins the “forensic debate” Women are first hired in the college dining halls. on the subject of “Whether the Education of Daughters be not without any just reason, more neglected than that Catherine Turner Bryce, in Elementary Education, of Sons.” One of his classmates wrote that “Hale was becomes the first woman Assistant Professor. triumphant. He was the champion of the daughters and 1923 most ably advocated their cause.” The Yale School of Nursing is established under Dean DECEMBER 1783 Annie Goodrich, the first female dean at Yale. The School Lucinda Foote, age twelve, is interviewed by Yale of Nursing remains all female until at least 1955, the President Ezra Stiles who writes later in his diary: earliest date at which a man is recorded receiving a degree “Were it not for her sex, she would be considered fit to at the school. -
Contemporary Collection
TAKE A LOOK TAKE Mickalene Thomas (American, born 1971) Naomi Looking Forward #2, 2016 Rhinestones, acrylic, enamel and oil on wood panel 84 × 132 in. (213.4 × 335.3 cm) Purchase, acquired through the generosity of the Contemporary and Modern Art Council of the Norton Museum of Art, 2016.245a-b © 2018 Mickalene Thomas / Artists Rights Society (ARS), New York norton.org A CLOSER LOOK contemporary collection Mickalene Thomas Naomi Looking Forward #2, 2016 ABOUT The Artwork The Artist Naomi Looking Forward #2 portrays the supermodel Naomi Mickalene Thomas was born in 1971 in Camden, New Jersey. Campbell reclining on a couch, supporting her raised torso She studied art at the Pratt Institute in Brooklyn, New York, on her left elbow. The pose recalls many paintings of women before earning her Masters of Fine Art degree from Yale from the Renaissance to the present. However, as Naomi University in 2002. During the past decade, Thomas has twists to look to the right, her right hand pulls her left leg up received numerous honors and awards, and her artwork has over her right leg. Curiously, the calves and feet are distinctly been exhibited and collected by museums around the world. paler than Naomi. In fact, they are a photographic detail She lives and works in Brooklyn, New York. of a famous painting in the Louvre Museum in Paris, the Her compelling, lavishly executed paintings and photographs Grand Odalisque by 19th-century French artist Jean Auguste explore gender and race. Through her understanding of Dominique Ingres (pronounced “Ang”). By painting a fully art history, Thomas often juxtaposes classic, European clothed, extremely successful African-American woman in representations of beauty, such as the reclining figure, with the pose of an earlier nude, Thomas appropriates a long- more modern concepts of what it means to be a woman. -
The Baltimore Museum of Art Presents Mark Bradford's
THE BALTIMORE MUSEUM OF ART PRESENTS MARK BRADFORD’S TOMORROW IS ANOTHER DAY, FEATURED IN 2017 VENICE BIENNALE BALTIMORE, MD (August 9, 2018)—The Baltimore Museum of Art (BMA) announces the U.S. debut of Mark Bradford: Tomorrow Is Another Day from September 23, 2018, through March 3, 2019. First presented at the U.S. Pavilion as part of the 2017 Venice Biennale, the exhibition is co-curated by Christopher Bedford, BMA Dorothy Wagner Wallis Director and Commissioner of the U.S. Pavilion, and Katy Siegel, BMA Senior Programming and Research Curator and Thaw Chair of Modern American Art at Stony Brook University. Tomorrow Is Another Day is a complex, multi-layered narrative by Bradford using a variety of media—painting, sculpture, and video. Together, these works reflect the artist’s longstanding interest in how communities—particularly those which have been traditionally marginalized— address issues of social and economic justice, as well as his belief in art’s ability to expose contradictory histories and inspire action in the present day. An integral aspect of Bradford’s engagement in Baltimore is his partnership with Greenmount West Community Center (GWCC), a community art space for children and families two miles south of the museum. The community center provides a safe and positive environment for underserved local youth to create, learn, and share through a program of structured activities and open dialogue. Bradford provided the skills-based training and equipment needed for a silk-screening program at the GWCC with assistance from Noisy Tenants, an entrepreneurial organization that helps communities solve problems they care about by tapping into their inherent creativity, relationships, and resources. -
The Hammer Museum and Art + Practice Present Two Concurrent Exhibitions of Njideka Akunyili Crosby (B
The Hammer Museum and Art + Practice present two concurrent exhibitions of Njideka Akunyili Crosby (b. 1983, Enugu, Nigeria), the first solo exhibitions of the artist’s work in Los Angeles. Her large scale works on paper combine collage, drawing, painting, and printmaking, fusing African and American influences and creative traditions. Reflecting on her Nigerian heritage, contemporary postcolonial African cosmopolitanism, and her experiences as an expatriate in the United States where she has lived since 1999, Akunyili Crosby’s paintings provide an important counter-narrative to the often-troubled representation of Africa’s complex political and social conditions. Curated by Hammer assistant curator Jamillah James, Njideka Akunyili Crosby: The Beautyful Ones will be on view September 12 – November 21, 2015 at Art + Practice in Leimert Park. Hammer Projects: Njideka Akunyili Crosby will be on view October 3, 2015 – January 10, 2016 at the Hammer Museum. Also on view concurrently with The Beautyful Ones is a presentation of two films by Akosua Adoma Owusu in the project room at Art + Practice. The program will include the award-winning film, Kwaku Ananse (2013), about a young American woman’s travels to Ghana for a family emergency, and the experimental short Intermittent Delight (2007), which combines upbeat Ghanaian dance music with imagery of labor, domesticity, and leisure. “Inspired by the success of our concurrent Charles Gaines exhibitions this past spring, we wanted to continue with a joint presentation of exhibitions at the Hammer and Art + Practice,” said Hammer Museum Director Ann Philbin. “This selection of early and more recent paintings of Njideka Akunyili Crosby will resonate in both communities.” Co-founder of Art + Practice Mark Bradford added, “Leimert Park is a rich cultural community that will welcome the opportunity to see the work of a young African contemporary artist.” Hammer Projects: Njideka Akunyili Crosby is comprised of a selection of the artist’s early works that primarily focus on the figure. -
42 Artists Donate Works to Sotheby's Auction Benefitting the Studio Museum in Harlem
42 Artists Donate Works to Sotheby’s Auction Benefitting the Studio Museum in Harlem artnews.com/2018/05/03/42-artists-donate-works-sothebys-auction-benefitting-studio-museum-harlem Grace Halio May 3, 2018 Mark Bradford’s Speak, Birdman (2018) will be auctioned at Sotheby’s in a sale benefitting the Studio Museum in Harlem. COURTESY THE ARTIST AND HAUSER & WIRTH Sotheby’s has revealed the 42 artists whose works will be on offer at its sale “Creating Space: Artists for The Studio Museum in Harlem: An Auction to Benefit the Museum’s New Building.” Among the pieces at auction will be paintings by Mark Bradford, Julie Mehretu, Lynette Yiadom-Boakye, Glenn Ligon, and Njideka Akunyili Crosby, all of which will hit the block during Sotheby’s contemporary art evening sale and day sales in New York, on May 16 and 17, respectively. The sale’s proceeds will support the construction of the Studio Museum’s new building on 125th Street, the first space specifically developed to meet the institution’s needs. Designed by David Adjaye, of the firm Adjaye Associates, and Cooper Robertson, the new building will provide both indoor and outdoor exhibition space, an education center geared toward deeper community engagement, a public hall, and a roof terrace. “Artists are at the heart of everything the Studio Museum has done for the past fifty years— from our foundational Artist-in-Residence program to creating impactful exhibitions of artists of African descent at every stage in their careers,” Thelma Golden, the museum’s director and chief curator, said in a statement. -
The Artist America Built: Daniel Joseph Martinez Visits Other Places and Other Histories in His Ongoing Critique of These United States
The Artist America Built: Daniel Joseph Martinez Visits Other Places and Other Histories in His Ongoing Critique of These United States By Maximilíano Durón Posted 12/11/18 10:58 AM Daniel Joseph Martinez photographed outside his studio in Los Angeles on September 23, 2018. KATHERINE MCMAHON/ARTNEWS artnews.com/2018/12/11/artist-america-built-daniel-joseph-martinez-visits-places-histories-ongoing-critique-united-states/ It’s a sight that no one who attended the 1993 Whitney Biennial is likely to forget, one that came to stand for the Biennial itself, with its provocative emphasis on politics: ordinary people of all colors walking around wearing pins that collectively read, “I can’t. Imagine. Ever Wanting. To Be. White.” If you wanted to see the show, you couldn’t not wear them; they were the museum’s admission badges, designed for the Biennial as a project by the artist Daniel Joseph Martinez. Coming at the height of the culture wars, the exhibition was widely reviled and vilified. New York Times chief art critic Michael Kimmelman leveled a portion of his fury at Martinez’s commission, titled Museum Tags: Second Movement (Overture); or, Overture con Claque (Overture with Hired Audience Members). “[A]s if the people who go to the Whitney are so witless and backward that they need to be told that sexual abuse and racism and violence are bad. .,” he wrote. “Or as if a Neanderthal would change his mind after being forced, like a penitent, to don one of the infamous admission badges.” (Kimmelman didn’t mention Martinez by name.) “People went hyperbolic on it,” said David Ross, who was director of the Whitney at the time. -
AMAR: Third Thoughts on Kavanaugh Akhil Amar
AMAR: Third thoughts on Kavanaugh Akhil Amar In a Yale Daily News op-ed published on Sept. 24, I offered “Second Thoughts” on the Supreme Court nomination of Justice Brett Kavanaugh ’87 LAW ’90 and mapped a procedural path forward through the dense thicket of accusations and denials. I proposed: (1) a speedy public hearing followed by (2) additional investigation, with (3) a firm end date to the investigation — I floated Oct. 5 — and (4) scope restrictions on the investigation to prevent “still more extensions [and] ever wider investigations.” On Sept. 24, no one else — so far as I know — was publicly proposing this precise procedural framework, but, as events actually unfolded in the following weeks, something remarkably similar to my proposed framework was in fact cobbled together and implemented, though critics have argued that the scope of the FBI’s post-hearing investigation was unduly narrow. Kavanaugh’s confirmation on Oct. 6 raises countless questions — the episode will spawn shelves of future books and articles. Today, I will address just one narrow issue of special local significance: Yale’s, and my own, complicated relationship to power. Yale prides itself on its tradition of preparing future leaders. In his Yale College opening address on Aug. 25 — well before the Kavanaugh nomination boiled over and roiled the campus — President Peter Salovey proclaimed that “Our alumni are perhaps the greatest illustration of Yale’s tradition of service. Five Yale graduates have served as U.S. presidents, four as secretaries of state and eighteen as justices on the U.S. Supreme Court, representing viewpoints across the political spectrum. -
Artist Resources – Mark Bradford (American, B. 1961) Bradford at Hauser & Wirth Gallery, Los Angeles
Artist Resources – Mark Bradford (American, b. 1961) Bradford at Hauser & Wirth Gallery, Los Angeles In 2007, Art21 followed Bradford as he gathered materials and installed work in his South LA studio.. Bradford explains his inspiration and process in a 2011 interview with Art21. “My practice is décollage and collage at the same time. Décollage: I take it away; collage: I immediately add it right back. It’s almost like a rhythm. I’m a builder and a demolisher. I put up so I can tear down…In archaeological terms, I excavate and I build at the same time.” Bradford’s discusses recent work and community engagement at his 2009 artist talk at Walker Art Center. In 2015 New Yorker profile conducted at Bradford’s studio and home in South LA, not far from where he grew up, he spoke Bradford, 2019. Photo: Sim Canetty-Clarke about his attraction to paper, maps, and social history; his time at CalArts and interest in painting; and his foundation with Allan DiCastro, Art+Practice, which creates spaces for artists and community activism. In 2017, Bradford installed his first solo exhibition in Washington D.C., at the Hirshorn Museum. The star of the Bradford talked with Thelma Golden about his relationship with the medium of painting and experiences of being “othered” show, Pickett’s Charge (on view through 2021) is Bradford’s in a 2015 video interview in conjunction with his first show at Hauser & Wirth Gallery, New York. “Abstraction gave me the most recognized work, measuring 45 feet in length and freedom to play… I want a space where I can play and be vulnerable and not know. -
Vancouver Biennale Announces Fourth Edition
VANCOUVER BIENNALE ANNOUNCES FOURTH EDITION “re-IMAGE-n” WITH PROJECTS LAUNCHING JUNE 2018 Ajlan Gharem, Paradise Has Many Gates, 2015-2018 Alfredo Jaar, A Logo for America, 1987-2014 ExpanDeD Curatorial Team Installations By RenowneD International Contemporary Artists May 29, 2018 Vancouver, Canada – The Vancouver Biennale announces its fourth edition, titled “re-IMAGE-n,” launching June 2018, with projects unfolding over the exhibition’s two-year duration. Under the artistic direction of Barrie Mowatt and curatorial leadership of Marcello Dantas and Jeffrey Uslip, the Biennale invites international artists to respond to the prevailing issues of our time, including the widespread refugee and migrant crisis, a global shift towards nationalism and isolationism, and an intensifying drain on our shared natural resources. Projects will “re-IMAGE-n” (reimagine) a progressive social framework that supports free speech, Reconciliation and the rights of First Nations, LGBTQ rights, artistic freedom, gender, racial and sexual equality, ecological awareness, religious freedom, and the ethics of biotechnology. The Biennale’s artworks will evolve in freely accessible and often unexpected public locations throughout Vancouver. Mowatt will produce interventions with Jessica Angel (Columbia/USA), Ajlan Gharem (SauDi Arabia), Yoko Ono (USA/Japan), Douglas CouplanD (CanaDa), Inuk Silis Høegh (GreenlanD), Marc Johnson (Benin/France), Maskull Lasserre (Squamish/CanaDa), Sahej Rahal (InDia), and Lawrence Paul Yuxweluptun (Coast Salish/Okanagan). Dantas will organize site-specific sculptures with Makoto Azuma (Japan), Ibrahim Mahama (Ghana), Patricia Piccinini (Australia), and Ishmael RanDall Weeks (Peru), among others. Uslip will curate an expansive series of projects under the curatorial aegis “This Is Not America” that thinks through various cultural, social and political pressures placed on individuals, the environment and aesthetics in our current cultural climate. -
WSB Speakerbio
Joanne Lipman Joanne Lipman is the bestselling author of That's What She Said: What Men Need to Know (and Women Need to Tell Them) About Working Together. One of the nation's leading journalists, she most recently was chief content officer of Gannett, and editor-in-chief of USA TODAY and the USA TODAY NETWORK, comprising the flagship title and 109 other news organizations including the Detroit Free Press, the Cincinnati Enquirer, and the Arizona Republic. In that role, she oversaw more than 3,000 journalists and led the organization to three Pulitzer Prizes. Ms. Lipman began her career as a reporter at The Wall Street Journal, ultimately rising to Deputy Managing Editor - the first woman to attain that post - and supervising coverage that earned three Pulitzer Prizes. While at the Journal, she created Weekend Journal and Personal Journal and oversaw creation of the paper's Saturday edition. She subsequently was founding Editor-in-Chief of Conde Nast Portfolio and Portfolio.com, which won National Magazine and Loeb Awards. Lipman is a frequent television commentator, seen on ABC, CNN, MSNBC, NBC, CNBC, and CBS, among others, and her work has appeared in publications including The New York Times, Time, Fortune, Newsweek and Harvard Business Review. She is also co-author, with Melanie Kupchynsky, of the critically acclaimed musical memoir Strings Attached. A winner of the Matrix Award for women in communications, Lipman is also a member of the Yale University Council, the Council on Foreign Relations, and is an International Media Leader for the World Economic Forum as well as a member of the Knight Foundation Commission on Truth, Media and Democracy.