SHINIQUE SMITH CV Education Selected Solo Exhibitions
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Paulacoopergallery.Com
P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE JENNIFER BARTLETT Grids & Dots 243A Worth Ave, Palm Beach January 16 – February 7, 2021 PALM BEACH—Opening on Saturday, January 16, 2021 in Paula Cooper Gallery’s Palm Beach location is a focused presentation of work by Jennifer Bartlett titled “Grids and Dots.” On view will be five examples of Bartlett’s pioneering steel and enamel plate works, made between 1971 and 2011. Installed in an interior room of the gallery, the presentation is in dialogue with the concurrent exhibition “Sol LeWitt: Cubic Forms,” highlighting both artists’ parallel interest in geometric forms and programmatic strategies as the foundation for complex and exuberant works of art. Bartlett first began making paintings on white enameled, square-cut steel plates in late 1968. The idea was born from her interest in the metal signs found inside New York City subway stations. “They looked like hard paper,” Bartlett explained. “I needed paper that could be cleaned and reworked. I wanted a unit that could go around corners on the wall, stack for shipping. If you made a painting and wanted it to be longer, you could add plates. If you didn’t like the middle you could remove it, clean it, replace it or not.”1 Inspired by LeWitt's application of the grid and serial systems, Bartlett begins with vertical and horizontal lines silkscreened onto the baked enamel surfaces. Using Testors brand enamel paint, she then plots out various dot patterns within the framework, following simple mathematical schemes. -
Why the Whitney's Humanist, Pro-Diversity Biennial Is a Revelation
Why the Whitney’s Humanist, Pro-Diversity Biennial Is a Revelation Roberta Smith March 16, 2017 Since moving downtown, the Whitney Museum of American Art has grown up, thanks to a larger, dashing new building, more ambitious exhibitions and new responsibilities brought by rising attendance and membership. No surprise, its biennial has grown up, too. Perhaps less expected: So has the art in it. This show’s strength and focus make it doubly important at a time when art, the humanities and the act of thinking itself seem under attack in Washington. The 2017 Biennial, the first held in the expansive Renzo Piano-designed structure on Gan- sevoort Street, is an adult affair: spatially gracious to art and visitors alike, and exceptionally good looking, with an overall mood of easy accessibility. My first thought: It needs a little more edge. Yet this show navigates the museum’s obligations to a broader public and its longtime art-world audience with remarkable success. Organized by Christopher Y. Lew, the Whitney’s associate curator, and Mia Locks, an independent curator, it has some immature inclusions and other letdowns. But once you really start looking, there’s edge all over the place. The show spotlights 63 artists and collectives working at the intersection of the formal and the social, and in this it announces a new chapter of so-called political art — though one already brewing in small museums, galleries and studios. Many of these artists confront such Ameri- can realities as income inequality, homelessness, misogyny, immigration, violence, hatred and biases of race, religion and class. -
Art in America the EPIC BANAL
Art in America THE EPIC BANAL BY: Amy Sherald, Tyler Mitchell May 7, 2021 10:08am Tyler Mitchell: Untitled (Blue Laundry Line), 2019. Amy Sherald (https://www.artnews.com/t/amy-sherald/): A Midsummer Afternoon Dream, 2020, oil on canvas, 106 by 101 inches. Tyler Mitchell and Amy Sherald—two Atlanta-born, New York–based artists—both capture everyday joy in their images of Black Americans. Recurring motifs in Mitchell’s photographs, installations, and videos include outdoor space and fashionable friends. Sherald, a painter, shares similar motifs: her colorful paintings with pastel palettes show Black people enjoying American moments, their skin painted in grayscale, the backgrounds and outfits flat. Both are best known for high-profile portrait commissions: in 2018 Mitchell became the first Black photographer to have a work grace the cover of Vogue. That shot of Beyoncé was followed, more recently, by a portrait of Kamala Harris for the same publication. Michelle Obama commissioned Amy Sherald to paint her portrait, and last year Vanity Fair asked Sherald to paint Breonna Taylor for a cover too. Below, the artists discuss the influence of the South on their work, and how they navigate art versus commercial projects. —Eds. Amy Sherald: Precious jewels by the sea, 2019, oil on canvas, 120 by 108 inches. TYLER MITCHELL: Amy, we spoke before about finding freedom and making your own moments of joy. I think of Precious jewels by the sea [2019]—your painting of two couples at the beach, showing the men standing with the women on their shoulders—as a moment that you constructed. -
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 New York Times Review/Art
FORT GANSEVOORT Review/Art; 3 Museums Collaborate To Sum Up a Decade Roberta Smith May 25, 1990 What happened to American art during the tumultuous, comba?ve 1980's is a large and mul?-faceted subject that will undoubtedly be debated for some ?me. But less than six months into the 90's, one of the first assessments has already arrived, in the form of the messy, provoca?ve exhibi?on ?tled ''The Decade Show: Frameworks of Iden?ty in the 1980's.'' This exhibi?on comes from an unusual collabora?on of three young and very different museums well known for presen?ng alterna?ve views of contemporary art: the New Museum of Contemporary Art and the Museum of Hispanic Contemporary Art, both in SoHo, and the Studio Museum in Harlem. Not sur - prisingly, the curators at these museums have knit their alterna?ve agendas into an alterna?ve overview. ''The Decade Show'' and its thick opinionated catalogue try to shake up any ideas about 80's art that aren't nailed down, and may say as much about art's future as they do about its recent past. The exhibi?on gathers together work by more than 100 creators of pain?ngs, sculptures and installa?on pieces and nearly 40 video and performance ar?sts. It features many collabora?ve efforts, in pain?ngs to poli?cal posters, from Tim Rollins and K.O.S., the Guerrilla Girls, Gran Fury, Group Material and a rela?ve - ly unknown Asian-American ar?sts' collec?ve called Epoxy Art Group. -
Annual Report 2018-2019
ANNUAL REPORT 2018-2019 1 2 CONTENTS A Letter from Our Executive Director 4 A Letter from the Chair of the Board 5 Our Namesakes 6 Celebrating Our History: 50 Years of LGBTQ Health 8 Timeline 12 Reflections on our History 14-17 Our Patients 18 A Year in Photos 22 Our Staff 24 Callen-Lorde Brooklyn 26 Board of Directors 28 Senior Leadership 29 Howard J. Brown Society 30 Our Supporters 32 ABOUT US Callen-Lorde is the global leader in LGBTQ healthcare. Since the days of Stonewall, we have been transforming lives in LGBTQ communities through excellent comprehensive care, provided free of judgment and regardless of ability to pay. In addition, we are continuously pioneering research, advocacy and education to drive positive change around the world, because we believe healthcare is a human right. 3 A LETTER FROM OUR EXECUTIVE DIRECTOR Dear Friends, Supporters, and Community Members, Fifty years ago, Sylvia Rivera and Marsha P. Johnson were among the first brick throwers in the Stonewall Rebellions, igniting the fire that began – slowly – to change LGBTQ lives. That same year, the beginnings of Callen- Lorde started when two physicians opened the St. Mark’s Health Clinic to provide free healthcare services to the ‘hippies, freaks, and queers’ in the East Village. Today, that little clinic is Callen-Lorde Community Health Center - a network of health centers soon to be in three boroughs of New York City and improving LGBTQ health worldwide. What has not changed in 50 years is our commitment to serving people regardless of ability to pay, our passion for health equity and justice for our diverse LGBTQ communities and people living with HIV, and our belief that access to healthcare is a human right and not a privilege. -
Tucson Museum of Art to Present Powerful African-American Art As Part of 30 Americans Exhibit
FOR IMMEDIATE RELEASE Sept. 5, 2018 Contact: Kelly Wiehe Director of Communications & External Affairs (520) 616-2687 [email protected] Tucson Museum of Art to present powerful African-American art as part of 30 Americans exhibit The Tucson Museum of Art and Historic Block (TMA) will showcase some of the most significant African American artists of the past 40 years in 30 Americans: The Rubell Family Collection, scheduled for October 6, 2018 – January 13, 2019. The exhibition will open with a free community celebration and preview of the exhibition Friday, October 5, 7:00-9:00 p.m. This ground-breaking exhibition explores race, gender, and historical identity in contemporary context while highlighting diverse media, subject matter, and perspectives. Artists included here represent the core of an expanding number of talented individuals who are contributing their voices to the history of art in this country. Many of the works on view reveal not only the country’s changing view of race and class during the past 200 years, but also address the persistence of racism, violence, and marginalization in America today. The paintings and sculptures are part of the Rubell Family Collection, established in 1964 in New York City by Mera and Don Rubell. It is now one of the world’s largest, privately owned, publicly accessible contemporary art collections. To form their collection, the Rubells visited studios, spoke with artists in depth about their work, and received guidance from gallerists, curators, and the greater art community. “By presenting 30 Americans, the Tucson Museum of Art affirms its mission in connecting art to life,” said TMA’s Chief Curator Dr. -
The 2020 TJFP Team
On the Precipice of Trans Justice Funding Project 2020 Annual Report Contents 2 Acknowledgements 4 Terminology 5 Letter from the Executive Director 11 Our Grantmaking Year in Review 20 Grantees by Region and Issue Areas 22 The 2020 TJFP Team 27 Creating a Vision for Funding Trans Justice 29 Welcoming Growth 34 Funding Criteria 35 Some of the Things We Think About When We Make Grants 37 From Grantee to Fellow to Facilitator 40 Reflections From the Table 43 Our Funding Model as a Non-Charitable Trust 45 Map of 2020 Grantees 49 Our 2020 Grantees 71 Donor Reflections 72 Thank You to Our Donors! This report and more resources are available at transjusticefundingproject.org. Acknowledgements We recognize that none of this would have been possible without the support of generous individuals and fierce communities from across the nation. Thank you to everyone who submitted an application, selected grantees, volunteered, spoke on behalf of the project, shared your wisdom and feedback with us, asked how you could help, made a donation, and cheered us on. Most of all, we thank you for trusting and supporting trans leadership. A special shoutout to our TJFP team, our Community Grantmaking Fellows and facilitators; Karen Pittelman; Nico Amador; Cristina Herrera; Zakia Mckensey; V Varun Chaudhry; Stephen Switzer at Rye Financials; Raquel Willis; Team Dresh, Jasper Lotti; butch.queen; Shakina; Nat Stratton-Clarke and the staff at Cafe Flora; Rebecca Fox; Alex Lee of the Grantmakers United for Trans Communities program at Funders for LGBT Issues; Kris -
Annual Report 2019 - 2020
ANNUAL REPORT 2019 - 2020 1 2 ABOUT US Callen-Lorde is the global leader in LGBTQ healthcare. Since the days of Stonewall, we have been transforming lives in LGBTQ communities through excellent comprehensive care, provided free of judgment and regardless of ability to pay. In addition, we are continuously pioneering research, advocacy and education to drive positive change around the world, because we believe healthcare is a human right. CONTENTS History and Namesakes . 4 A Letter from our Executive Director Wendy Stark . 6 A Letter from our Board Chair Lanita Ward-Jones ������������������������������������������������������������ 7 COVID-19 Impact . 8 Callen-Lorde Brooklyn ������������������������������������������������������������������������������������������������������������������������������������������������10 Advocacy & Policy ��������������������������������������������������������������������������������������������������������������������������������������������������������������10 The Keith Haring Nurse Practitioner Postgraduate Fellowship in LGBTQ+ Health ������������������������������������������������������������������������������������������������������������������������������������������������������������������������ 12 Callen-Lorde by the Numbers . 14 Senior Staff and Board of Directors ������������������������������������������������������������������������������������������������������ 16 Howard J. Brown Society . .17 John B. Montana Society �����������������������������������������������������������������������������������������������������������������������������������������17 -
Ryan Mcginley
Akeem Flavors Artist Research Paper #3 Kelly – T.A. (PM) Ryan McGinley Many artists strive to create visual representations of events, symbols, and scenes that accurately reflect their lifestyles - with few of them ever being successful. However, by depicting himself, close friends, and mere acquaintances skateboarding, running, and moving by day as well as partying, taking drugs, and having sex by night, Ryan McGinley has easily surpassed this goal. The innocent yet edgy world captured by McGinley is far from fiction and closer to the documentation of his reality of being young, beautiful, and killing time in New York City. McGinley was born and raised in New Jersey until moving to New York to attend Parsons School of Design to study graphic design. After an inevitable introduction to the lifestyle of Manhattan’s artsy lower East Side and three years at Parsons McGinley became interested in photography. He explains that “For me the reason to go out to a party was to photograph,” (Gefter 2007). This is evident in Dash the almost voyeuristic style of his early photographs, in which he abandoned all concernBombing ,for 2000 detail and focused solely on the spirit of his subjects. For example, in Dash Bombing, McGinley captures a young graffiti artist tagging the wall of a building high above New York City. The lack of his attention to technicality in handling the camera is far from distracting. Instead, the viewer’s attention is absorbed by the subject’s concentration on his craft and the energy radiating from the city lights below. McGinley is simply a fly on the wall in capturing this fleeting moment of beauty and freedom. -
30 Americans West Coast Debut at Tacoma Art Museum: Unforgettable
MEDIA RELEASE August 2, 2016 Media Contact: Julianna Verboort, 253-272-4258 x3011 or [email protected] 30 Americans West Coast debut at Tacoma Art Museum: Unforgettable Tacoma, WA - The critically acclaimed, nationally traveling exhibition 30 Americans makes its West Coast debut at Tacoma Art Museum (TAM) this fall. Featuring 45 works drawn from the Rubell Family Collection in Miami – one of the largest private contemporary art collections in the world – 30 Americans will be on view from September 24, 2016 through January 15, 2017. The exhibition showcases paintings, photographs, installations, and sculptures by prominent African American artists who have emerged since the 1970s as trailblazers in the contemporary art scene. The works explore identity and the African American experience in the United States. The exhibition invites viewers to consider multiple perspectives, and to reflect upon the similarities and differences of their own experiences and identities. “The impact of this inspiring exhibition comes from the powerful works of art produced by major artists who have significantly advanced contemporary art practices in our country for three generations," said TAM's Executive Director Stephanie Stebich. "We've been working for four years to bring this exhibition to our community. The stories these works tell are more relevant than ever as we work toward understanding and social change. Art plays a pivotal role in building empathy and resolving conflict." Stebich added, "TAM is a safe space for difficult conversations through art. We plan to hold open forums and discussions during the run of this exhibition offering ample opportunity for community conversations about the role of art, the history of racism, and the traumatic current events.” The museum’s exhibition planning team issued an open call in March to convene a Community Advisory Committee. -
ANNUAL REPORT 2013 BOARD of TRUSTEES 5 Letter from the Chair
BOARD OF TRUSTEES 2 LETTER FROM THE CHAIR 4 A STRATEGIC VISION FOR THE 6 PHILADELPHIA MUSEUM OF ART A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Learning 30 Connecting and Collaborating 38 Building 48 Conserving 54 Supporting 60 Staffing and Volunteering 70 A CALENDAR OF EXHIBITIONS AND EVENTS 75 FINANCIAL STATEMENTS 80 COMMIttEES OF THE BOARD OF TRUSTEES 86 SUPPORT GROUPS 88 VOLUNTEERS 91 MUSEUM STAFF 94 BOARD OF TRUSTEES TRUSTEES EMERITI TRUSTEES EX OFFICIO OFFICERS Peter A. Benoliel Hon. Tom Corbett Constance H. Williams Jack R Bershad Governor, Commonwealth Chair, Board of Trustees Dr. Luther W. Brady, Jr. of Pennsylvania and Chair of the Executive Committee Helen McCloskey Carabasi Hon. Michael A. Nutter Mayor, City of Philadelphia H. F. (Gerry) Lenfest Hon. William T. Raymond G. Perelman Coleman, Jr. Hon. Darrell L. Clarke Chairs Emeriti Ruth M. Colket President, City Council Edith Robb Dixon Dennis Alter Hannah L. Henderson Timothy Rub Barbara B. Aronson Julian A. Brodsky B. Herbert Lee The George D. Widener Director and Chief David Haas H. F. (Gerry) Lenfest Executive Officer Lynne Honickman Charles E. Mather III TRUSTEES Victoria McNeil Le Vine Donald W. McPhail Gail Harrity Vice Chairs Marta Adelson Joan M. Johnson David William Seltzer Harvey S. Shipley Miller President and Chief Operating Officer Timothy Rub John R. Alchin Kenneth S. Kaiserman* Martha McGeary Snider Theodore T. Newbold The George D. Widener Dennis Alter James Nelson Kise* Marion Stroud Swingle Lisa S. Roberts Charles J. Ingersoll Director and Chief Barbara B. Aronson Berton E. Korman Joan F. Thalheimer Joan S.