ART: Kerry James Marshall’s Masterful “Mastry” Exhibit Opens Sunday at the Museum of Contemporary Art, Los Angeles

Works from Kerry James Marshall’s “Mastry” exhibition (collage by Maeve Richardson)

by Callie Teitelbaum

The “Mastry” Gallery, created by African-American artist Kerry James Marshall, walks you through Marshall’s journey of making it as a fine artist – a field dominated by whites for centuries.  Marshall was born in Alabama in 1955, and as a child was a part of the last wave of The Great Migration to the west, a region still full of promise and opportunity. Marshall’s family settled in South Central Los Angeles and while growing up in Watts, Marshall pursued art and was an active participant in the movement that encouraged an increase of black artists in the art community.  All of Marshall’s work contributed to his mission to prove that art by blacks was just as challenging and beautiful as the white art which was typically celebrated.

The exhibit shows Marshall’s earlier works such as “The Invisible Man,” which is a collection of small scale portraits of people using the darkest shades of black, emphasizing Marshall’s idea that black people in society blend into the background.  The exhibition displays how Marshall’s work developed, and include many of his large scale paintings.

Marshall changed the style of his work because he realized that a big statement called for a grander canvas.  A large three-piece work called “Heirlooms and Accessories,” appears to be a necklace with a woman’s face in it at first glance.  However, once one’s eyes adjust to the painting, fine lines start to become more distinct, and it is clear that there is a lynching occurring in the background.  The faces in the painting are witnesses at the lynching, and the expressions of indifference are utterly shocking. While “Heirlooms and Accessories” seem to be referring to the necklaces, accessories serves as a double meaning because it also refers to those who were accessories to murder.  This is a prime example of the depth and meaning behind each of Marshall’s work.

“Harriet Tubman” by Kerry James Marshall

All of the paintings reflect Marshall’s commentary on black identity in the U.S. and in traditional western art.  In his piece “Harriet Tubman,” Marshall paints an image of Harriet Tubman on her wedding day, with hands with white gloves essentially hanging this piece of art in a museum.  Marshall’s feeling that museums are responsible for the lack of black art is portrayed in this piece.  Museums typically hold the standard of what is beautiful and worthy, and Marshall makes the direct statement of what should be celebrated in this work.

The exhibition is especially engaging because of the varying emotions each work provokes.  While pieces such as “Slow Dance,” which illustrates two people peacefully dancing, provokes calmness and peace, other pieces express injustice and anger.  Marshall’s versatility and innate talent for art is clear as his work consists of completely different mediums and subjects.  The exhibition allows you to fully observe all of Marshall’s different forms of art and varying ideas, and is not limited to a specific time period or brand of art.

Marshall’s range of mediums and subjects include large to small scale, canvas paintings to comics, common people to historical figures, and glittery mediums to the blackest of paint.  This ability to effectively utilize different forms of art makes Marshall a unique artist, and a unique person who has learned to effectively communicate in a way people of all race, gender, and social class can understand.  Marshall’s works are visually stunning to say the least, and his success in spreading the meaning of his art and pursuing his career despite the circumstances of racial discrimination, is truly inspiring.

The Mastry exhibit opens on March 12 at the Museum Of Contemporary Art, Los Angeles and runs through July 3.

Black Female Artists Tackle The Dangerous Stereotypes That Have Never Defined Them

Mildred Howard, “I’ve Been a Witness to this Game IX,” color monoprint/digital on found paper with collage, 2016.

article by Priscilla Frank via huffingtonpost.com

The pop culture landscape is littered with lazy images of black women ― the nurturer, the hussy, the angry bitch. Hovering around the all-encompassing myth of the “strong black woman,” those paper-thin characterizations fail to represent real women in all their complexity and vulnerability.

Despite the monolithic representations that appear so often in TV series, advertisements, films and the imaginations of those who digest them, artists have long worked to provide images that speak to the depth and sweet fallibility of all human beings ― black women included.

An exhibition at the Alexandria Museum of Art, titled “Beyond Mammy, Jezebel, & Sapphire: Reclaiming Images of Black Women,” deconstructs the limiting categorizations mainstream culture allows black women. The artists on view reveal the shoddy nature of the stereotypes in favor of challenging, poetic and thorough visualizations of black culture ― the myth, the archetype, the self-portrait and beyond.

Characterizations commonly ascribed to black women in America are both historical and insidious. The Mammy ― a big-bosomed, jolly mother figure ― was written fictitiously into history to make slavery appear more humane. Her illusory existence suggested that there could, in fact, be such a thing as a happy slave. Today, the Mammy is often framed as a sexless, selfless nurturer.

Then there’s the Jezebel ― an overly sexualized, promiscuous black woman ― with a similarly atrocious origin story: her image was used to justify the sexual violence systematically inflicted upon black women in the antebellum South. Its influence persists to this day, making it more difficult for rape allegations by black women to be taken seriously.

And finally, the show addresses the image of Sapphire, named for the one-dimensional character on the radio and TV show “Amos ‘n’ Andy” ― an angry black woman. This cultural generalization, too, is a corollary of slavery and oppression. It calls back to a time when history overlooked the atrocities committed against black families and suggests instead that black women are inherently hostile, a foil to the delicate femininity of white women.
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BOOKS: “Never Caught” Tells Story of Ona Judge, Enslaved Woman who Escaped and Defied President Washington

512y-xth0ilarticle by Jennifer Schuessler via nytimes.com

MOUNT VERNON, Va. — The costumed characters at George Washington’s gracious estate here are used to handling all manner of awkward queries, whether about 18th-century privies or the first president’s teeth. So when a visitor recently asked an African-American re-enactor in a full skirt and head scarf if she knew Ona Judge, the woman didn’t miss a beat.

Judge’s escape from the presidential residence in Philadelphia in 1796 had been “a great embarrassment to General and Lady Washington,” the woman said, before offering her own view of the matter.“Ona was born free, like everybody,” she said. “It was this world that made her a slave.”

It’s always 1799 at Mount Vernon, where more than a million visitors annually see the property as it was just before Washington’s death, when his will famously freed all 123 of his slaves. That liberation did not apply to Ona Judge, one of 153 slaves held by Martha Washington.

But Judge, it turned out, evaded the Washingtons’ dogged (and sometimes illegal) efforts to recapture her, and would live quietly in New Hampshire for another 50 years. Now her story — and the challenge it offers to the notion that Washington somehow transcended the seamy reality of slaveholding — is having its fullest airing yet.  Judge is among the 19 enslaved people highlighted in “Lives Bound Together: Slavery at George Washington’s Mount Vernon,” the first major exhibition at Mount Vernon dedicated to the topic (it runs through 2018, check link above for details).

She is also the subject of a book, “Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge,” by Erica Armstrong Dunbar.

Erica Armstrong Dunbar, the author of “Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge,” at George Washington’s estate in Mount Vernon, Va. (Credit: Justin T. Gellerson for The New York Times)

Erica Armstrong Dunbar, the author of “Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge,” at George Washington’s estate in Mount Vernon, Va. (Credit: Justin T. Gellerson for The New York Times)

Most scholars who have written about Judge’s escape have used it as a lens onto Washington’s evolving ideas about slavery. But “Never Caught,” published this Tuesday by 37 Ink, flips the perspective, focusing on what freedom meant to the people he kept in bondage. “We have the famous fugitives, like Harriet Tubman and Frederick Douglass,” Ms. Dunbar, a professor of black studies and history at the University of Delaware, said in an interview in Mount Vernon’s 18th-century-style food court. “But decades before them, Ona Judge did this. I want people to know her story.”

Research on slavery has exploded in the two decades since Mount Vernon, Monticello and other founder home sites introduced slavery-themed tours and other prominent acknowledgments of the enslaved. “Lives Bound Together”  was originally going to fill one 1,100-square-foot room in the museum here, but soon expanded to include six other galleries normally dedicated to the decorative and fine arts, books and manuscripts.

An installation about Ona Judge, often referred to by the diminutive Oney, in the exhibition “Lives Bound Together: Slavery at George Washington’s Mount Vernon.” (Justin T. Gellerson for The New York Times)

The exhibition makes it clear just who poured from the elegant teapots and did the backbreaking work on the 8,000-acre estate. But integrating the harsh reality of slavery into the heroic story of Washington — “a leader of character,” as the title of the permanent exhibition across from the slavery show calls him — remains unfinished work, some scholars say. Continue reading

Chicago Teens Will Now Have Free Admission to Art Institute Of Chicago | WBEZ

Whitney Young Magnet High School senior Rosario Barrera and Kenwood Academy High School Junior Walela Greenlee, both members of the museum’s Teen Council, in the Art Institute of Chicago’s Modern Wing (photo via wbez.org)

article by Lakeidra Chavis via wbez.org

A University of Chicago alumnus and his wife have made it possible for some Chicago teens to visit the Art Institute of Chicago for free for at least the next 25 years. Glenn and Claire Swogger are a philanthropic couple from Kansas who gave the undisclosed gift to the museum.“We try to find programs that will help people have educational and cultural experiences that will be useful to them and good for society,” Glenn said.

Currently, children under 14 years old get free admission into the museum. But starting this week, the Swogger’s foundation will expand that to any Chicagoan under 18 years old. “There’s still the problem of (the teenagers) getting there, they might not have enough money jiggling in their pockets for them to come routinely to the Art Institute,” Glenn Swogger said.  He added the museum offers more than just art, including a variety of programs open to youths.“We just wanted to make it a little easier for young people to take advantage of that,” he said.

Art Institute spokeswoman Amanda Hicks said the donation was in the works for about a year, and the museum hopes it will help boost attendance from Chicago’s youth. Illinois art seekers who are over 18 years old can still visit the museum for free every Thursday from 5 to 8 p.m.

Source: Chicago Teens Will Now Have Free Access To The Art Institute Of Chicago | WBEZ

LeBron James Donates $2.5 Million for Muhammad Ali Exhibit at National Museum of African American History & Culture

Cleveland Cavaliers star LeBron James (DAVID LIAM KYLE VIA GETTY IMAGES)

 article via huffingtonpost.com

LeBron James is donating $2.5 million to support a Muhammad Ali exhibit at the Smithsonian’s new National Museum of African American History and Culture in Washington, D.C., the basketball star and the museum announced on Thursday.

The Cleveland Cavaliers forward said he was a longtime fan of Ali, one of the most beloved sports figures in history, who died on June 3 after a lengthy battle with Parkinson’s syndrome.  “Every professional athlete, regardless of race and gender, owes a huge debt of gratitude to Muhammad Ali,” James said in a statement. “His legacy deserves to be studied and revered by every generation.”

The “Muhammad Ali: A Force for Change” exhibit features items from the late boxer, including a training robe worn at Dundee’s Fifth Street Gym in Miami. While the exhibit details Ali’s sports journey, it also highlights his community activism, spirituality and politics.

“We are extremely grateful to LeBron James,” said Damion Thomas, curator of the museum’s Sports Gallery. “As the most socially active superstar in sports today, LeBron James is a testament to the influence of Muhammad Ali (who) embodied the racial and social tumult of his times, blurring lines between politics and sports, activism and entertainment.”

James’ business partner, Maverick Carter, is also contributing to the exhibit, which has been on display since the museum opened on Sept. 24.

The funds will also support the museum itself, which is located on the National Mall.

To read more, go to: http://www.huffingtonpost.com/entry/lebron-james-donates-25-million-muhammad-ali-exhibit_us_582dd99ae4b058ce7aa98273?

National Museum of African-American History and Culture is Sold Out Through March 2017!

Smithsonian National Museum of African-American History and Culture (NMAAHC)

article via eurweb.com

To say the new Smithsonian National Museum of African American History and Culture (NMAAHC) is on everybody’s bucket list is an understatement. Put it like this. If you were planning to visit the new museum, unfortunately you’re going to have to wait until 2017.

Yep, it’s that popular. The museum has sold out tickets through March of 2017. Admission is free, but date-specific tickets are required for entry.

The museum opened in Washington, D.C. in September, and officials initially expected around 7,000 visitors per day.  Nearly 30,000 people visit the museum daily.

There are only two ways you can gain entry:  Go to the museum website and try to obtain a 2017 pass or line up outside the museum to try for a “day of” pass.

To read full article, go to: New African-American Museum is Sold Out Thru March, 2017!

Unreleased Basquiat Art From 1979 to 1981 to be Displayed at X Contemporary via Art Basel in Miami this December

Unreleased Basquiat Art From 1979 To 1981 To Be Displayed Soon

Jean-Michel Basquiat (photo via okayplayer.com)

A collection of unreleased work from Jean-Michel Basquiat will be unveiled this December at X Contemporary, a satellite event of Miami’s Art Basel.  According to a report from Art News, the exhibit will feature a range of Basquiat’s work — including paintings, collages, and drawings — created by the artist between 1979 and 1981, in his good friend Lonny Lichtenberg‘s New York apartment.

Curating the display will be another of Basquiat’s close friends, Al Diaz. The name Diaz might sound familiar, considering he’s the artist Basquiat collaborated with during his graffiti days, creating the infamous SAMO graffiti tag that was painted throughout the streets of downtown Manhattan in the late 1970s.

The show, hosted by Brooklyn’s Bishop Gallery, will run from November 30 to December 4, at Miami’s Nobu Hotel.

This news joins other recent Basquiat exhibit announcements, including one that’s happening in the UK. London’s Barbican Centre is hosting Boom For Real, the UK’s first large scale Jean-Michel Basquiat exhibition, which will feature over 100 of the late New York artist’s works, with his most famous paintings lined up alongside notebooks and drawings.

To read more, go to: http://www.okayplayer.com/news/unreleased-basquiat-art-to-be-displayed-soon.html