In January, the Philadelphia Museum will open “Represent: 200 Years of African American Art,” a sprawling survey of its holdings of works by black artists. Featuring 75 artworks by over 50 artists, the show’s earliest pieces include silhouettes by Moses Williams that date to 1802, pre-Civil War decorative arts by free and enslaved artists, and potter David Drake’s bible-inscribed storage jar sculpture.
“Presenting these works together now, we are mindful of the many anniversaries of the civil rights movement that have recently passed or are soon to come, and are thinking equally about the way race remains a key topic of conversation in the United States today—in politics, society, popular culture, and, of course, the arts,” said Philadelphia Museum of Art director Timothy Rub said in a statement. “This is an important moment in which to explore the historic development and continuing growth of the Museum’s collections of African American art.”
A centerpiece of the exhibition is undoubtedly Henry Ossawa Tanner’s 1898 painting titled The Annunciation, reports the Wall Street Journal. Acquired by the museum in 1899, it was the first piece by an African American artist added to its collection. The show traces black artists through many of the major movements in American art history, from Cubism with Aaron Douglas’s Birds in Flight (1927) to Modernism with works by William Henry Johnson and Elizabeth Catlett. A combination of both can be seen in the figurative painting of Harlem Renaissance artist Jacob Lawrence.
Other, more contemporary, highlights include Barbara Chase-Riboud’s large-scale bronze and fiber sculpture Malcolm X #3, as well as pieces by Carrie Mae Weems, Glenn Ligon, Lorna Simpson, and Kara Walker.
“Represent: 200 Years of African American Art” will be on view at the Philadelphia Museum of Art January 10, 2015 though April 5, 2015. (Preview a selection of artworks from the exhibition below.)
Posts tagged as “Carrie Mae Weems”
The Walker Art Center in Minneapolis is set to present the groundbreaking survey “Radical Presence: Black Performance in Contemporary Art.”
“Radical Presence” chronicles the development of Black performance in contemporary art beginning with fluxus and conceptual art in the 1960s and extending to the present. While this tradition has previously been contextualized from the perspective of theater and popular culture, its prevalence in visual art has gone largely unexamined until recently. Organized and first presented by the Contemporary Arts Museum Houston, “Radical Presence” was co-presented in New York City by The Studio Museum in Harlem and New York University’s Grey Art Gallery. The final opportunity to view the exhibition will be at the Walker. The showing opens July 24 and runs through Jan. 4, 2015 in the Target and Friedman galleries.
The July 24 launch, a Target Free Thursday Night, with live performances at the Walker by contributing artists Senga Nengudi, Pope.L and Jacolby Satterwhite. Performances continue on Saturday, July 26 with Maren Hassinger and Jamal Cyrus, in addition to a panel discussion hosted by organizing curator Valerie Cassel Oliver from the Contemporary Arts Museum Houston and contributing artists Adam Pendleton, Satterwhite, and Xaviera Simmons that addresses the role of performance in their larger artistic practice.
A range of performances and events continue beyond the opening weekend and throughout the run of the exhibition. Beginning in September, the Walker and The Bindery Projects will host Theaster Gates’ “See, Sit, Sup, Sip, Sing: Holding Court” (2012), while additional performances include Benjamin Patterson’s “Activation of Pond” (1962), a performance lecture by Coco Fusco, and Trenton Doyle Hancock’s “Devotion” (2013).
Featuring more than 100 works by some 36 artists, “Radical Presence” includes video and photo documentation of performances, scores and installations, interactive works and artworks created as a result of performance actions, presenting a rich and complex look at this important facet of contemporary art.
‘”Radical Presence’ is a risk-taking exhibition that looks at the vitality of performance-based works by Black artists from the United States and the Caribbean over several decades and across generations,” said Olga Viso, executive director of the Walker. “Engaging works where the performer is often the medium and subject, the exhibition is both provocative and captivating, as it addresses the limits of representation of the Black body and elicits timely reflection on American culture and identity.”
“From seminal works by such highly influential artists as Coco Fusco, Lorraine O’Grady, Pope.L and David Hammons to essential new voices like Theaster Gates, Jacolby Satterwhite, and Xaviera Simmons, ‘Radical Presence’ brings together artists from across generations that push the boundaries of performance,” said Fionn Meade, the Walker’s senior curator of cross-disciplinary platforms. “Ranging from intimate acts done solely for the camera to participatory installations and the tracing of overtly public gestures of celebration and resistance, the Walker is thrilled to welcome such a dynamic and far-ranging exploration.”
Works on view in “Radical Presence” include “Hopes and Dreams: Gestures of Demonstration” (2006-2007), a photographic series by Carrie Mae Weems, “Pond” (1962), a performance score conceived and activated by Benjamin Patterson, documentation of Lorraine O’Grady’s performance, “Mlle, Bourgeoise Noire” (1980-1983), “Eating the Wall Street Journal” (2000) by Pope.L, a sculpture and video installation, “Say It Loud” (2004) by Satch Hoyt, a participatory sculpture meant to be activated by gallery visitors and documentation of Jamal Cyrus’ performance “Texas Fried Tenor” from the series “Learning to Work the Saxophone” (2012).
article via insightnews.com
Twenty-four talented individuals were recognized Wednesday morning after they were named the 2013 class of MacArthur fellows – an honor given to an extraordinary group made up of individuals who have achieved much success in their personal creative pursuits. This year, three African-Americans — Kyle Abraham, Tarell McCraney and Carrie Mae Weems – have been identified by the MacArthur Foundation and join the group of fellows who are each awarded $625,000 to use as they wish towards their creative visions.
“This year’s class of MacArthur Fellows is an extraordinary group of individuals who collectively reflect the breadth and depth of American creativity,” said Cecilia Conrad, Vice President, MacArthur Fellows Program. “They are artists, social innovators, scientists, and humanists who are working to improve the human condition and to preserve and sustain our natural and cultural heritage. Their stories should inspire each of us to consider our own potential to contribute our talents for the betterment of humankind.”
In particular, the work of these three visonaries attempts to teach lessons and transform the ideas associated with the African-American experience. Abraham is a New-York-based dancer and choreographer whose work is often inspired by some of his childhood memories growing up in Pittsburgh, Pennsylvania.
Thomas Allen Harris is a film activist, leveraging the platform of documentary filmmaking as a tool to empower, educate, and shed light on many under-the-radar stories within our combined histories. Harris is now on a new threshold of activist filmmaking, one that aims to validate a community as authors of their own image.