This week’s Modern Art Notes Podcast features artist Deborah Grant and J. Paul Getty Museum curator Scott Allan.
Grant makes paintings deeply rooted in art history, but takes as a significant goal the adding of new names and bodies of work to the roster of artists we know. Her work mixes folk traditions, the work of famous artists and our cultural history to build narratives that use our past to address our present. Her work is included in "When the Stars Begin to Fall; Imagination and the American South," a group show at the Studio Museum in Harlem that was curated by Thomas J. Lax. The show is open through this weekend and then travels to the NSU Museum of Art Fort Lauderdale in August. Earlier this year The Drawing Center exhibited "Deborah Grant: Christ You Know it Ain’t Easy!!", which was curated by Claire Gilman.
Next, Allan, the curator of "The Scandalous Art of James Ensor," at the J. Paul Getty Museum. It will be on view through September 7. The show focuses on Ensor’s wild, groundbreaking work of the 1880s and 1890s, and places the artist’s two greatest works in the context of Ensor’s larger project. The Getty’s own Christ’s Entry into Brussels in 1889 is famous and well-known, but the exhibition also includes Ensor’s 1887 The Temptation of St. Anthony, a mammoth drawing never before exhibited in the United States. It’s in the collection of the Art Institute of Chicago, to which this exhibition will travel after it’s in LA.
The Modern Art Notes Podcast is an independent production of Modern Art Notes Media. The program is edited by Wilson Butterworth. The MAN Podcast is released under this Creative Commons license.
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“Donald Judd didn’t have to explain himself. Why do I have to?”—Jennie C. Jones, an abstract painter who has grappled with the issue of how her work can or should reflect her race. (h/t ArtNEWS Magazine)
“You know, those of us involved in the afrofuturist debate feel partly responsible for the coming of the afropolitic. I want to try and rescue something from it, for a minute, by returning to that debate on “futurority” which afrofuturism is about. If you remember… neither term, either afro or futurist, were indeed new.”—John Akomfrah, Manifesa #17: Raimi Gbadamosi talks with John Akomfrah on Contemporary&
The Hammer Museum recently opened a major historical survey titled "Take It or Leave It: Institution, Image, Ideology." It describes the show as “the first large-scale exhibition to focus on the intersection of two vitally important genres of contemporary art: appropriation (taking and recasting existing images, forms, and styles from mass-media and fine art sources) and institutional critique (scrutinizing and confronting the structures and practices of our social, cultural, and political institutions).”
One of the artists in the exhibition is Fred Wilson, the New York-based conceptualist whose work often examines how people of color are represented in the historical record — and by the institutions that help write that record. Wilson was the guest on Episode No. 33 of The Modern Art Notes Podcast, a program taped live at the Toledo Museum of Art. On the occasion of the Hammer show, we’ve added it to our SoundCloud page. Have a listen, or download it using the button in the upper right above!