The Studio Museum in Harlem is the nexus for artists of African descent locally, nationally and internationally and for work that has been inspired and influenced by black culture. It is a site for the dynamic exchange of ideas about art and society.
The Studio Museum in Harlem: 144 West 125th Street, New York, NY 10027
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We <3 Caitlin!
One of her painting installations, The Federal Reserve Bank of New Yawk (2012) was featured in Fore, our Fall/Winter 2012–13 exhibition! Congrats Caitlin!
An exhibition featuring three related painting and sculpture installations created by Brooklyn artist Caitlin Cherry for the Brooklyn Museum is the latest in the continuing Raw/Cooked series of work by under-the-radar Brooklyn artists.
The exhibition, Hero Safe, will be on view June 7 through September 1, 2013.
Photo caption: Caitlin Cherry in her studio. Photo by Pierce Jackson (photo courtesy Brookly Museum)
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Rashid Johnson (b. 1977)
Fatherhood as Described by Paul Beatty, 2011
branded red oak flooring, black soap, wax, books, branding irons, shea butter, oyster shells, space rock, gold paint
96 x 120 x 12.5 inches -
Rashid Johnson (b. 1977)
Installation view of A Message to Our Folks (Museum of Contemporary Art Chicago, 2012) -
Editing.
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plays: 109
We love Fred! His 1993 installation, Local Color, will be on view at the Studio Museum from March 28–June 30, as part of our Spring 2013 exhibitions and projects!
The Cleveland Museum of Art has is showing “Fred Wilson: Works 2004-2011,” in its glass box gallery. The exhibition features four Wilson objects. The exhibition will remain on view through May 5.
Fred Wilson was the guest on Episode No. 33 of The Modern Art Notes Podcast, an episode taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Among the pieces we discuss on this week’s show is Wilson’s Iago’s Mirror (2009) in Toledo’s collection. Both To Die Upon a Kiss (2011, above, detail), and Iago’s Mirror were informed by Wilson’s visits to Venice and his knowledge of Shakespeare’s “Othello. The final words Othello speaks make up the title of this piece.
Wilson is best known for his works made not out of glass, pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To listen: Download the episode directly to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See images of art discussed on the Wilson program.
(via 3rdofmay)
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Tameka Norris (b. 1979)
Untitled (September 16, 2011), 2011more on Tameka Norris
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William Cordova (b. 1971)
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Sadie Barnette
b. 1984, Oakland, CASadie will be in conversation with LACMA’s Franklin Sirmans and fellow Fore artists Noah Davis and Brenna Youngblood on Thursday, March 7, 7pm at the Studio Museum. For more information, click here.
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Titus Kaphar (b. 1976)
The Vesper Project, 2012-13 -
Fore artist spotlight
Nikki Pressley
b. 1982, Greenville, SC
Lives and works in Los Angeles, CAWorking between sculpture, installation and design, Nikki Pressley conveys traditions of self-reliance, endurance and belonging in black culture. Inspired by Caribbean writer and philosopher Édouard Glissant’s idea of the “poetics of relation,” she explores individual and collective identity through location, lifestyle and notions of home. Often, Pressley’s installations reveal a desire to reframe, invert or transform an object’s function.
Her new works, custom handmade furniture, literally sprout domestic mementos (plants, archival imagery, maps) from their shelves and
compartments. The furniture creates small, specific networks of intimacy, even as the collected imagery remains anonymous and generalized. Invoking larger responsibilities to community, Pressley’s functional sculptures also include self-written pamphlets and guides to sustainable living and “do-it-yourself” agriculture. Examining the overlap of design and politicized language in the work Mass (2012), Pressley ties crumpled picket signs, remnants of a bygone protest, into a form that resembles an anarchic chandelier.Encouraging viewers to become actively engaged in their communities, Pressley’s objects offer a multitude of identifications and positions.
—Abbe Schriber, Curatorial Assistant, The Studio Museum in Harlem
Images: re:linked, re:layed, re:rooted, 2012 (in foreground). Photo: Adam Reich; Horizons (Mangroves), 2012; The Messiah is Forthcoming (installation view), 2012; Mass, 2012. Photo: Adam Reich. All courtesy the artist.
