Saturday, February 27, 2016
Off-Site Exhibition: A Shape That Stands Up @ Art + Practice [LOS ANGELES/USA]
OPENING MAR 19
A multigenerational exhibition that considers the gray area between figuration and abstraction, as mediated through humor and the grotesque.
A Shape That Stands Up examines the gray space between figuration and abstraction in recent painting and sculpture. The artists in this cross-generational show treat the figure as material, and the history of representation as one, long open-ended question with many possible answers. The body is often depicted in the state of becoming else, with shapes, light, and shadow taking on ambiguous forms. Influenced in part by the controversial 1978 exhibition Bad Painting (organized by Marcia Tucker for the New Museum in New York), the exhibition considers what our own subjectivities may bring to the discussion and practice of abstraction, and what motivates artists to decenter the figure’s dominance in the visual field.
The exhibition’s title is inspired by an ongoing series of drawings by artist Amy Sillman, which borrows from a sentence in Jayne Anne Phillips’s 2009 book Lark and Termite that reads, "Deep inside his pictures, a shape stands up and listens." A Shape That Stands Up focuses on works made over the last 15 years that follow a historical lineage of artists—from Philip Guston and Willem DeKooning's dissolution of the body into line, color, and near violent gesture, to later artists, such as the Chicago Imagists, or those associated with the California Funk movement. Each artist’s approach presents a challenge to the orthodoxy of beauty and mimetic precision in creative production, mediated through humor, fantasy, and the grotesque.
A Shape That Stands Up is organized by Hammer Museum assistant curator Jamillah James.
Art + Practice is located at 4339 Leimert Boulevard, Los Angeles, CA 90008. Join us for a public reception for the exhibition on Saturday, March 19 from 3–5 p.m.
PARTICIPATING ARTISTS INCLUDE:
Math Bass
b. 1981, Long Island, New York
Kevin Beasley
b. 1985, Lynchburg, Virginia
Sadie Benning
b. 1973, Milwaukee, Wisconsin
Robert Colescott
b. 1925, Oakland, California; d. 2009, Tucson, Arizona
Carroll Dunham
b. 1946, New Haven, Connecticut
Jamian Juliano Villani
b. 1987, Newark, New Jersey
Jason Meadows
b. 1972, Indianapolis, Indiana
D’Metrius “DJ” Rice
b. 1981, Washington, District of Columbia
Tschabalala Self
b. 1990, New York, New York
Amy Sillman
b. 1955, Detroit, Michigan
Henry Taylor
b. 1958, Oxnard, California
Torey Thornton
b. 1990, Macon, Georgia
Sue Williams
b. 1954, Chicago Heights, Illinois
Ulrich Wulff
b. 1975, Kempten, Germany
Brenna Youngblood
b. 1979, Riverside, California
LINK
A multigenerational exhibition that considers the gray area between figuration and abstraction, as mediated through humor and the grotesque.
A Shape That Stands Up examines the gray space between figuration and abstraction in recent painting and sculpture. The artists in this cross-generational show treat the figure as material, and the history of representation as one, long open-ended question with many possible answers. The body is often depicted in the state of becoming else, with shapes, light, and shadow taking on ambiguous forms. Influenced in part by the controversial 1978 exhibition Bad Painting (organized by Marcia Tucker for the New Museum in New York), the exhibition considers what our own subjectivities may bring to the discussion and practice of abstraction, and what motivates artists to decenter the figure’s dominance in the visual field.
The exhibition’s title is inspired by an ongoing series of drawings by artist Amy Sillman, which borrows from a sentence in Jayne Anne Phillips’s 2009 book Lark and Termite that reads, "Deep inside his pictures, a shape stands up and listens." A Shape That Stands Up focuses on works made over the last 15 years that follow a historical lineage of artists—from Philip Guston and Willem DeKooning's dissolution of the body into line, color, and near violent gesture, to later artists, such as the Chicago Imagists, or those associated with the California Funk movement. Each artist’s approach presents a challenge to the orthodoxy of beauty and mimetic precision in creative production, mediated through humor, fantasy, and the grotesque.
A Shape That Stands Up is organized by Hammer Museum assistant curator Jamillah James.
Art + Practice is located at 4339 Leimert Boulevard, Los Angeles, CA 90008. Join us for a public reception for the exhibition on Saturday, March 19 from 3–5 p.m.
PARTICIPATING ARTISTS INCLUDE:
Math Bass
b. 1981, Long Island, New York
Kevin Beasley
b. 1985, Lynchburg, Virginia
Sadie Benning
b. 1973, Milwaukee, Wisconsin
Robert Colescott
b. 1925, Oakland, California; d. 2009, Tucson, Arizona
Carroll Dunham
b. 1946, New Haven, Connecticut
Jamian Juliano Villani
b. 1987, Newark, New Jersey
Jason Meadows
b. 1972, Indianapolis, Indiana
D’Metrius “DJ” Rice
b. 1981, Washington, District of Columbia
Tschabalala Self
b. 1990, New York, New York
Amy Sillman
b. 1955, Detroit, Michigan
Henry Taylor
b. 1958, Oxnard, California
Torey Thornton
b. 1990, Macon, Georgia
Sue Williams
b. 1954, Chicago Heights, Illinois
Ulrich Wulff
b. 1975, Kempten, Germany
Brenna Youngblood
b. 1979, Riverside, California
LINK
Thursday, February 25, 2016
COMING SOON: Vision & Justice
Guest Editor: Sarah Lewis
As the United States navigates a political moment defined by the close of the Obama era and the rise of #BlackLivesMatter activism, Aperture magazine will release “Vision & Justice,” a special issue guest edited by Sarah Lewis, the distinguished author and art historian, addressing the role of photography in the African American experience.
Inspired by Frederick Douglass’s 1864 speech “Pictures and Progress,” a call to consider the transformative power of pictures in affecting change in the United States, the immense range of images and writing in “Vision & Justice” underscores photography’s unique corrective power and ability to shape a new vision of the country.
“Vision & Justice” features a wide span of photographic projects by such luminaries as Lyle Ashton Harris, Annie Leibovitz, Sally Mann, Jamel Shabazz, Lorna Simpson, Carrie Mae Weems, and Deborah Willis, as well as the brilliant voices of an emerging generation—Devin Allen, Awol Erizku, LaToya Ruby Frazier, Deana Lawson, and Hank Willis Thomas, among many others. Additional contributions include essays by such celebrated writers, historians, and artists as Vince Aletti, Teju Cole, Henry Louis Gates, Jr., Margo Jefferson, Wynton Marsalis, and Claudia Rankine.
Features now available for preview:
• Vision & Justice: Guest Editor’s Note by Sarah Lewis
• Black Lives, Silver Screen: An exclusive, wide-ranging conversation between acclaimed filmmaker Ava DuVernay and award-winning cinematographer Bradford Young
• Love Visual: A Conversation with Haile Gerima by Sarah Lewis and Dagmawi Woubshet
LINK
As the United States navigates a political moment defined by the close of the Obama era and the rise of #BlackLivesMatter activism, Aperture magazine will release “Vision & Justice,” a special issue guest edited by Sarah Lewis, the distinguished author and art historian, addressing the role of photography in the African American experience.
Inspired by Frederick Douglass’s 1864 speech “Pictures and Progress,” a call to consider the transformative power of pictures in affecting change in the United States, the immense range of images and writing in “Vision & Justice” underscores photography’s unique corrective power and ability to shape a new vision of the country.
“Vision & Justice” features a wide span of photographic projects by such luminaries as Lyle Ashton Harris, Annie Leibovitz, Sally Mann, Jamel Shabazz, Lorna Simpson, Carrie Mae Weems, and Deborah Willis, as well as the brilliant voices of an emerging generation—Devin Allen, Awol Erizku, LaToya Ruby Frazier, Deana Lawson, and Hank Willis Thomas, among many others. Additional contributions include essays by such celebrated writers, historians, and artists as Vince Aletti, Teju Cole, Henry Louis Gates, Jr., Margo Jefferson, Wynton Marsalis, and Claudia Rankine.
Features now available for preview:
• Vision & Justice: Guest Editor’s Note by Sarah Lewis
• Black Lives, Silver Screen: An exclusive, wide-ranging conversation between acclaimed filmmaker Ava DuVernay and award-winning cinematographer Bradford Young
• Love Visual: A Conversation with Haile Gerima by Sarah Lewis and Dagmawi Woubshet
LINK
Tuesday, February 23, 2016
Monday, February 22, 2016
Well-Read Black Girl presents: Reimagining the Literary Canon [NYC/USA]
THURSDAY, FEBRUARY 25, 2016 AT 7:00PM
Join Well-Read Black Girl's debut reading featuring an extraordinary list of poets, fiction writers, and essayists. We're celebrating Black History Month and the brilliant narratives of Black women. The event is free and open to the public.
Featuring:
Ashley Ford
Jenna Wortham
Morgan Parker
Camille Rankine
Nicole Sealey
Bsrat Mezghebe
Nicole Dennis-Benn
Kyla Marshell
Diamond Sharp
Instagram: @wellreadblackgirl
#WellReadBlackGirl
LINK
Join Well-Read Black Girl's debut reading featuring an extraordinary list of poets, fiction writers, and essayists. We're celebrating Black History Month and the brilliant narratives of Black women. The event is free and open to the public.
Featuring:
Ashley Ford
Jenna Wortham
Morgan Parker
Camille Rankine
Nicole Sealey
Bsrat Mezghebe
Nicole Dennis-Benn
Kyla Marshell
Diamond Sharp
Instagram: @wellreadblackgirl
#WellReadBlackGirl
LINK
GAME RECOGNIZE GAME: Visiting Artists & Athletes @ Yale University [New Haven/USA]
"Game Recognize Game" is a new discussion series that brings together accomplished artists and athletes of color to talk about visual represntation politics, technique, strategy, and mastery in sports and art. Game Recognize Game invites athletes from the worlds of track and field, football, tennis, and ballet to converse with contemporary visual artists. What can be learned at the intersection of art and athleticism?
The inaugural event on Sunday Feb. 28 will feature artist Emory Douglas, former minister of culture for the Black Panther Party, and athlete John Wesley Carlos, bronze medalist in the 200-meter sprint at the 1968 Olympics. Carlos and gold medalist Tommie Smith, raised their black-gloved fists in a "black power" human rights salute from the medal podium. Both athletes wore black socks and no shoes on the podium to represent African-American poverty in the United States.
Their discussion on “Form and Strategy” will be mediated by Karleh Wilson ’16, a member of Yale's track and field team, and William Cordova, MFA ’04, a practicing artist. The talk, which begins at 2:20 p.m., will be live streamed from the the Black Pulp! exhibition at School of Art's 32 Edgewood Ave. Gallery to the Yale University Art Gallery auditorium. The speakers will then come to the art gallery for a question-and-answer session with the audience.
To watch the discussion, come to the Yale University Art Gallery's auditorium by 2:20 p.m.
This event is cosponsored by the Yale School of Art, La Casa Cultural: The Latino Cultural Center at Yale, The Afro-American Cultural Center at Yale, The Yale University Art Gallery, The Yale Housing Office, The Orville H. Schell, Jr. Center for International Human Rights at Yale Law School, Yale University Office of the Provost, Yale College Dean's Office, Arts Discretionary Fund, the Black Pulp! Exhibition at Yale, The Intercultural Affairs Council of Yale College Yale University Department of African American Studies, Friends of Education of the Museum of Modern Art, and Bernard Lumpkin.
LINK
The inaugural event on Sunday Feb. 28 will feature artist Emory Douglas, former minister of culture for the Black Panther Party, and athlete John Wesley Carlos, bronze medalist in the 200-meter sprint at the 1968 Olympics. Carlos and gold medalist Tommie Smith, raised their black-gloved fists in a "black power" human rights salute from the medal podium. Both athletes wore black socks and no shoes on the podium to represent African-American poverty in the United States.
Their discussion on “Form and Strategy” will be mediated by Karleh Wilson ’16, a member of Yale's track and field team, and William Cordova, MFA ’04, a practicing artist. The talk, which begins at 2:20 p.m., will be live streamed from the the Black Pulp! exhibition at School of Art's 32 Edgewood Ave. Gallery to the Yale University Art Gallery auditorium. The speakers will then come to the art gallery for a question-and-answer session with the audience.
To watch the discussion, come to the Yale University Art Gallery's auditorium by 2:20 p.m.
This event is cosponsored by the Yale School of Art, La Casa Cultural: The Latino Cultural Center at Yale, The Afro-American Cultural Center at Yale, The Yale University Art Gallery, The Yale Housing Office, The Orville H. Schell, Jr. Center for International Human Rights at Yale Law School, Yale University Office of the Provost, Yale College Dean's Office, Arts Discretionary Fund, the Black Pulp! Exhibition at Yale, The Intercultural Affairs Council of Yale College Yale University Department of African American Studies, Friends of Education of the Museum of Modern Art, and Bernard Lumpkin.
LINK
Better than Jordan: A talk by Hamishi Farah
home school's 2016 curriculum begins with a remote artist talk by Hamishi Farah, a Melbourne-based artist. Join us in the workshop of Creative Paper Crafting for a discussion of the following, In the artist's own words:
"The theme or trajectory of my talk will float around the following topics or whatever the audience requests
~ Constituency, representation, and let’s work together to agree on who are the top 5 people in the room
~ Secession and weapons
~ Moral formalism and pre-game entertainment
~ Birdman vs Silicone Valley libertarianism
~ Claustrospheres
~Why hip hop is 50 years ahead of contemporary art, and 100 years ahead of punk" and "poetry within the lines
~ Gamify your post-moral life to feel again, why sport may yet again be the answer for black men"
See Hamishi's work at http://hamishi.asia/
6 MARCH @ 18:00 in PST
Creative Paper Crafting; 2000 SE Madison St, Portland Oregon
LINK
"The theme or trajectory of my talk will float around the following topics or whatever the audience requests
~ Constituency, representation, and let’s work together to agree on who are the top 5 people in the room
~ Secession and weapons
~ Moral formalism and pre-game entertainment
~ Birdman vs Silicone Valley libertarianism
~ Claustrospheres
~Why hip hop is 50 years ahead of contemporary art, and 100 years ahead of punk" and "poetry within the lines
~ Gamify your post-moral life to feel again, why sport may yet again be the answer for black men"
See Hamishi's work at http://hamishi.asia/
6 MARCH @ 18:00 in PST
Creative Paper Crafting; 2000 SE Madison St, Portland Oregon
LINK
Sunday, February 21, 2016
Cameron Rowland
[installation view of “91020000,” Cameron Rowland’s exhibition at Artists Space; credit - Pablo Enriquez for The New York Times]
LINK
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Wayne Lawrence
[2016, siblings Julie, Antonio, and India Abram collect their daily allowance of bottled water from Fire Station #3, Flint, Michigan]
LINK
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'There's Solid Militia Fashion, but Come On, Domestic Like Focus Always', 2015 by Torey Thornton
[acrylic paint, oil pastel, sharpie, graphite, nail polish, and marker on paper; 68 1/2 x 86 1/4 inches,(174 x 219.1 cm)]
LINK
LINK
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