Thursday, June 30, 2016
Wednesday, June 29, 2016
Ben Patterson, Cornerstone of Fluxus And Experimental Art, Dies at 82 [ARTICLE]
Ben Patterson, the artist, composer, and double bassist who played with classical orchestras, helped found the Fluxus movement, took a nearly 20-year break from performance to live what he termed “ordinary life,” and returned to art-making as an assemblage artist, died on Saturday at his home in Wiesbaden, Germany, according to friends and collaborators. He was 82.
In the early 1960s, Patterson was among a small group of outré artists, including La Monte Young, John Cage, and Yoko Ono, who pushed music and performance to profound, radical extremes. His 1960 Paper Piece called for audience members to fold, rip, and wave paper through the air. The score for his Lick Piece (1964) read simply, “Cover shapely female with whipped cream / lick / … topping of chopped nuts and cherries is optional.” “He was writing scores that were Fluxus-like, before Fluxus,” the artist Geoffrey Hendricks told me today.
One his most infamous and most photogenic pieces, Variations for Double-Bass (1962), called for a solo performer to “agitate strings” of the instrument with a comb and corrugated cardboard, and balance it upside-down on its scroll while rubbing a rubber object against its strings. A typed version of the score for that work is now in the collection of the Museum of Modern Art in New York as part of the Gilbert and Lila Silverman Fluxus Collection.
Asked about the impetus for those early radical works years later, Patterson told an interviewer, “There was a great protest, let’s say, against the materialism of the art market and buying and selling and so forth was not what we, as young idealists who wanted to change the world, thought was the purpose of art—it was to change the way people think, or to open their thinking.”
Benjamin Patterson was born in Pittsburgh in 1934, and graduated from the University of Michigan, in Ann Arbor, in 1956 with a degree in music. Like many his brethren in the Fluxus and experimental music movements of the 1960s, his interest in ostensibly simple, vanguard composition betrayed his talent in traditional techniques. He was a virtuosic double bassist but could not find a job in the United States because he was black, and so he played with various orchestral groups in Canada, including the Halifax Symphony Orchestra and the Ottawa Philharmonic Orchestra (as principal bassist).
It was in Halifax that he fell in with people involved with the government-funded electronic music center, which eventually led to a letter of introduction to Karlheinz Stockhausen, whom he met one evening after a performance in Germany in 1960. Patterson was rather put off by the maestro’s notorious haughtiness, but the next evening had the chance to catch a show with John Cage and David Tudor performing. “I was quite, let’s say, astonished,” he recalled later, adding, “I thought to myself, this is what I had had in the back of my mind as to how music could be made but never thought that anyone would take it seriously or that I could even produce it. So here it was.” After the concert, he introduced himself to Cage, who asked him, “Would you like to perform with us tomorrow night?” He did.
Patterson quickly fell in with the new-music crowd and went on to perform throughout Europe in the coming years, helping George Maciunas stage the first Fluxus International Festival, in 1962, in Wiesbaden, Germany. But around 1970 Patterson stopped regularly performing and releasing new work, instead working as a reference librarian (he had obtained a master’s in library science from Columbia University in 1967), a concert manager (forming his own company, Ben Patterson Ltd.), and in other arts-related positions.
This Duchampian departure from the art scene was, in fact, motivated by practical concerns, Patterson told Interview magazine in 2013. “Family was coming along, and papa needed to earn money,” he said. “If any Fluxus works were being sold at that point, it was for a penny or dollar per piece, so there was not much money to be made. I maintained my interest and followed what was going on, and from time to time would create small pieces, but it wasn’t a full-time occupation. Eventually [my] children grew up, finished university, and then it was possible to devote 100 percent of my time to artwork again.” He is survived by three children, Ennis, Barbro, and Tobias, and two grandchildren.
In the early 1960s, Patterson was among a small group of outré artists, including La Monte Young, John Cage, and Yoko Ono, who pushed music and performance to profound, radical extremes. His 1960 Paper Piece called for audience members to fold, rip, and wave paper through the air. The score for his Lick Piece (1964) read simply, “Cover shapely female with whipped cream / lick / … topping of chopped nuts and cherries is optional.” “He was writing scores that were Fluxus-like, before Fluxus,” the artist Geoffrey Hendricks told me today.
One his most infamous and most photogenic pieces, Variations for Double-Bass (1962), called for a solo performer to “agitate strings” of the instrument with a comb and corrugated cardboard, and balance it upside-down on its scroll while rubbing a rubber object against its strings. A typed version of the score for that work is now in the collection of the Museum of Modern Art in New York as part of the Gilbert and Lila Silverman Fluxus Collection.
Asked about the impetus for those early radical works years later, Patterson told an interviewer, “There was a great protest, let’s say, against the materialism of the art market and buying and selling and so forth was not what we, as young idealists who wanted to change the world, thought was the purpose of art—it was to change the way people think, or to open their thinking.”
Benjamin Patterson was born in Pittsburgh in 1934, and graduated from the University of Michigan, in Ann Arbor, in 1956 with a degree in music. Like many his brethren in the Fluxus and experimental music movements of the 1960s, his interest in ostensibly simple, vanguard composition betrayed his talent in traditional techniques. He was a virtuosic double bassist but could not find a job in the United States because he was black, and so he played with various orchestral groups in Canada, including the Halifax Symphony Orchestra and the Ottawa Philharmonic Orchestra (as principal bassist).
It was in Halifax that he fell in with people involved with the government-funded electronic music center, which eventually led to a letter of introduction to Karlheinz Stockhausen, whom he met one evening after a performance in Germany in 1960. Patterson was rather put off by the maestro’s notorious haughtiness, but the next evening had the chance to catch a show with John Cage and David Tudor performing. “I was quite, let’s say, astonished,” he recalled later, adding, “I thought to myself, this is what I had had in the back of my mind as to how music could be made but never thought that anyone would take it seriously or that I could even produce it. So here it was.” After the concert, he introduced himself to Cage, who asked him, “Would you like to perform with us tomorrow night?” He did.
Patterson quickly fell in with the new-music crowd and went on to perform throughout Europe in the coming years, helping George Maciunas stage the first Fluxus International Festival, in 1962, in Wiesbaden, Germany. But around 1970 Patterson stopped regularly performing and releasing new work, instead working as a reference librarian (he had obtained a master’s in library science from Columbia University in 1967), a concert manager (forming his own company, Ben Patterson Ltd.), and in other arts-related positions.
This Duchampian departure from the art scene was, in fact, motivated by practical concerns, Patterson told Interview magazine in 2013. “Family was coming along, and papa needed to earn money,” he said. “If any Fluxus works were being sold at that point, it was for a penny or dollar per piece, so there was not much money to be made. I maintained my interest and followed what was going on, and from time to time would create small pieces, but it wasn’t a full-time occupation. Eventually [my] children grew up, finished university, and then it was possible to devote 100 percent of my time to artwork again.” He is survived by three children, Ennis, Barbro, and Tobias, and two grandchildren.
Tuesday, June 28, 2016
Monday, June 27, 2016
'Marble', Jasmine Nyende
26 Jun, 6pm at 707 NE Broadway #205
*
“Art in relation to earthquakes
Find a new pedestal for the vase
Destruction and shared information surrounding damage
Carbon dating
Chronology of damage, craftsmanship
Impulses and repression
Distressed and damaged and put back together for authenticity
I’ve been making work about this vase destroyed from an earthquake and want to do the talk about that.”
*
Jasmine Nyende is a new media and performance artist based out of South Central Los Angeles.
*
“Art in relation to earthquakes
Find a new pedestal for the vase
Destruction and shared information surrounding damage
Carbon dating
Chronology of damage, craftsmanship
Impulses and repression
Distressed and damaged and put back together for authenticity
I’ve been making work about this vase destroyed from an earthquake and want to do the talk about that.”
*
Jasmine Nyende is a new media and performance artist based out of South Central Los Angeles.
'Back Seat Driver' @ Interstate Projects [NYC/USA]
I. Rafael Delacruz
II. Rafael Delacruz
III. Zac Segbedzi
IV. Brandon Drew Holmes
V. Brandon Drew Holmes
VI. Brandon Drew Holmes
VII. Brandon Drew Holmes
VIII. Exhibition Poster
U:L:O: Part I 2016 | U: Tim Gentles
Back Seat Driver
June 17 – July 10, 2016
Opening Reception June 17, 6-9pm
Katherine Botten
Kathe Burkhart
Rafael Delacruz
Elizabeth Englander
Brandon Drew Holmes
Zac Segbedzi
Edward Shenk
In Catherine Grant's 2011 essay "Fans of Feminism," she writes of 'the figure of the fan' as one that disrupts the traditional position of both the artist and the art historian by acting according to attachment and desire, rather than irony and distance. That this is typically considered antithetical to how one is supposed to engage with art probably goes some way then to explaining the myriad ways in which artists throughout history have gleefully, and often only somewhat self-reflexively, embraced the position of the fan in their work.
In varying ways, the work featured in Back Seat Driver engages with the notion of the artist as a fan—whether that is through an ambivalent adoption of subcultural tropes; appropriation of the visual language of celebrity; or the use of materials that pertain to fan cultures, such as rock music or video games. The exhibition suggests that rather than simply an emancipatory figure, the fan is equally a figure of hierarchies of taste, racial and class divisions, and the consolidation of social power.
Katherine Botten (b. 1990) is an artist and writer based in Melbourne, Australia. Her work has been included in exhibitions at Punk Cafe, Centre for Style and Slopes (all Melbourne), and she has a forthcoming solo show at TCB art inc, Melbourne. Her writing was featured in How to Sleep Faster #5 (2015), published by Arcadia Missa, and her novella Positive Trauma was published by 89+ in 2014.
Kathe Burkhart is an artist and writer based in New York and Amsterdam. She has exhibited at the 1993 Venice Biennale, and had solo exhibitions at Participant Inc., New York (2003), Kunsthalle Fri-Art, Fribourg, Switzerland (2016), NYU's 80WSE Gallery (2012-13) and MoMA PS1, New York (2007) among others. Her work is included in the permanent collections of the Stedelijk Museum, Amsterdam, the Art Institute of Chicago and the SMAK Museum, Ghent, Belgium.
Rafael Delacruz (b. 1989) lives and works in New York. Two person exhibitions with Quintessa Matranga include: Rope, Baltimore (2015); Et al., San Francisco (2016); Kimberly-Klark, Queens, NY (2016). Delacruz's work has also been featured in group shows at Centre for Style at Gertrude Contemporary, Melbourne, Australia (2015); Levy.Delval, Brussels, Belgium (2015); Pamela's, San Francisco (2015); and Sydney, Sydney, Australia (2016). He is one third of the animation project Last Renaissance.
Elizabeth Englander (b. 1988) lives in New York. She has exhibited at U.S. Blues, Brooklyn, NY (2015); The Duck, New York (2016); and Kimberly-Klark, Queens, NY (2016); as well as organizing the show Mental Christmas in Long Island City, NY (2015).
Brandon Drew Holmes is the only son of Mia Vaughn and Baskerville Holmes. He makes work about white people for Black people.
Zac Segbedzi (b. 1991) is an artist from Melbourne, Australia. In 2016, he had a solo exhibition at Punk Cafe, Melbourne, and he has participated in exhibitions at Gertrude Contemporary, Melbourne (2015) and the National Gallery of Victoria, Melbourne (2015). He recently organized the pop-up exhibition Reena's Bedstuy Glove Affair in New York (2016).
Edward Shenk (b. 1987) is an artist and writer. He has exhibited at Higher Pictures, New York (2012); the New Museum Store, New York (2014); James Fuentes, New York (2015); and Center, Berlin (2015). He was a co-founder of Reference Art Gallery, Richmond, Virginia (2009-2012).
Tim Gentles is a writer and curator based in New York. He has an MA from the Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, and his writing has appeared in Art-Agenda, Art in America, E-flux and other publications.
U:L:O: is an annual curatorial program that invites six curators over a six week period to organize a show in one of the three spaces at Interstate Projects, Upper(U:), Lower(L:), and Outside(O:). For 2015, Interstate Projects is pleased to present two parts. U:L:O: Part I is from June 17 – July 3, and includes U: Tim Gentles (New York), L: Kimberly-Klark (Queens), O: Andrew Russeth (New York). Part II is from July 15 – July 30, and includes U: Al Bedell (New York) L: Nichole Caruso (New York) O: Jupiter Woods (London).
Raque Ford
I. Dear Devil, Love Georgia, 2016 [acrylic, epoxy clay, rope, chain]
II. Dear Devil, Love Georgia, 2016 [acrylic, epoxy clay, rope, chain]
III. Dear Devil, Love Georgia, 2016 (detail) [acrylic, epoxy clay, rope, chain]
LINK
II. Dear Devil, Love Georgia, 2016 [acrylic, epoxy clay, rope, chain]
III. Dear Devil, Love Georgia, 2016 (detail) [acrylic, epoxy clay, rope, chain]
LINK
Wednesday, June 15, 2016
Saturday, June 11, 2016
'The Waiting Room' Simone Leigh @ New Museum [NYC/USA]
[06/22/16 - 09/18/16]
“Simone Leigh: The Waiting Room” will mark a new chapter in artist Simone Leigh’s ongoing exploration of black subjectivities, particularly those of women.
Cover Image:
In her work, Leigh (b. 1968, Chicago, IL) demands that the concerns, roles, and rights of women of color are recognized as central, rather than pushed to the margins. Her exhibition and residency at the New Museum will consider the possibilities of disobedience, desire, and self-determination as they manifest in resistance to an imposed state of deferral and debasement. Whereas discourses of patience, pragmatism, and austerity often underscore political debates surrounding the failures of public health care and related conditions, Leigh finds inspiration in parallel histories of urgency, agency, and intervention within social movements and black communities, past and present. Troubling the notion of separate narratives, she implicates violent, institutionalized control and indifference as the conditions under which forms of self care and social care can become radical or alternative.
Focusing specifically on an expanded notion of medicine, “The Waiting Room” will reference a wide range of care environments and opportunities—from herbalist apothecaries, to muthi [medicine] markets in Durban, South Africa, to meditation rooms, to movement studios—and will involve a range of public and private workshops and healing treatments. Blurring the distinction between bodily and spiritual health, or between wellness and happiness—and, in doing so, countering the perception of holistic care as a luxury good—Leigh will convene practitioners who view social justice as integral to their work. The project will also take into account a history of social inequalities that have necessitated community-organized care, traditionally provided by women, from the United Order of Tents, a secret society of nurses active since the Underground Railroad, to volunteers in the Black Panther Party’s embattled clinics active from the 1960s to the 1980s. “The Waiting Room” will suggest that creating a space for wellness may require both the making of a sanctuary and an act of disobedience against the systematic enactment and repudiation of black pain.
This project developed out of an earlier iteration of Leigh’s socially engaged workFree People’s Medical Clinic (2014), organized by Creative Time, which provided free treatments and workshops over the course of four weekends in the former Bedford-Stuyvesant, Brooklyn, home of Dr. Josephine English, the first black ob-gyn in the state of New York. At the New Museum, Leigh will continue her involvement with professionals in the field of holistic health, while creating a new installation and a private, “underground” series of intimate, in-depth workshops and classes for community partners to take place while the Museum is closed to the public. Additionally, a series of talks, performances, and events conceptualized as medicinal dialogues on aging, disobedience, abortion, healing performances, and toxicity will be offered throughout Leigh’s residency.
“The Waiting Room” will inaugurate the Department of Education and Public Engagement’s annual R&D (Research and Development) Summers, a series of R&D Seasons that expressly aims to underscore the New Museum’s year-round commitment to community partnerships and to public dialogue at the intersection of art and social justice. Each R&D Summer will take the form of a residency and an exhibition.
The exhibition is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement; Shaun Leonardo, Manager of School, Youth, and Community Programs; and Emily Mello, Associate Director of Education.
Simone Leigh was born in Chicago in 1968 and lives and works in New York. Her recent and upcoming solo presentations include “Hammer Projects: Simone Leigh,” the Hammer Museum, Los Angeles (2016); “Simone Leigh: I ran to the rock to hide my face the rock cried out no hiding place,” the Kansas City Art Institute (2016); “Free People’s Medical Clinic,” created with Creative Time (2014); “Gone South,” the Atlanta Contemporary Art Center (2014); and “You Don’t Know Where Her Mouth Has Been,” the Kitchen, New York (2012). In 2016, Leigh received A Blade of Grass Fellowship, a John Simon Guggenheim Memorial Foundation Fellowship, and the Herb Alpert Award in the Arts. She has also received grants and awards from the Louis Comfort Tiffany Foundation, Creative Capital, the Lower Manhattan Cultural Council, the Joan Mitchell Foundation, Art Matters, and the New York Foundation for the Arts. Leigh was an artist in residence at the Studio Museum in Harlem from 2010 to 2011 and the Bronx Museum’s Artist in the Marketplace (AIM) program in 2009. She was a facilitator of the International Art Programme at the Centre for Contemporary Art in Lagos, Nigeria, in 2012 and at the Àsìkò School, Dakar, Senegal, in 2013.
CARE SESSIONS
All care sessions will be offered free of charge and will take place on the Fifth Floor. Same-day sign-up in the New Museum Lobby is required to attend. Please check the event calendar for more information.
Afrocentering with Aimee Meredith Cox
Saturdays: June 25, July 23, August 6, August 27, September 17, 11:30 AM–12:30 PM
Thursdays: July 14, July 28, August 18, August 25, 7–8:30 PM
Massage with Malik K. Bellamy
Sundays: June 26, July 3, July 24, August 2, September 4, September 18, 1–4 PM
Community Acupuncture with Julia Bennett
Thursdays: July 7, August 11, September 8, 6–9 PM
Saturdays: July 16, August 13, September 10, 4–6 PM
Herbalism: Learning How to Heal Yourself with Plants
Six-Week Herbalism Course with Karen Rose
Saturdays: July 9, July 16, July 23, July 30, August 6, August 13, 2–3 PM
Herbalism: Learning How to Heal Yourself with Plants
Gallery Talk with Karen Rose
Thursday July 21, 7 PM
PUBLIC PROGRAMS
Please check the event calendar for more details.
Rashida Bumbray: Motherless Child Set
Thursday June 23, 5–7 PM
To celebrate the opening of “Simone Leigh: The Waiting Room,” curator and choreographer Rashida Bumbray and guests will perform a cycle of black folk songs during this event.
Chitra Ganesh: On Disobedience
Thursday June 30, 7 PM
For this lecture, artist Chitra Ganesh will explore the notion of disobedience as it has been mobilized in political protest and social movements outside of the United States.
María Magdalena Campos-Pons: Remedios: Performance Rituals as Healing
Saturday July 23, 3 PM
In this program, artist María Magdalena Campos-Pons will negotiate narratives of pain, loss, and resilience through a performative meditation on survival, in which she will reimagine herself in a time of societal and geopolitical transitions.
Lorraine O’Grady: Ask Me Anything About Aging
Thursday August 4, 7 PM
Considering the benefits of intergenerational word-of-mouth information and strategy sharing among women, artist Lorraine O’Grady will field questions about aging from the audience joining her for this intimate conversation.
On Abortion: A Conversation in Conjunction with
“Simone Leigh: The Waiting Room”
Thursday September 1, 7 PM
During her residency at the New Museum, Simone Leigh will organize an event addressing historic and contemporary narratives surrounding the reproductive health and rights of black women through dialogue with invited guests.
Vanessa Agard-Jones: On Toxicity
Saturday September 10, 3 PM
Anthropologist Vanessa Agard-Jones will discuss her forthcoming book,Body Burdens: Toxic Endurance and Decolonial Desire in the French Atlantic, which considers pesticides, sexual politics, and postcoloniality in Martinique.
“Simone Leigh: The Waiting Room” will mark a new chapter in artist Simone Leigh’s ongoing exploration of black subjectivities, particularly those of women.
Cover Image:
In her work, Leigh (b. 1968, Chicago, IL) demands that the concerns, roles, and rights of women of color are recognized as central, rather than pushed to the margins. Her exhibition and residency at the New Museum will consider the possibilities of disobedience, desire, and self-determination as they manifest in resistance to an imposed state of deferral and debasement. Whereas discourses of patience, pragmatism, and austerity often underscore political debates surrounding the failures of public health care and related conditions, Leigh finds inspiration in parallel histories of urgency, agency, and intervention within social movements and black communities, past and present. Troubling the notion of separate narratives, she implicates violent, institutionalized control and indifference as the conditions under which forms of self care and social care can become radical or alternative.
Focusing specifically on an expanded notion of medicine, “The Waiting Room” will reference a wide range of care environments and opportunities—from herbalist apothecaries, to muthi [medicine] markets in Durban, South Africa, to meditation rooms, to movement studios—and will involve a range of public and private workshops and healing treatments. Blurring the distinction between bodily and spiritual health, or between wellness and happiness—and, in doing so, countering the perception of holistic care as a luxury good—Leigh will convene practitioners who view social justice as integral to their work. The project will also take into account a history of social inequalities that have necessitated community-organized care, traditionally provided by women, from the United Order of Tents, a secret society of nurses active since the Underground Railroad, to volunteers in the Black Panther Party’s embattled clinics active from the 1960s to the 1980s. “The Waiting Room” will suggest that creating a space for wellness may require both the making of a sanctuary and an act of disobedience against the systematic enactment and repudiation of black pain.
This project developed out of an earlier iteration of Leigh’s socially engaged workFree People’s Medical Clinic (2014), organized by Creative Time, which provided free treatments and workshops over the course of four weekends in the former Bedford-Stuyvesant, Brooklyn, home of Dr. Josephine English, the first black ob-gyn in the state of New York. At the New Museum, Leigh will continue her involvement with professionals in the field of holistic health, while creating a new installation and a private, “underground” series of intimate, in-depth workshops and classes for community partners to take place while the Museum is closed to the public. Additionally, a series of talks, performances, and events conceptualized as medicinal dialogues on aging, disobedience, abortion, healing performances, and toxicity will be offered throughout Leigh’s residency.
“The Waiting Room” will inaugurate the Department of Education and Public Engagement’s annual R&D (Research and Development) Summers, a series of R&D Seasons that expressly aims to underscore the New Museum’s year-round commitment to community partnerships and to public dialogue at the intersection of art and social justice. Each R&D Summer will take the form of a residency and an exhibition.
The exhibition is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement; Shaun Leonardo, Manager of School, Youth, and Community Programs; and Emily Mello, Associate Director of Education.
Simone Leigh was born in Chicago in 1968 and lives and works in New York. Her recent and upcoming solo presentations include “Hammer Projects: Simone Leigh,” the Hammer Museum, Los Angeles (2016); “Simone Leigh: I ran to the rock to hide my face the rock cried out no hiding place,” the Kansas City Art Institute (2016); “Free People’s Medical Clinic,” created with Creative Time (2014); “Gone South,” the Atlanta Contemporary Art Center (2014); and “You Don’t Know Where Her Mouth Has Been,” the Kitchen, New York (2012). In 2016, Leigh received A Blade of Grass Fellowship, a John Simon Guggenheim Memorial Foundation Fellowship, and the Herb Alpert Award in the Arts. She has also received grants and awards from the Louis Comfort Tiffany Foundation, Creative Capital, the Lower Manhattan Cultural Council, the Joan Mitchell Foundation, Art Matters, and the New York Foundation for the Arts. Leigh was an artist in residence at the Studio Museum in Harlem from 2010 to 2011 and the Bronx Museum’s Artist in the Marketplace (AIM) program in 2009. She was a facilitator of the International Art Programme at the Centre for Contemporary Art in Lagos, Nigeria, in 2012 and at the Àsìkò School, Dakar, Senegal, in 2013.
CARE SESSIONS
All care sessions will be offered free of charge and will take place on the Fifth Floor. Same-day sign-up in the New Museum Lobby is required to attend. Please check the event calendar for more information.
Afrocentering with Aimee Meredith Cox
Saturdays: June 25, July 23, August 6, August 27, September 17, 11:30 AM–12:30 PM
Thursdays: July 14, July 28, August 18, August 25, 7–8:30 PM
Massage with Malik K. Bellamy
Sundays: June 26, July 3, July 24, August 2, September 4, September 18, 1–4 PM
Community Acupuncture with Julia Bennett
Thursdays: July 7, August 11, September 8, 6–9 PM
Saturdays: July 16, August 13, September 10, 4–6 PM
Herbalism: Learning How to Heal Yourself with Plants
Six-Week Herbalism Course with Karen Rose
Saturdays: July 9, July 16, July 23, July 30, August 6, August 13, 2–3 PM
Herbalism: Learning How to Heal Yourself with Plants
Gallery Talk with Karen Rose
Thursday July 21, 7 PM
PUBLIC PROGRAMS
Please check the event calendar for more details.
Rashida Bumbray: Motherless Child Set
Thursday June 23, 5–7 PM
To celebrate the opening of “Simone Leigh: The Waiting Room,” curator and choreographer Rashida Bumbray and guests will perform a cycle of black folk songs during this event.
Chitra Ganesh: On Disobedience
Thursday June 30, 7 PM
For this lecture, artist Chitra Ganesh will explore the notion of disobedience as it has been mobilized in political protest and social movements outside of the United States.
María Magdalena Campos-Pons: Remedios: Performance Rituals as Healing
Saturday July 23, 3 PM
In this program, artist María Magdalena Campos-Pons will negotiate narratives of pain, loss, and resilience through a performative meditation on survival, in which she will reimagine herself in a time of societal and geopolitical transitions.
Lorraine O’Grady: Ask Me Anything About Aging
Thursday August 4, 7 PM
Considering the benefits of intergenerational word-of-mouth information and strategy sharing among women, artist Lorraine O’Grady will field questions about aging from the audience joining her for this intimate conversation.
On Abortion: A Conversation in Conjunction with
“Simone Leigh: The Waiting Room”
Thursday September 1, 7 PM
During her residency at the New Museum, Simone Leigh will organize an event addressing historic and contemporary narratives surrounding the reproductive health and rights of black women through dialogue with invited guests.
Vanessa Agard-Jones: On Toxicity
Saturday September 10, 3 PM
Anthropologist Vanessa Agard-Jones will discuss her forthcoming book,Body Burdens: Toxic Endurance and Decolonial Desire in the French Atlantic, which considers pesticides, sexual politics, and postcoloniality in Martinique.
below: Simone Leigh, Landscape, from the series Anatomy of Architecture, 2016. Digital collage.
Wednesday, June 8, 2016
Monday, June 6, 2016
Sunday, June 5, 2016
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