Lauren Halsey, 2014–15 AIR
In the first of a series of three blog posts, Curatorial Intern
Mallory Cohen writes about her studio visits with each
of the current artists in residence.
As I stepped into Lauren Halsey’s studio on the third floor of the Studio Museum, I was immediately struck by the artist’s impressive—and large—ambitions. An eight-by-twelve-foot square of sheetrock takes up the vast majority of Halsey’s studio floor, leaving only a small walkway around its perimeter. The sheetrock is split into two-by-two-foot squares, which feature ancient Egyptian iconography mixed with carvings of Harlem and Los Angeles. Images of sarcophagi and the pyramids stand stand-by-side with phone numbers, corporate signage and portraits of LA citizens—symbols of the urban present elevated alongside mythological expressions of the past.
Tiffany Barber talks to Manuel Mathieu
“Repetition” and “recirculation” are words typically associated with mid-twentieth century representational practices. From silkscreen prints to text-based neon works, artists such as Andy Warhol, Richard Hamilton, Bruce Nauman, Tracey Emin and Glenn Ligon have contested the rise of consumerism in popular media and culture. Now, the sites in which images are made and circulated have multiplied, as well as the means by which we invest images with values to correspond to our identities. What are the stakes of representation and artmaking in this ‘new media’ landscape?
Ayana V. Jackson
Per the gracious introduction of Thomas Lax, I had the opportunity to meet and visit with Ayana V. Jackson some time ago. We first met in Berlin, where Ayana graciously guided me around the city. Jackson, a US American and graduate of Spelman College, splits her time between Johannesburg, New York and Paris, where we followed up a few weeks later to discuss her work and artistic practice. Her photography and filmmaking, while simultaneously alluring and shocking, serve a higher conceptual function: a bitingly intelligent elucidation of the power of the image, the scars of history and the internalized architectures of difference built thereof. Confronting what she terms the “original sin of images,” Jackson manipulates her own body as subject, creating a running critique of socialized perceptions of race, gender and class and their intersections.
by Curatorial Intern Ciaran Finlayson
Check out Curatorial Intern's, Ciaran Finlayson, post about radicalpresenceny.org, a website designed designed by William B. Marshall in collaboration with Jamillah James, Communications Coordinator at The Studio Museum in Harlem, with assistance from Monique Long, Curatorial Fellow chronicling black contemporary performance art over on our friends at the Walker Art Center's website.
Watch it here!
Ralph Ellison lived in Harlem from the late 1930s until his death on April 16, 1994. He was a prominent figure in the neighborhood’s overlapping literary and artistic communities. Ellison at 100: Reading Invisible Man honors this legacy through a landmark collaboration between two leading Harlem-based cultural institutions. The participating artists in the program have been specially curated by the Studio Museum and the Schomburg Center teams, following in both institutions’ tradition of exploring Harlem as a site for artistic and literary creation.
Ellison at 100: Reading Invisible Man is organized by the Schomburg Center for Research in Black Culture and The Studio Museum in Harlem with the generous support of the Ralph and Fanny Ellison Charitable Trust.
Artist Alexis Peskine (b. 1979) focuses on questions of national and racial identity, the black body experience, and universal emotions. Peskine moved to the United States to attend Howard University in Washington, D.C., where he received a Bachelor of Fine Art degree in 2003 and a Master’s degree in Digital Art in 2004. He then enrolled in Maryland Institute College of Art (MICA) on a Fulbright Scholarship (the first foreign student to be awarded this honor), where he completed his MFA. His influences are wide-ranging, including Kara Walker, Takashi Murakami, Jean-Michel Basquiat and Banksy, as is his approach to art-making and his chosen materials.
Questions for performance artist Dave McKenzie
On February 20 and 21, 2014, Dave McKenzie performs his retrospective Darker than the Moon, Smaller than the Sun. The performance is part of the live programs series organized on the occasion of Radical Presence: Black Performance in Contemporary Art, currently on view through March 9, 2014 at the Studio Museum.
The staff and trustees of The Studio Museum in Harlem mourn the tragic loss of a great artist, musician, teacher and performer. Terry Adkins was one of the most innovative artists of his generation, combining a musical and lyrical approach to visual art with a deep investment in the individuals who shaped American history and a fascination with material culture. The Studio Museum is proud to have had a long association with him dating back to his participation in the Museum’s Artist-in-Residence program in 1982–83. His legacy will live on not only through his incredible body of work, but also through the lives and work of the many students he mentored during his tenure as a beloved Fine Arts professor at the University of Pennsylvania.
Gulu Real Art Studio: Martina Bacigalupo
“There is no art to find the mind’s construction in the face...” Macbeth, William Shakespeare
What constitutes a portrait when the face of the subject is removed from the composition? A critical mass of 73 photographs, the Gulu Real Art Studio installation, recently on view at The Walther Collection Project Space in Chelsea, presented such portraits for contemplation. The images included in the exhibition were found materials salvaged from the trash behind a studio in Gulu, a town in northern Uganda, each portrait had the face cut out for use on official documents. After gaining permission, Italian photojournalist Martina Bacigalupo, who happened to be at the studio for her own portrait, was compelled to begin collecting the discarded photographs.