Happy New Year from the Studio Museum

2016 was a fantastic year for The Studio Museum in Harlem. We launched inHarlem with sculptural installations in four of Harlem’s Historic Parks, presented trailblazing exhibitions, and confirmed the vital place our Artist-in-Residence program holds within the community and art world at large. Help us continue the exciting work of the Studio Museum and participate in the Annual Fund. We wish you the very best in the New Year.

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inHarlem in Motion

An exciting new chapter in the Studio Museum’s nearly fifty-year history of dynamic arts programming, inHarlem is an expanded way of thinking about the Museum’s relationship to its surrounding community.

Kerry James Marshall


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  • Kerry James Marshall
    Silence is Golden, 1986
    Acrylic on panel, 49 × 48 × 2 in.
    The Studio Museum in Harlem; gift of the artist  1987.8
    Photo: Marc Bernier

  • Kerry James Marshall
    Scout (Girl), 1995
    Museum of Contemporary Art Chicago; gift of the Susan and Lewis Manilow Collection of Chicago Artists
    © 1995 Kerry James Marshall
    Photo: Nathan Keay, © MCA Chicago

There is no doubt that Kerry James Marshall, a 1985–86 Studio Museum artist in residence, has made a name for himself in the contemporary art world as an inspired and imaginative chronicler of the African-American experience via his paintings, drawings, sculptural installations and photography. This season, the largest museum retrospective of his works to date will be the cornerstone of the season at the Met Breuer.

Mastry is a survey of almost eighty of Marshall’s works made over the last thirty-five years, in which he explores conceptions of blackness, and critiques western art history and its exclusion of people of color in canonical painting forms such as historical tableau, landscape and portraiture.

Devin Kenny

Love, The Sinner

  • Photo: Sable Elyse Smith

“The violence associated with [public] art is inseparable from its publicness, especially its exploitation of and by the apparatus of publicity, reproduction, and commercial distribution. The […] obtrusive theatricality of these images hold up a mirror to the nature of the commodified image.” —W. J. T. Mitchell, "The Violence of Public Art: Do The Right Thing"

EJ Hill’s "A Monumental Offering of Potential Energy"

  • EJ Hill

    A Monumental Offering of Potential Energy ​(installation view), 2016

    Installation and durational performance, 492 × 108 × 85 in.
    Courtesy the artist
    Photo: Adam Reich

At The Studio Museum in Harlem, performance artist EJ Hill lays on a low rectangular platform. Behind him is a model roller coaster adorned with purple neon lights. Hill is a 2015–16 artist in residence at The Studio Museum in Harlem, and this piece, A Monumental Offering of Potential Energy, is part of Tenses, the exhibition that culminates the three artists' eleven-month residency.

Studio Visit

Jibade-Khalil Huffman

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  • Jibade-Khalil Huffman

    Untitled (Facade), 2015

    Archival inkjet print, 30 × 26 1/4 in. 

    Photo: Zuna Maza

  • Jibade-Khalil Huffman
    Untitled (Landscape), 2016
    Archival inkjet print, 30 × 26 1/4 in.
    Courtesy the artist

Jibade-Khalil Huffman’s practice depends on ideas, and the medium is his way of bringing these ideas to life, not the other way around. As a poet and artist, his work exists in between the visual and textual, and utilizes poetry, video, photography, installation, performance and painting. His initial months at The Studio in Harlem allowed him to return to painting, take new photographs and work on a two-channel, seventeen-minute video piece, filming some scenes in Harlem. When asked to narrow down his practice, Huffman told me he would reluctantly choose writing, photography and video. Luckily at the Studio Museum he faces no such circumstances, freely tackling lingering ideas on narrative and audience.

Making and Unmaking

A Freewheeling Exploration of Artistic Practice

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  • Lorna Simspson
    Cliff, 2016
    Courtesy the artist and Salon 94, New York

  • Leonce Raphael Agbodjelou
    Untitled (Musclemen Series), 2012
    Courtesy of Jack Bell Gallery

  • Eric Mack
    In Definitely Felt, 2016
    Courtesy the artist and Moran Bondaroff, Los Angeles

On June 19, Making and Unmaking opened at the Camden Arts Centre in London. Curated by Nigerian-born designer Duro Olowu, the exhibition features works by more than seventy artists, including Wangechi Mutu, Ibrahim El-Salahi, Stanley Whitney, Rodney McMillian, Eric Mack, Kehinde Wiley and Lorna Simpson. While the artists in the show create in a wide array of media—including textile, sculpture and photography—Olowu connects their work through thematic and narrative elements. Spanning two centuries and coming from countries around the globe, the works chosen by Olowu represent a diversity of approaches to timeless issues such as identity, self-adornment and the body.

Announcing inHarlem

On June 24, the New York Times broke the news of the Studio Museum's new set of initiatives designed to explore dynamic ways to work in the community and take the institution beyond its walls: inHarlem.  inHarlem encompasses a wide range of artistic and programmatic ventures, from site-specific artists’ projects to collaborative presentations with civic and cultural partners in the Harlem neighborhood.

Studio Visit

EJ Hill

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  • EJ Hill's Studio

    Photo: Zuna Maza

  • EJ Hill's Studio

    Photo: Zuna Maza

  • EJ Hill's Studio

    Photo: Zuna Maza

Coming into his residency at the Studio Museum, EJ Hill was well known for his performance practice. In pieces like The Fence Mechanisms (2014), O Captor My Captor (2014), Complicit and Tacit (2014), and Untitled (2012), Hill uses his body as a means to assert his agency, vulnerability and dissent, within a society that would view it as a threat. However, alongside his performance pieces, Hill has been creating quieter, more solitary work—drawings, paintings, photographs and music. While exploring possible performance opportunities at the Studio Museum, Hill is expanding into these quieter creative avenues, fearlessly expanding his practice.

DIY Flip Books

with Ginny Huo

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  • Photo: Chloe Hayward

  • Photo: Chloe Hayward

The Studio Museum in Harlem brought in the New Year with inspiration from Focus: Danielle Dean. During our Target Free Sunday Hands On workshop, visitors created flip books to explore transformation through animation! We caught up with Teaching Artist Ginny Huo to learn more about how her own artwork informed this exciting process. Read our interview with her and learn how to create your own flip book below.

Chloe Hayward: Tell me a bit about yourself. Where are you from originally?

Ginny Huo: Well, I moved around a lot but I was born in Hawaii, my family is Korean. I grew up mostly in the suburbs of Chicago.

CH: What inspires you to create?