Questions With ArtistsRSS
Paul Mpagi Sepuya
As an intern in the Curatorial department at The Studio Museum in Harlem, I have the opportunity to explore how the Museum functions behind the scenes. At work, it is exciting to observe how our curators harness the power that exhibitions and their surrounding discourse possess in order to activate art as a social and political tool. Selecting artists and framing their work in relation to broader thematic concerns is one of a curator’s primary responsibilities, and I am especially interested in the long-term relationships between our curators and the artists. The Artist-in-Residence program at the Studio Museum, founded in 1968, provides an excellent example of the close working relationships between curators and creators. One of my projects at the Museum is to manage a database of information concerning AIR alumni.
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?
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 public response to the Kehinde Wiley show at the Jewish Museum, The World Stage: Israel has sparked interest in his earlier body of works, which is fantastic! We are always excited to see interviews and footage resurface so we can reflect on an artist's work.
Ariel Scott interviews dancer Trajal Harrell
Ariel Osterweis Scott, Ph.D. candidate in Performance Studies at the University of California, Berkeley, speaks with noted choreographer Trajal Harrell. Harrell’s works have been seen at institutions including The New Museum, ICA Boston, The Kitchen, and numerous international venues. Here, Harrell discusses his latest work.
This interview is an extended version of the interview that appeared in Studio magazine.
A- How did your piece Twenty Looks or Paris is Burning at The Judson Church (S) come about?
Studio Museum Assistant Curator Lauren Haynes and artist Noah Davis in conversation:
Tell us about The Gardener (2009). Is it based on a real person?
The Gardener is Osiris, who ruled Egypt in a time of great cultural and agricultural prosperity. After being hoaxed by his brother Seth and seventy-two conspirators, he was made to enter a chest. The chest was then sealed shut and tossed into the Nile, where it became his coffin. It later washes up in Byblos and drifts ashore into the roots of a sapling. Strengthened by Osiris, the sapling grows in a single night into a tall and graceful tree. Osiris became the Egyptian God of the afterlife.