Experiments in Art and Music, 1965 to Now
Coinciding with the fiftieth anniversary of the Association for the Advancement of Creative Musicians (AACM), The Freedom Principle: Experiments in Art and Music, 1965 to Now connects the vibrant legacy of jazz and experimental music of the 1960s—particularly within the African-American arts scene on the South Side of Chicago—to its influence on contemporary culture. The Freedom Principle combines historic materials with contemporary artistic responses to the rich heritage of the 1960s black avant-garde, which created a distinctive new language that blurred the boundaries between art, music and design.
It is always interesting to see the unplanned through lines that appear between exhibitions at different institutions. Just as we at the Studio Museum prepare to close Speaking of People: Ebony, Jet and Contemporary Art, the Milwaukee Art Museum has opened another exhibition centered around the role of the Johnson Publishing Company in defining concepts of beauty, style and empowerment for African Americans.
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.
Curatorial Intern Margo Cohen Ristorucci checks out Jacolby Satterwhite's latest project, Grey Lines
Over the past two months, Jacolby Satterwhite has transformed Recess Activities’s Soho space into an interactive performance, inviting passersby to act out his mother Patricia Satterwhite’s schematic drawings for Grey Lines—the newest work in his series, The Matriarch’s Rhapsody (2012). Recess’s primary program, Session, grants artists funding and access to its Soho and Red Hook locations to use as studios, exhibition venues or hybridized spaces of artistic experimentation. Over the course of his Session (August 17–October 12, 2013), Satterwhite created a 3D animated video incorporating drawing, CG animation and improvised or mediated performance.
Communications Assistant Kimberly Drew on her visit to Rashaad Newsome’s solo exhibition at the New Orleans Museum of Art
I really wish I had heeded everyone's warnings when I embarked on my vacation to New Orleans. Friends said, "You'll love it there" and "Prepare for the best time of your life!" No one said, "Kim, prepare yourself for depression of massive proportions as your board your plane back to JFK..."
A week before my flight, I drafted my itinerary - I knew I'd have to see Rashaad Newsome's King of Arms at the New Orleans Museum of Art (NOMA) and eat a po' boy. I didn't want to get too ambitious heading to a new city without a plan for transportation. My primary goal was taking it easy in the “Big Easy”.
The American Folk Art Museum’s exhibition on Bill Traylor, perhaps the most extensive to date and certainly the most in-depth consideration of his work in a New York museum, is the final justification of Traylor as a canonical self-taught artist. It is also an emphatic validation for Charles Shannon, who “discovered” Traylor in 1939 and began archiving his work. His persistent efforts to exhibit Traylor and garner appreciation for his work in cultural institutions are thoroughly discussed in the exhibition. In this, the exhibition is nearly a double homage: to the artist and to the preserver.
A career retrospective of the fashion designer Stephen Burrows opened at the Museum of the City of New York this spring and has been the most current highlight in the over 40-year career of a designer who has seen many highlights.
A brief look into Untitled (Structures): Leslie Hewitt in collaboration with Bradford Young
Former Studio Museum artist-in-residence and 2010 recipient of the Joyce Alexander Wein Prize, Leslie Hewitt (b. 1977) brings a fresh and dynamic perspective into how we visually experience our history in her new film installation, Untitled (Structures) (2012), at the Menil Collection in Houston.
Former Studio Museum in Harlem artist-in-residence, Terry Adkins, brings together thirty years of work for his new installation at the Tang Teaching Museum at Skidmore College in Saratoga Springs, NY.
The works of art in Recital pay homage to the legacies of Bessie Smith, W. E. B. Du Bois, John Brown, Matthew Henson and John Coltrane, among others. Adkins’s creative research sheds light on lesser-known aspects of their biographies, such as Jimi Hendrix’s military training as a paratrooper in the 101st Airborne, or the question of Beethoven’s Moorish ancestry. In his sculpture, photography, and video, Adkins transforms and re-purposes a range of found materials, archival imagery, and reclaimed actions in a process that he calls potential disclosure.