The Museum was originally founded as a non-collecting institution, but the mandate to preserve and document the work of artists of African descent quickly became important to its mission. The Museum’s collection, now including over 2,500 objects, has a particular focus on the institution’s exhibition history and Artist-in-Residence program. The collection continues to grow through the stewardship of the Museum’s Acquisition Committee and generous private donors.
The below list includes the over 700 artists currently represented in the collection. It will be updated periodically to reflect the Museum’s ongoing work to increase access to its collection.
Our Artists
Nina Chanel Abney
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Joe Lewis
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Raul Acero
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Joseph ("Joe") S. Lewis III
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BK Adams
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Nate Lewis
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Derrick Adams
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Norman Lewis
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Terry Adkins
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Tony Lewis
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John Ahearn
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Georges Liautaud
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Mequitta Ahuja
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Joe Light
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Adebisi Akanji
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Glenn Ligon
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Akintunde Akinleye
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Kalup Linzy
Kalup Linzy: If it Don’t Fit was the first museum survey of the artist’s work, and included over twenty videos made over the last seven years, a drawing suite and a one-night acoustic performance. From his original take on the soap opera and sketch comedy genres to his music videos and filmic shorts, this compilation tracks the artist’s clever and complex approach to questions of race, gender, class, sexuality and national identity. The title, If it Don’t Fit, is appropriated from a song Linzy used in a recent video. With innuendo and double entendre, this blues lyric speaks to both the disappointments and hopes of attempting to belong to aesthetic genres, social categories and intimate relationships. Linzy first presented his cast of comedic and dramatic characters at the Studio Museum in African Queen (2005), and then again in Frequency (2005), a group exhibition of emerging artists. Since then, he has continued to work as a writer-director-actor and singer-songwriter. His work draws on a variety of American pop- and counter-culture genres, including early video and performance art, gay drag performance, reality television competitions and YouTube videos. The video component of If it Don’t Fit is organized into three hour-long programs, which were on view throughout the duration of the exhibition. Each highlights a recurring theme in Linzy’s work. Taking its point of departure from the artist’s ongoing negotiation of love, longing and loss, The Pursuit of Happyness features both narrative and music videos. Da Churen brings together works from the artist’s iconic “Churen” (2003-05) series, which traces a set of family archetypes, narrated over a series of phone calls. Finally, Ride to Da (Art) Club juxtaposes videos that self-reflexively take on issues of ambition and belonging in the contemporary art world as well as the pop music and club scene. |
Njideka Akunyili Crosby
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James Little
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Laylah Ali
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Birth Livingstone
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Devin Allen
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Tom Lloyd
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Jules Allen
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Donald Locke
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Charles Alston
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Hew Locke
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Francisco Alvaroado-Juarez
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Ronald Lockett
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Ghada Amer
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Whitfield Lovell
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Emma Amos
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Alvin Loving
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Hurvin Anderson
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Charlie Lucas
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Noel Anderson
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Andrew Lyght
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Benny Andrews
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David R. MacDonald
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Joël Andrianomearisoa
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Manuel Macarrulla
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Antony Charles Robert Armstrong-Jones
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Lakwena Maciver
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Philip Kwame Apagya
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Eric N. Mack
Born 1987, Columbia, MD |
Diane Arbus
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Dwight Mackintosh
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Edgar Arceneaux
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Turiya Magadlela
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Kenseth Armstead
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Stevenson Magloire
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Jabu Arnell
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Carolyn Maitland
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Alexandre Arrechea
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William Majors
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Albert Artwell
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Mustafa Maluka
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Alice Attie
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Kerry James Marshall
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B.K.
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Delita Martin
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Kobina Badowah
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Richard Mayhew
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Firelei Báez
Firelei Báez: Joy Out of Fire continues the artist’s longstanding interest in representations of women, particularly Afro-Caribbean/Afro-Latina women in visual culture and history. In this exhibition, Báez features women whose legacies are preserved and maintained by the archives of the Schomburg Center for Research in Black Culture, reimagining them in conversation through imaginative portraits that incorporate materials such as reproductions of archival photographs, notes, diaries, letters, and manuscripts. In this gathering, the artist brings together women from different eras and walks of life, including important women of color whose contributions have historically been overlooked or thought of as tangential to their male counterparts. On display in the Latimer/Edison Gallery at the Schomburg Center for Research in Black Culture, Firelei Báez: Joy Out of Fire is an inHarlem project presented by The Studio Museum in Harlem in partnership with the Schomburg Center for Research in Black Culture. Visit the Schomburg Center’s website for information and to plan your visit. Firelei Báez: Joy Out of Fire is organized by Hallie Ringle, Assistant Curator. inHarlem is made possible thanks to Citi; the Stavros Niarchos Foundation; William R. Kenan Jr. Charitable Trust; and Rockefeller Brothers Fund. Additional support for Firelei Báez: Joy Out of Fire provided by the National Endowment for the Arts. Additional support is generously provided by The New York City Department of Cultural Affairs; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Council; and The Andrew W. Mellon Foundation. |
Valerie Maynard
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Radcliffe Bailey
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Howard McCalebb
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Rushern Baker
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Dindga McCannon
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John Bankston
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Fred W. McDarrah
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Henry Wilmer Bannarn
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Allie McGhee
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Edward Mitchell Bannister
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Dave McKenzie
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Anthony Barboza
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Rodney McMillian
For more than a decade, Rodney McMillian has been exploring the domain of home as part of a larger examination of the intersection of race, class, gender and socioeconomic policy. Rodney McMillian: Views of Main Street is the first exhibition to reveal the full trajectory of this major aspect of the artist’s complex and varied practice in painting, sculpture, video and performance. Organized by guest curator Naima J. Keith, Deputy Director of Exhibitions and Programs at the California African American Museum, Los Angeles, in close collaboration with the artist, the exhibition brings together more than twenty key works made from 2003 to the present that use symbols of domesticity to scrutinize the political and economic biases within the myth of a universal, middle-class “Main Street.” In works such as Couch (2012)—a sateen sofa sawed in half and then cemented back together—McMillian uses post-consumer objects including discarded mattresses, carpets, chairs and bedsheets as both the material and the subject matter of his art, as he evokes the physical, psychological and economic distress of communities hit by loan defaults, home foreclosures and unemployment. McMillian juxtaposes these sculptures with works such as Untitled (The Supreme Court Painting) (2004-06) that challenge the terms that government and the media use to discuss justice, democracy and the rights of citizens in their private space, especially as these political ideals are experienced by African Americans. "As the title suggests, I hope this exhibition will bring out the complexities of the conversations that happen on different Main Streets, with their disparities of race, class and economics,” Rodney McMillian said. “Perhaps more important, I hope to question what ‘Main Street’ means. When I’ve heard that expression, I have never believed it referred to me or other African Americans, regardless of our economic station." Rodney McMillian (b. 1969, Columbia, SC) received his MFA from the California Institute of the Arts in 2002. He is also an alumnus of the Skowhegan School of Painting & Sculpture and the School of the Art Institute of Chicago. His work has been featured in past exhibitions at the Studio Museum, including When the Stars Begin to Fall (2014), The Bearden Project (2012), Philosophy of Time Travel (2007) and Frequency (2005). His works are in the collections of the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Orange County Museum of Art; Museum Abteiberg, Mönchengladbach, Germany; Hammer Museum, Los Angeles; and The Studio Museum in Harlem. Visitors have the opportunity to view more of Rodney McMillian’s work in the exhibitions Rodney McMillian: The Black Show, on view at the Institute of Contemporary Art, Philadelphia (February 3–August 14, 2016) and Rodney McMillian: Landscape Paintings, on view at MoMA PS1 (April 3–August 29, 2016). Rodney McMillian: The Black Show forms an extended meditation on the United States in patterns cut by class, economic status, culture, race, gender, and history. It brings together a tightly focused selection of new and recent work that offers Blackness as subject, form, process, emotion, and politics. Accompanying Views of Main Street and The Black Show will be will be a full-color scholarly publication titled Rodney McMillian, co-edited by Naima J. Keith and Anthony Elms, Chief Curator at the Institute of Contemporary Art, Philadelphia. In addition to its contributions by Keith and Elms, the book will feature newly commissioned essays and responses by leading figures including Charles Gaines, artist; Rita Gonzalez, Curator of Contemporary Art, Los Angeles County Museum of Art; Dave McKenzie, artist; and Steven Nelson, Professor of African and African American Art History, University of California, Los Angeles. Thelma Golden will offer the introduction and Amy Sadao, Director of the ICA Philadelphia, will provide the foreword. Rodney McMillian: Landscape Paintings is comprised of a suite of paintings on found bed sheets and a video that provoke questions about history and identity by engaging the tradition of landscape representation. |
Sadie Barnette
Born 1984, Oakland, CA
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Lloyd McNeill
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Mambu Bayoh
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Julie Mehretu
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Endia Beal
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Harold Mendez
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Derrick Beard
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Nii Ahene Mettle-Nunoo
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Romare Bearden
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Troy Michie
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Kevin Beasley
Born 1985, Lynchburg, VA |
Cristina de Middel
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Gino Beghe
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Sam Middleton
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Aisha Bell
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Wardell Milan
A city within a city, Harlem is in a constant state of flux. It is hardedged. It is immediate. It is fantastical. It is real, hyper-real and hyperrealized. In counterbalance to this reality, Wardell Milan: Drawings of Harlem offers a new physical possibility for experiencing this space. The works in the exhibition illustrate, in panoramic scope, the people, places, storefronts, churches, iconic fixtures and moments in time that are the essence of this cosmopolitan neighborhood. Commissioned and organized by Studio Museum PR Manager and Editor in Chief Ali Evans, this exhibition originated from Milan’s 2008 sketches of Harlem created for the pages of Studio magazine, following his year as an artist in residence. Upon completing the sketches, the museum invited him to continue drawing throughout the following year for this project. A merger of the artist’s photographic eye and impressionistic hand, the exhibition included more than forty works on paper based on photographs Milan took throughout Harlem. Some works are loosely drawn, while others display close attention to detail. Some have color, though most are Black and white. Representing moments experienced as fleeting, the works in Drawings of Harlem bring together contemporary photography and the fundamental artistic practice of drawing. |
Alexandra Bell
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Nicole Miller
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Cleveland John Bellow
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Tom Miller
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Essie Bendolph Pettway
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Adia Millett
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Mary Lee Bendolph
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Lev Timothy Mills
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Kajahl Benes
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George Mingo
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Rigaud Benoit
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Joe Minter
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Leonardo Benzant
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Tyrone Mitchell
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Dawoud Bey
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Nandipha Mntambo
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Wilson Bigaud
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Tracey Moffat
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Sanford Biggers
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Meleko Mokgosi
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Camille Billops
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Anna Moon
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McArthur Binion
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Jay Moon
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Robert Blackburn
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Fred Moore
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Nayland Blake
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John L. Moore
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Betty Blayton Taylor
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Mario Moore
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Appau Junior Boakye-Yiadom
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Philip Moore
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Alexander "Skunder" Boghossian
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Sister Gertrude Morgan
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Chakaia Booker
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Rafael Morla
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Phoebe Boswell
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Quentin Morris
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Seymour Etienne Bottex
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Petrona Morrison
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Frank Bowling
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Aolar Mosely
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Sonia Boyce
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Jeanne Moutoussamy-Ashe
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Diedrick Brackens
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Aimé Mpane
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Mark Bradford
Mark Bradford: Alphabet is a major new body of work that includes twenty-six individual works on paper produced over the last year, each depicting a single letter. Alphabet relates to Bradford’s ongoing merchant posters project in which he canvasses his South Los Angeles neighborhood for handmade advertisements and signs, and then repurposes their messages to comment on the needs and desires of not only his local community, but the world at large. His singular talent of investigating language and its meaning is present in this wonderful series, which also shows Bradford’s highly skilled approach to painting and collage.
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Zwelethu Mthethwa
[image:1-3] Zwelethu Mthethwa: Inner Views brings together three series by South African photographer Zwelethu Mthethwa (b. 1960). “Interiors” and “Empty Beds” document the domestic lives of migrant workers around Johannesburg, South Africa, while “Common Ground” focuses on the shared experience of natural disasters in urban areas, featuring houses in New Orleans, Louisiana after Hurricane Katrina and on the outskirts of Cape Town, South Africa, after wildfires. [audio:1] Zwelethu Mthethwa: Inner Views is made possible thanks to the generous support of The Robert Mapplethorpe Foundation and South African Tourism [image:4] |
Andre Bradley
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Zanele Muholi
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Peter Bradley
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Marlon Mullen
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John Braithwaite
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Lavar Munroe
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Michael Bramwell
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Oscar Murillo
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Marc Brandenburg
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J. B. Murray
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Kwame Brathwaite
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Sana Musasama
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Greg Breda
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Wangechi Mutu
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Candice Breitz
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Christopher Myers
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Murat Brierre
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Marilyn Nance
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Enick Brig
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Narcissister
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Michael Paul Britto
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Rudzani Nemasetoni
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Moe A. Brooker
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Senga Nengudi
Senga Nengudi's "RSVP" series was originally made in Los Angeles in the 1970s. Made of pantyhose and attached to the wall, the works were originally activated by Nengudi and artist Maren Hassinger who moved through the composition and explored the materiality of this flexible yet restrictive material. Highlighting ideas of transference and memory, this new work in the series is activated by Rashaun Mitchell and Marýa Wethers, who participated in an intensive workshop with Nengudi and Hassinger to build the work. This program is a part of Radical Presence: Black Performance in Contemporary Art. Organized by Thomas J. Lax, Assistant Curator and Edwin Ramoran, Manager of Public Programs and Community Engagement with Monique Long, Curatorial Fellow. For additional information on upcoming events related to this exhibition, please visit radicalpresenceny.org. Additional performances Radical Presence: Black Performance in Contemporary Art is supported by generous grants from The Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, and the patrons, benefactors, and donors to CAMH’s Major Exhibition Fund. The catalogue accompanying the exhibition is made possible by a grant from The Brown Foundation, Inc. Funding for the presentation at the Grey Art Gallery is provided by the National Endowment for the Arts; Tisch School of the Arts, NYU; the New York University Arts Council; Susan and Steven Jacobson; Jane Wesman and Don Savelson; the Department of Art and Art Professions, Steinhardt School of Culture, Education, and Human Development, NYU; the Grey’s Director’s Circle, Inter/National Council, and Friends; and the Abby Weed Grey Trust. Generous in-kind support has also been received from The Wall Street Journal and James Cohan Gallery, New York. Funding for Radical Presence at The Studio Museum in Harlem is generously provided by Lambent Foundation. The Studio Museum in Harlem’s exhibitions are supported with public funds from the following government agencies and elected representatives: The New York City Department of Cultural Affairs; New York State Council on the Arts, a state agency; The City of New York; and Council Member Inez E. Dickens, 9th Council District, Speaker Christine Quinn and the New York City Council. Additional funding is provided by the Andrew W. Mellon Foundation. |
Aya Brown
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Louise Nevelson
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Frederick Brown
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Kori Newkirk
Los Angeles-based artist Kori Newkirk transforms everyday images and objects into lyrical expressions of life. Born in the Bronx in 1970 and raised in Cortland, New York, he fuses his formal art education with childhood memories, social and political commentary, and popular culture. His works in sculpture, photography, video and mixed-media explore issues of race, gender, masculinity, alienation and place. Newkirk’s formal training as a painter—he received his MFA from the University of California in Irvine—is evident in his command of composition, color and form. His approaches to subjectivity and objectivity, as well as his use of found materials, exemplify his innovative art practice. From his signature landscape works composed of plastic hair beads to the insertion of his body in social spaces and natural environments, his work reminds viewers of the isolation experienced by urban youth, the over-consumption of popular culture and the prevalence of racial stereotyping, as well as the beauty and experiences of African-American culture and life. Curated by Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem, Kori Newkirk: 1997–2007 is the most extensive presentation of this artist’s work to date, and illuminates how the varied yet interrelated strands of Newkirk’s practice have converged and developed over time. The Studio Museum featured Newkirk’s work in Freestyle, the seminal 2001 group exhibition of emerging talent. Newkirk has also been exhibited at the Whitney Museum of American Art and the Contemporary Arts Museum Houston. Kori Newkirk: 1997–2007 is initiated and sponsored by the Fellows of Contemporary Art. This exhibition is also made possible with major support from Altria Group Inc. and The Horace W. Goldsmith Foundation. |
Iona Rozeal Brown
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Rashaad Newsome
Rashaad Newsome: THIS IS WHAT I WANT TO SEE spotlights multimedia artist Rashaad Newsome’s work about the dance form known as Vogue. For over a decade, Newsome has worked with members of the Vogue community, which developed in New York City’s queer ballroom scene of the 1970s. With a particular interest in critiquing the popular appropriation of Vogue in the early 1990s, and with the aim to bring these queer communities of color from the Vogue scene into the institutional space, Newsome creates work that reframes how performers are represented, and highlights their enormous talent for style and bodily movement. The title of the exhibition draws from an emcee’s refrain, while simultaneously pointing to the desire of wanting queer bodies of color represented within the institutional space. Featuring video and collage works made between 2008 to 2014, THIS IS WHAT I WANT TO SEE explores the beauty, agency and complexities of Vogue and performance art. Rashaad Newsome: THIS IS WHAT I WANT TO SEE is organized by Amanda Hunt, Assistant Curator. |
James Andrew Brown
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Floyd Newsum
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Beverly Buchanan
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Jackie Nickerson
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Selma Burke
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Arcmanoro Niles
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Charles R. Burwell
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Nisibandoki
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Bourmand Byron
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Serge Alain Nitegeka
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Shaun El C. Leonardo
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Otobong Nkanga
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Bill Caldwell
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Charles Nkosi
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Jonathan Calm
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Fred Noel
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Benjamin E. Campbell
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Motshile Wa Nthodi
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Nanette Carter
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Leonel Nussa
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Juan Cash
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Lorraine O'Grady
Over the course of more than three decades, artist and cultural critic Lorraine O’Grady has won acclaim for her installations, performances and texts addressing the subjects of diaspora, hybridity and Black female subjectivity. Born in Boston in 1934 and trained at Wellesley College and the Iowa Writers’ Workshop as an economist, literary critic and fiction writer, O’Grady had careers as a U.S. government intelligence analyst, a translator and a rock music critic before turning her attention to the art world in 1980. In her landmark performance Art Is…, O’Grady entered her own float in the September 1983 African-American Day Parade, riding up Harlem’s Adam Clayton Powell Jr. Boulevard (Seventh Avenue) with fifteen collaborators dressed in white. Displayed on top of the float was an enormous, ornate gilded frame, while the words “Art Is…” were emblazoned on the float’s decorative skirt. At various points along the route, O’Grady and her collaborators jumped off the float and held up empty, gilded picture frames, inviting people to pose in them. The joyful responses turned parade onlookers into participants, affirmed the readiness of Harlem’s residents to see themselves as works of art, and created an irreplaceable record of the people and places of Harlem some thirty years ago. These color slides were taken by various people who witnessed the performance, and were later collected by O’Grady to compose the series. The forty images on view capture the energy and spirit of the original performance. Lorraine O'Grady: Art Is... is organized by Amanda Hunt, Assistant Curator.
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Laurent Casimir
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Antoine Obin
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Jordan Casteel
Born 1989 Lives and works in New York, NY 2014 MFA, Yale University, Yale School of Art, New Haven, CT 2011 BA, Agnes Scott College, Decatur GA |
Philomé Obin
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Elizabeth Catlett
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Sénèque Obin
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Catti
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Saturnino Portuondo Odio
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Nick Cave
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Odili Donald Odita
This site-specific mural inaugurates the new Project Space at The Studio Museum in Harlem. Equalizer, by artist Odili Donald Odita (b. 1966), tells of two moments of migration from the African continent to the Americas. The first is the transatlantic slave trade, of the early 1500s to almost 1900, which remains the largest forced migration in world history. The second, and more recent, is the contemporary relocation and emigration of Africans in search of political and economic stability. Though abstract and without discernable figures or direct narrative references, Equalizer is what Odita calls a “conceptual journey” in which the interactions of shape and color become metaphors for land and sea, movement and settling, challenges and hope. The explosive image on the red wall illustrates movement out of Africa. The adjacent wall to the right, strong blues and mauve predominates, representing the Atlantic ocean which Odita describes as “all tooth and treachery.” The next wall, where faint pastels blend to form somber gray tones that then give way to bright, prismatic earth tones on the right, represents potential and possibility. On the final wall, the patterns move from more horizontal orientation to smaller, animated fractals that are a metaphor for both the difficulties of immigrant life and the possibility that the African émigré, whether historical or contemporary, may find a new place to call “home.” Odili Donald Odita was born in Enugu, Nigeria; raised in Columbus, Ohio and received an MFA from Vermont’s Bennington College in 1990. Since then, Odita has been included in exhibitions in Africa, North America and Europe, such as DAK’ART 2004, the Dakar Biennial of Contemporary Art and the 52nd International Art Exhibition at the 2007 Venice Biennale. Odita is currently Associate Professor of Painting at Tyler School of Art, Temple University in Philadelphia. The Project Space is a dynamic new location dedicated to a new series of site-specific works and projects at the Studio Museum. This recent addition to the exhibition program continues the Museum’s commitment to activating multiple architectural sites throughout the building—such as the lobby, atrium and façade—that provide artists with laboratories for innovative, contemporary art projects. |
Momadou Ceesay
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Kemi Odulana
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Paul Chan
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Toyin Ojih Odutola
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Dana C. Chandler Jr.
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Chris Ofili
Afro Muses presents 181 watercolors created over the last ten years by artist Chris Ofili. A part of his prodigious output of works on paper, this selection of watercolors has never been exhibited before. Organized by the artist and Thelma Golden, chief curator, this exhibition includes images of men and women with a few birds and flowers, arranged as individual works, couples and groups. Some of Ofili’s watercolors have become the starting point for larger paintings; these are created as fully realized works. Ofili describes making these works as both pleasurable and challenging. Deriving from a meditative exercise, this presentation represents the evolution of his particular studio practice. Upon first viewing, the images can easily be perceived as portraits of individuals. These ancient visages are oddly reminiscent of someone, somewhere at some moment in time. However, they are not actual representations, but rather figurative expressions. Like the characters that populate Ofili’s larger paintings, these intimate figures derive from impressions and references from everyday life, memory and the history of art. Chris Ofili: Afro Muses 1995–2005 is presented with the generous support of The Peter Jay Sharp Foundation 2004–2005 Exhibition Fund, Melva Bucksbaum and Raymond Learsy and The Horace W. Goldsmith Foundation |
Zoe Charlton
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J.D. 'Okhai Ojeikere
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Colin Chase
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Kayode Ojo
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Barbara Chase-Riboud
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Tim Okamura
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Caitlin Cherry
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Nnamdi Okonkwo
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Carl Clark
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Senam Okudzeto
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Ed Clark
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Asiru Olatunde
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Henry Ray Clark
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Demetrius Oliver
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Linda Day Clark
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Xiomara de Oliver
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Wesley Clark
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Karyn Andrea Olivier
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LeRoy Clarke
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Raymond Olivier
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Peter Clarke
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Ademola Olugebefola
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Taha Clayton
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Kambui Olujimi
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Chuck Close
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Bruce Onobrakpeya
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Mike Cloud
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Chinedu Felix Osuchukwu
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Derrick Alexis Coard
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Hayward Oubre
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Gregory Coates
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John Outterbridge
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Tony Cokes
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Clifford Owens
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Willie Cole
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Muraina Oyelami
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Robert Colescott
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Jennifer Packer
Born 1984, Philadelphia, Pennsylvania |
Bethany Collins
Born 1984, Montgomery, AL |
Pannell
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Elizabeth Colomba
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Gordon Parks
Gordon Parks: A Harlem Family 1967 honors the legacy and the work of late iconic artist and photojournalist Gordon Parks, who would have turned 100 on November 30, 2012. The exhibition, organized by Director and Chief Curator Thelma Golden and Assistant Curator Lauren Haynes, will feature approximately thirty Black and white photographs of the Fontenelle family, whose lives Parks documented as part of a 1968 Life magazine photo essay. A searing portrait of poverty in the United States, the Fontenelle photographs provide a view of Harlem through the narrative of a specific family at a particular moment in time. This intimate exhibition will include all images from the original essay as well as several unpublished images—some which have never been displayed publicly. The Studio Museum in Harlem and The Gordon Parks Foundation, a division of the Meserve-Kunhardt Foundation are together creating an exhibition catalogue for Gordon Parks: A Harlem Family 1967, complementing the five-volume set German publisher Steidl is planning to publish in honor of Parks’s centenary. Gordon Parks: A Harlem Family 1967 is supported by The Robert Mapplethorpe Foundation.
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Dan Concholar
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Benjamin Patterson
Co-presented by The Studio Museum in Harlem and the Goethe-Institut New York for Performa 13. Founding Fluxus member Benjamin Patterson performs the first-ever retrospective concert of his “action as composition” works. The retrospective will include his innovative Fluxus scores from the 1960s and other early works such as Duo for Voice, 1961 as well as the artist’s newest work. For tickets, please click here. Please note: this event is NOT hosted at The Studio Museum in Harlem. A part of Radical Presence: Black Performance in Contemporary Art at the Grey Art Gallery, NYU (September 10–December 7, 2013) and The Studio Museum in Harlem (November 14, 2013–March 9, 2014). For additional information on upcoming events related to this exhibition, please visit radicalpresenceny.org. |
Houston E. Conwill
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Ebony G. Patterson
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Brett Cook - Dizney
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Kamau Amu Patton
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William Cordova
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Lee Pate
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Hervé Cortinat
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Damien Paul
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Eldzier Cortor
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Gerard Paul
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Kyrae Cowan
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James Payne
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Adger W. Cowans
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Fahamu Pecou
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Brandon Coley Cox
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Adam Pendleton
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Renee Cox
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Elle Perez
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Ernest Crichlow
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Alexis Peskine
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Allan Rohan Crite
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Lamar Peterson
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Emilio Cruz
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Dawit L Petros
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Michael Cummings
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Max Petrus
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Jamal Cyrus
Jamal Cyrus’s Texas Fried Tenor is part of Learning to Work the Saxophone, a series whose title is borrowed from the refrain of the Steely Dan song “Deacon Blues.” In Texas Fried Tenor, Cyrus explores the idea of the instrument as a tool of transcendence and personal expression and its importance in American music, particularly the musical legacy of Texas saxophonists. During the performance, included in the exhibition Radical Presence: Black Performance in Contemporary Art, Cyrus fries a saxophone while reciting a poem based on the Texas tenor saxophone tradition. This event is free to the public; please note: this event is NOT hosted at The Studio Museum in Harlem. A part of Three Duets, Seven Variations, a special series for the Performa 13 biennial, pairing six intergenerational artists for seven programs. This program is organized by Adrienne Edwards, Performa, and Thomas J. Lax, The Studio Museum in Harlem. For additional information on upcoming events related to Radical Presence: Black Performance in Contemporary Art, please visit radicalpresenceny.org. |
Loretta Pettway Bennett
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Ananias Léki Dago
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Loretta Pettway
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Leonard Daley
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Martha Pettway
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Andrews Ofori Danso
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Martha Jane Pettway
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Bruce Davidson
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Paul Pfeiffer
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Kenturah Davis
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Julia Phillips
Born 1985 in Hamburg, Germany |
Noah Davis
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Andre Pierre
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Pat Davis
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Howardena Pindell
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Walter Davis
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Adrian Piper
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C. Daniel Dawson
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Valerie Piraino
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Nzuji De Magalhaes
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Michael Platt
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Murray De Pillars
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Stephanie Pogue
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Bernard De Seignara
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P.H. Polk
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Roy DeCarava
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Ted Pontiflet
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Avel C. DeKnight
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Pope.L
Iconic performance artist Pope.L’s (formerly known as William Pope.L) Cage Unrequited is a marathon reading of John Cage’s edited anthology, Silence: Lectures and Writings (1961) by over eighty invited collaborators. The performance functions as a refuge, proposing a relationship between the earlier artist’s ideas of indeterminacy, mysticism and chance and the work of contemporary Black artists. This event is free to the public. Please note: this event is NOT hosted at The Studio Museum in Harlem. A part of Three Duets, Seven Variations, a special series for the Performa 13 biennial, pairing six intergenerational artists for seven programs. This program is organized by Adrienne Edwards, Performa, and Thomas J. Lax, The Studio Museum in Harlem. Also a part of Radical Presence: Black Performance in Contemporary Art at the Grey Art Gallery, NYU (September 10–December 7, 2013) and The Studio Museum in Harlem (November 14, 2013–March 9, 2014). For additional information on upcoming events related to this exhibition, please visit radicalpresenceny.org. Co-organized by the Grey Art Gallery, NYU; The Studio Museum in Harlem; and Performa. |
Nadine DeLawrence-Maine
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Charles Ethan Porter
Celebrated by his contemporaries as one of the most skilled still-life painters, Charles Ethan Porter (1847/49 – 1923) is best known for his stylistic range that merges meticulous realism and rich colors with fluid brushwork and sophisticated spatial effects. The Studio Museum in Harlem proudly presents Charles Ethan Porter: African-American Master of Still Life. This traveling exhibition, organized by New Britain Museum of American Art and curated by Hildegard Cummings, is the first museum exhibition of works by the artist. Presenting over forty works of Porter’s still-life paintings of flowers, insects, fruit, landscapes and portraits, this landmark exhibition and its accompanying catalogue introduces audiences to Porter’s timeless skills. From his use of rich palettes and meticulous attention to detail, Porter’s paintings can be seen as methodical and often theatrical studies of his immediate world. His native state, Connecticut, proved to be his most powerful muse, from his mother’s lustrous garden to the fields and woodlands of Connecticut. Porter’s fascination with nature’s vegetation and topography provided endless inspiration throughout his career. About the Artist
Charles Ethan Porter was born in the late 1840s in Rockville, Connecticut. In 1869 he was accepted into the prestigious National Academy of Design and began a four-year study in New York City. Porter taught art lessons to support himself through school, then completed his studies in 1873 and opened a small studio in New York City. In 1878, upon returning to Connecticut, Porter found the familiar landscape of New England altered by industrialization. Soon after, he left for Paris, France, where he continued his training and spent time painting in the French countryside. Branching away from his still lifes, Porter began to explore the landscape genre and incorporate elements of Impressionism into his work. In 1884, Porter moved to Hartford, Connecticut, where he introduced his impressionist-inspired new work, which defied the “established aesthetics” of the day. Porter returned to his hometown Rockville, Connecticut in 1897 where he continued to work until his death in 1923. Following its installation at The Studio Museum in Harlem, the exhibition traveled to the North Carolina Central University of Art Museum, Durham (August 3 through October 7, 2008). |
Abigail DeVille
Born 1981, New York, NY |
Larry Potter
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Aria Dean
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Robert A. Pruitt
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TJ Dedeaux-Norris
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Martin Puryear
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Dorothy Dehner
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Mavis Pusey
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Beauford Delaney
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Clarence M. Queen
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Joseph Delaney
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Michael Queenland
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Louis Delsarte
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Ronny Quevedo
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Karoly Demeter
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Nathaniel Mary Quinn
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James Denmark
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Erika Ranee
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Thornton Dial
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Kameelah Janan Rasheed
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Modou Dieng
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Robert Rauschenberg
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Vincent S. Dillard
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Jeanne Raynal
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Jeff Donaldson
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Robert Reid
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Godfried Donkor
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Mallica "Kapo" Reynolds
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Emory Douglas
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Robin Rhode
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Stan Douglas
Converging documentary and fictional footage, Stan Douglas’s film, Inconsolable Memories, is based in part on a Cuban film from 1968, Memories of Underdevelopment. The original film by, Tomás Gutiérrez Alea, portrayed the alienation of a character named Sergio, a bourgeois intellectual struggling in the social climate of Cuba in the early sixties, after the Bay of Pigs invasion and missile crisis. Douglas’s film fast-forwards the same character to the 1980 Mariel Boatlift, when Fidel Castro allowed a temporary lift of emigration restrictions and some 125,000 Cubans left for the United States. Given the opportunity to leave, Sergio chooses to stay in the fractured city. In Inconsolable Memories, Douglas manipulates Alea’s original film by retaining the characters but introducing a divergent historical setting. The past and present overlap with the interplay of two Black-and-white, 16-mm film loops projected simultaneously onto one screen. Inconsolable Memories is accompanied here by a series of recent photographs by Douglas. Shot in and around Havana, these images reveal the urban landscape of Cuba today. They depict instances of the city’s recycled urban architecture, in which banks have been converted into motorcycle lots, villas are now schools, and a cinema has become a carpentry shop. Highlighting the evolutionary needs of the twenty-first century, the photographs trace a history of development, colonialism and the transformations of society. Born in Vancouver, British Columbia, in 1960, Douglas works in film, video, photography and installation. He attended the Emily Carr College of Art and Design from 1979 to 1982 and currently lives and works in Vancouver. Internationally known for his use of innovative techniques to blur the boundaries between visual art, cinema and television, Douglas has presented his work in major exhibitions such as Documenta XI in Kassel, Germany, in 2002, and the 2005 Venice Biennale. |
Eugene Richards
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John Dowell
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Michael Richards
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Leonardo Drew
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Tanea Richardson
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David Driskell
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Jamea Richmond-Edwards
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Préfète Duffaut
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Gregory Ridley
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DeShawn Dumas
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Enrico Riley
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Marlene Dumas
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Faith Ringgold
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Delano Dunn
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Bob Rivera
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James Dupree
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Kenny Rivero
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D. Denenge Duyst-Akpem
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Larry Rivers
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Torkwase Dyson
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Andy Robert
Born in 1984 in Les Cayes, Haiti |
Allan L. Edmunds
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Deborah Roberts
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Melvin E. Edwards
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Prophet Royal Robertson
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Victor Ehikhamenor
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Ellington Robinson
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Alfred Eisenstadt
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Kenya (Robinson)
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Embah
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Marc Andre Robinson
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Touhami Ennadre
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Nadine Robinson
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Awol Erizku
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Jorge Luis Rodriguez
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Roberto Estopinan
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Sherrill Roland
Please join Studio Museum curators Connie H. Choi and Hallie Ringle for a tour of Fictions at 6 pm and a performance by artist Sherrill Roland of The Jumpsuit Project from 7 to 9 pm. In The Jumpsuit Project, an ongoing performance work, Roland seeks to challenge ideas around mass incarceration and create a safe space for discussion. While a graduate student, he was wrongfully convicted and spent nineteen months in prison due to a case of mistaken identity. Although eventually exonerated, Roland’s experiences with the justice system had a lasting effect on both his life and artistic practice. During his performance he will wear an orange jumpsuit—a reminder of his prison uniform—and invite visitors into his “cell,” a space that is roughly the size of the cell from his time in prison. Visitors are encouraged to engage in conversation with Roland during the course of his performance. Sherrill Roland’s The Jumpsuit Project is presented as part of Fictions, an exhibition on view at The Studio Museum in Harlem from September 14, 2017 to January 7, 2018. This event is free and open to the public, though pre-registration is encouraged.
Lead sponsor of Fictions Exhibitions at The Studio Museum in Harlem are made possible thanks in part to support from The New York City Department of Cultural Affairs, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Council. Additional support is generously provided by The Andrew W. Mellon Foundation. |
Mel Ettrick
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Tim Rollins & K.O.S
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Mary Evans
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Tracey Rose
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Minnie Evans
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Nellie Mae Rowe
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Wendy Ewald
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John Rozelle
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Zachary Fabri
Zachary Fabri presents a new live performance interweaving physical movement, monologue and sound from the galleries of The Studio Museum in Harlem to 125th Street, just beyond the Museum’s doors. Co-organized by the Grey Art Gallery, The Studio Museum in Harlem and Performa. A part of Radical Presence: Black Performance in Contemporary Art at the Grey Art Gallery, NYU (September 10–December 7, 2013) and The Studio Museum in Harlem (November 14, 2013–March 9, 2014). For additional information on upcoming events related to this exhibition, please visit radicalpresenceny.org. |
Duhirwe Rushemeza
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Adebisi Fabunmi
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Alison Saar
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Lamidi Olonade Fakeye
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Betye Saar
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Charles Farrar
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Lezley Saar
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Nona Faustine
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Synthia Saint James
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Frohawk Two Feathers
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Ed Salter
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Tom Feelings
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Eve Sandler
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Amos Ferguson
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Curtis "Talwst" Santiago
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Jose A. Figueroa
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Jacolby Satterwhite
Jacolby Satterwhite (b.1986 in Columbia, South Carolina; currently lives and works in Brooklyn, NY ) is known for a conceptual practice addressing crucial themes of labor, consumption, carnality, and fantasy through immersive installations, virtual reality, and digital media. He uses a range of software to produce intricately detailed animations and live action films of real and imagined worlds populated by the avatars of artists and friends. These animations serve as stages on which the artist synthesizes the multiple disciplines that encompass his practice. Satterwhite draws from an extensive set of references, guided by queer theory, modernism, and video game language to challenge conventions of Western art through a personal and political lens. He received his BFA from the Maryland Institute College of Arts, Baltimore and his MFA from the University of Pennsylvania, Philadelphia. Satterwhite’s work has been presented in numerous exhibitions both in the United States and in Europe, including most recently at Fabric Workshop & Museum, Philadelphia (2019); Pioneer Works, New York (2019); Whitechapel Gallery, London (2019); the Museum of Modern Art, New York (2019); the Minneapolis Institute of Art (2019); the Museum of Contemporary Art, Chicago (2018); Fondation Louis Vuitton, Paris (2018); New Museum, New York (2017); Public Art Fund, New York (2017); San Francisco Museum of Art, San Francisco (2017); the Institute of Contemporary Art, Philadelphia (2017); and The Studio Museum in Harlem, New York (2013). He was awarded the United States Artist Francie Bishop Good & David Horvitz Fellowship in 2016. His work is included in the collections of the Museum of Contemporary Art Kiasma, Helsinki; Museum of Modern Art, New York; The Studio Museum in Harlem, New York; and the Whitney Museum of American Art, New York, among others. In 2019, Satterwhite collaborated with Solange Knowles on her visual album, “When I Get Home." |
David Fludd
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Raymond Saunders
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Derek Fordjour
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Augusta Savage
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Samuel Fosso
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Sidney Schenck
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Aaron Fowler
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Dread Scott
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LaToya Ruby Frazier
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William Scott
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Roland Freeman
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Thabiso Sekgala
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Meta Vaux Warrick Fuller
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Tschabalala Self
Tschabalala Self (b. 1990, Harlem) makes syncretic use of painting, printmaking, and assemblage to explore ideas surrounding the Black female body. Constructed with a combination of sewn, printed, and painted materials, Self’s exaggerated depictions of bodies traverse a variety of artistic and craft traditions. The physiological and psychological characteristics of her figures also reflect Self’s personal desire to articulate cultural attitudes and realities as they relate to race and gender. She writes, “The fantasies and attitudes surrounding the Black female body are both accepted and rejected within my practice, and through this disorientation, new possibilities arise.” Her work has been included in solo and group exhibitions at Tramway in Glasgow, the New Museum, and Art + Practice, among others. Self received her BA from Bard College and her MFA from Yale University. A 2017 recipient of the Joan Mitchell Foundation Painters & Sculptors Grant, she lives and works in New York and New Haven. |
Meschac Gaba
A modern staple in Harlem, Black hair braiding dates back to ancient Africa. The forms and styles range from purely functional to complex and symbolic. Stylistic choices often have profound implications; hair can be an indicator of age, authority, social status or religion. In some African cultures, strands of hair are even used as a potent substance with supernatural powers. In cities across Europe and the Americas, African hair braiders produce extravagant creations based on their traditional braiding skills and styles. In the space of the salon, these braiders unite capitalist commerce with traditional culture. Fascinated by West African hair braiding in Harlem and inspired by Manhattan skylines, Meschac Gaba created a new body of work while in residence at P.S.1 Contemporary Art Center in Queens last year. Tresses features eighteen hair sculptures based on architectural landmarks in New York and in Benin. These wigs of woven artificial hair interpret well known edifices, such as the Chrysler Building in midtown Manhattan, Hotel Theresa in Harlem, and the Porte de non Retour in Ouidah, Benin. They emphasize the shared fragility, sentimentality and specificity of hair and architecture. Two seeming divergent products of humankind, hair and architecture meet here as equally significant symbols of modern culture. In making this work, Gaba assumes the role of the nouveau tresseur or tresseuse, a traditional Beninese hair braider, reassigning meaning to architectural forms and cultural experiences. Addressing the consequences of capitalism, Gaba has also created a series of prints based on the countries’ respective currencies, the U.S. Dollar and the West African Franc CFA. Juxtaposing self-portraits with images of his building perruques, Gaba fashions a new model of conceptual currency. These banknotes denote the imbalance of the global economy as African currencies become increasingly devalued against the Euro and the Dollar. Born in Cotonou, Benin in 1961, Meschac Gaba emerged onto the international contemporary art scene in 1999 when he presented the Museum of Contemporary African Art in the exhibition Mirror’s Edge at Bilmuseet in Umea, Sweden. It marked the beginning of an expansive conceptual and virtual project based on subjectivity of museum spaces. Parts and portions of this ongoing project such as Salle de Jeux, The Salon, and Library of the Museum, have been exhibited at S.M.A.K., Gent, Belgium (2000), at the Palais de Tokyo, Paris, France (2002), and in Documenta XI (2002), Kassel, Germany, respectively. Gaba’s complex and varied artistic practice provides an in depth examination of cultural appropriation, public space, the role of the western museum, and the changing global economy. His appropriation of tourist imagery –from cinema and souvenirs to magazines and museums—allows the viewer to deconstruct the western iconography and disturb modes of representation in contemporary art. Studio Museum in Harlem Associate Curator Christine Y. Kim organized Meschac Gaba: Tresses. Meschac Gaba: Tresses is presented with the generous support of the Mondriaan Foundation, Amsterdam, The Peter Jay Sharp Foundation 2004-2005 Exhibition Fund, and the Consulate General of The Netherlands in New York. |
Robert A. Sengstacke
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Genevieve Gaignard
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Paul Mpagi Sepuya
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Charles Gaines
Charles Gaines: Gridwork 1974–1989 is the first museum survey of Los Angeles–based conceptual artist Charles Gaines's early work. The exhibition features seventy-five works from the beginning of a singular career that now spans four decades. Highly regarded as both a leading practitioner of conceptualism and an influential educator at the California Institute of the Arts (CalArts), Charles Gaines is celebrated primarily for his photographs, drawings and works on paper that investigate systems, cognition and language. His early experiments examined the roles that systems and rule-based procedures play in the construction of forms, objects and meaning. Charles Gaines: Gridwork 1974–1989 traces Gaines’s career, from his groundbreaking work in the 1970s—some of which debuted in exhibitions at famed New York galleries Leo Castelli and John Weber—to his investigations of subjectivity in the late 1980s. Exploring the ways in which Gaines’s early works on paper can be viewed as a crucial bridge between the first generation conceptualists of the 1960s and 1970s and the conceptually-based practices of artists who emerged in the ensuing decades, the exhibition includes rare and never-before-seen works, some of which were presumed lost. Considered against the backdrop of the Black Arts Movement of the 1970s and the rise of multiculturalism in the 1980s, the works in Charles Gaines: Gridwork 1974–1989 are radical gestures. Eschewing overt discussion of race, they take a detached approach to identity that exemplifies Gaines’s determination to transcend the conversations of his time and create new paths in artistic innovation. Charles Gaines: Gridwork 1974–1989 is organized by Naima J. Keith, Assistant Curator. The exhibition is accompanied by a 160-page, full-color hardcover catalogue that includes newly commissioned texts by Anne Ellegood, Malik Gaines, Courtney J. Martin, Bennett Simpson, Howard Singerman and Ellen Tani; introductions by Studio Museum Director and Chief Curator Thelma Golden and the exhibition's curator, Naima J. Keith; an illustrated chronology contextualizing Gaines’s life and work; and—for the first time—expository texts explaining the production process for each body of work. Additionally, several new media initiatives around Charles Gaines: Gridwork 1974–1989 build on the Studio Museum’s active and growing presence in the digital realm, including a tumblr and a Facebook group promoting the discussion of Gaines's art and ideas. Charles Gaines: Gridwork 1974–1989 is generously supported by The Andy Warhol Foundation for the Visual Arts. |
Jamel Shabazz
Jamel Shabazz: Crossing 125th is a selection of images by the acclaimed Brooklyn-born street photographer, who has been documenting African-American life since the 1980s. Spanning twenty-five years of work in the heart of Harlem, the exhibition captures Shabazz’s love for this thriving community, showing the joy, self-determination and complexities of Black life along 125th Street. Jamel Shabazz: Crossing 125th is organized by Eric Booker, Exhibition Coordinator. |
Ellen Gallagher
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Rudy Shepherd
Rudy Shepherd invites you to Induction Ceremony, a performance inaugurating inHarlem: Rudy Shepherd, currently on view in Jackie Robinson Park through July 25, 2017. The most recent in the series of sculptures that Shepherd began in 2006, Black Rock Negative Energy Absorber aims to dispel feelings of racial prejudice, violence or ordinary disdain by encouraging compassion. Leading a group of musical collaborators including Brian Alfred, Elia Einhorn, Christof Knoche and Ethan Meyer, Shepherd will activate his sculpture, expunging negative energy from the surrounding audience through a cathartic performance. Rudy Shepherd (born 1975, Baltimore, Maryland; lives and works in New York, New York, and State College, Pennsylvania) received a BS in Biology and Studio Art from Wake Forest University and an MFA in Sculpture from the School of Art Institute of Chicago. His work has been shown in exhibitions at institutions including MoMA PS1, Bronx Museum of Art, Institute of Contemporary Art Boston, Socrates Sculpture Park, Aldrich Museum of Contemporary Art and Regina Miller Gallery of Carnegie Mellon University, Pittsburgh. His work was recently seen in the Studio Museum exhibitions When the Stars Begin to Fall: Imagination and the American South (2014) and Black: Color, Material, Concept (2015).
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Paul Gardere
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Sienna Shields
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Alex Gardner
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Yinka Shonibare
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Doreen Garner
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David Shrobe
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Ja'Tovia Gary
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Malick Sidibé
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Shaunté Gates
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Durant Sihlali
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Theaster Gates
Theaster Gates’s See, Sit, Sup, Sip, Sing: Holding Court (2012) was created from tables, chairs and desks salvaged from a now-closed public school on Chicago’s South Side. Gates joins us in the Museum atrium for a special activation of the work by the artist. Designed as an experience for learning created by the people assembled in and around it, the installation will be a site for engaged conversation and dynamic interaction. A part of Radical Presence: Black Performance in Contemporary Art at the Grey Art Gallery, NYU (September 10–December 7, 2013) and The Studio Museum in Harlem (November 14, 2013–March 9, 2014). For additional information on upcoming events related to this exhibition, please visit radicalpresenceny.org. This program is organized by Thomas J. Lax, Assistant Curator and Edwin Ramoran, Manager of Public Programs and Community Engagement with Monique Long, Curatorial Fellow.
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Thomas Sills
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Rico Gatson
Rico Gatson: Icons 2007–2017 presents a selection of the artist’s works on paper featuring renowned figures of African-American history and culture, sourced from well-known photographs. By juxtaposing these found photographs with hard-edge geometric lines in a palette featuring red, black, and green—implying Pan-Africanism—Gatson evokes the foundational importance to Black consciousness of the people who are depicted, while also emphasizing the cultural, social and political implications of color and pattern. Rico Gatson: Icons 2007–2017 is organized by Hallie Ringle, Assistant Curator. |
Gary Simmons
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Cy Gavin
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Xaviera Simmons
Xaviera Simmons (b. 1974, New York, NY) Lives and works in New York, NY
2005 Whitney Museum Independent Study Program, New York, NY Maggie Flanigan Studio, 2-Year Actor Training Conservatory, New York, NY 2004 BFA, Bard College, Annandale-on-Hudson, NY |
Buraimoh Gbadamosi
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Coreen Simpson
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Herbert Alexander Gentry
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Lorna Simpson
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Rennie George
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Merton D. Simpson
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Justin Georges
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Aaron Siskind
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Vanessa German
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Michel Sivnil
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Ralph Gibson
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Yarrow Slaps
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Mark Thomas Gibson
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Alexandria Smith
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Aaron Gilbert
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Alfred J. Smith
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Sam Gilliam
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Paul Anthony Smith
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Paul Giovanopoulos
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Aswuzi Smith
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Rex Goreleigh
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Cauleen Smith
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Simon Gouverneur
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George Smith
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Deborah Grant
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Ira Smith
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Todd Gray
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Mary T. Smith
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Renee Green
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Ming Smith
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Myra Greene
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Bayeté Ross Smith
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Timothy Greenfield-Sanders
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Sable Elyse Smith
Sable Elyse Smith (b. 1986, Los Angeles) is an interdisciplinary artist, writer, and educator whose practice considers memory and trauma, working from the archive of her own body to mark the difference between witnessing and watching. “To see,” she writes, “is unbearable.” Her work has been presented at institutions including MoMA PS1, the New Museum, and Recess Assembly. It has also been seen through Artist Television Access in San Francisco and at Birkbeck Cinema in collaboration with the Serpentine Galleries. Sable Elyse Smith: Ordinary Violence is on view at the Queens Museum through February 18, 2018. Her writing has been published in Radical Teacher, Selfish Magazine, Studio, and Affidavit, and she is currently working on her first book. Smith has received awards from Creative Capital, Fine Arts Work Center, the Queens Museum, Skowhegan School of Painting & Sculpture, the Franklin Furnace Fund, and Art Matters. She recently served as a visiting critic at Columbia University and is currently a visiting artist in at Virginia Commonwealth University. She lives and works in Richmond, Virginia. |
Kojo Griffin
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Shinique Smith
Multimedia artist, Shinique Smith, activated the Studio Museum Project Space with Like it Like that, an installation designed specially for the gallery. A Frequency alum known for her practice spanning sculptures made of clothing, collage on walls and paper, painting and drawing, Smith creates colorful works that tread the lines between accumulation and loss, containment and scatter, legibility and scribble. Created by Smith like an improvisational dance, Like it Like that joins the explosive energy of graffiti writing with the spontaneity of Abstract Expressionist painting. Though evoking an urban street scene from afar, upon closer inspection one realizes the mural is saturated with personal effects, especially from the artist’s youth. Thus, the gallery reflected less a public space and more an intimate retreat from authority and a shrine to all things “cool” that obsess modern youth. Accessible through the Main Gallery and adjacent to the new auditorium, the Project Space is a dynamic gallery dedicated to site-specific works and other projects and installations. |
Rashawn Griffin
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Vincent Smith
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Dr. Eugene Grigsby
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Ephrem Solomon
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Adler Guerrier
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Jeff Sonhouse
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Alteronce Gumby
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Georgia Speller
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Roy Gumpel
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Henry Speller
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Tyree Guyton
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Stan Squirewell
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Carol Guzy
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Robert St. Brice
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Hassan Hajjaj
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James Everett Stanley
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Chase Hall
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Micius Stephane
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Lauren Halsey
Born 1987, Los Angeles, CA |
Lloyd Stevens
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Allison Janae Hamilton
Allison Janae Hamilton (b. 1984, Lexington, Kentucky) is an interdisciplinary artist working in sculpture, installation, photography, video, and taxidermy. Using plant matter, layered imagery, sounds, and animal remains, Hamilton creates immersive spaces that consider the role of the American landscape in concepts of “Americana” and social constructions of space, particularly within the rural South. Hamilton’s work has been shown at institutions including the Museum of Modern Art, The Jewish Museum, the Smithsonian National Portrait Gallery, Fundación Botín, Santander, and the Istanbul Design Biennial. Hamilton was a 2013–14 fellow in the Whitney Independent Study Program and has been awarded residencies at Recess, New York; Fundación Botín, Cantabria, Spain; and the Rush Arts Foundation, New York. She received her Ph.D. in American Studies from New York University and her MFA in Visual Arts from Columbia University. She lives and works in New York. |
Frank Stewart
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Walter Lobyn Hamilton
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Tavares Strachan
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David Hammons
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Allen Stringfellow
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Trenton Doyle Hancock
Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing chronicles the foundation and evolution of Hancock’s prolific career. The exhibition is the first in-depth examination of the artist’s extensive body of drawings, collages and works on paper. For over two decades, Hancock has immersed himself in drawing, testing the elasticity of the medium with a keen sense of humor. Hancock was born in 1974 in Oklahoma City, Oklahoma. He lives and works in Houston, Texas. In 2007, Hancock was the recipient of The Studio Museum in Harlem’s Joyce Alexander Wein Artist Prize. Organized by the Contemporary Arts Museum Houston (CAMH), Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is curated by Valerie Cassel Oliver, Senior Curator. The Studio Museum’s presentation is organized by Lauren Haynes, Associate Curator, Permanent Collection. Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is supported by a generous grant from the National Endowment for the Arts and other supporters of CAMH. |
Devin Troy Strother
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Inge Hardison
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Jimmy Lee Sudduth
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Kira Lynn Harris
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Eldridge Suggs III
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Lyle Ashton Harris
Lyle Ashton Harris: Self/Portrait brings together a group of large-format Polaroid photographs of the artist’s friends, family and community; artists, art collectors and patrons; and the artist himself. Shot over the ten-year period, from 1998 to 2008, the sepia-toned “Chocolate Polaroids” capture the faces and backs of more than two hundred individuals. Harris (b. 1965) works in photography, installation and performance, often exploring ideas of kinship, gender, sexuality and the legacies of iconic artists. Exploring his ongoing interest in self-portraiture, desire and cultural history, Self/Portrait assembles twenty-two photographs from the series. Shot in a studio outfitted for the large-format Polaroid camera in SoHo, Manhattan, the photographs on view demonstrate the series’ formal and stylistic range. Some figures are backlit and others emerge out of dark expanses, alternately cinematic, stern and deadpan. Closely cropped, the images of the sitters’ faces and backs are simultaneously intimate and larger than life—towering before, and making themselves vulnerable to, onlookers. The relationship between viewer and subject echoes the artist’s connection to his sitters. While Harris carefully constructs his pictures, the photographs are also reflections of himself. “For me the process of portraiture is a way of negotiating intimacy,” Harris notes. Made with those around him, the series can be thought of as a visual autobiography. Facing forward and backward, both literally and metaphorically, the sitters in Harris’s series encourage us to reflect on ideas of time, history and memory. The artist’s use of the Polaroid format juxtaposes this instantaneous medium—commercially phased out over the duration of the series—with the long-lasting, memorializing effects of portraiture. Harris also extends an art historical genealogy that includes artists such as Andy Warhol (1928–1987), Chuck Close (b. 1940) and Adrian Piper (b. 1948), who have represented their communities’ relationships to the contemporary art world through particular, subjective points of view. As an archive of a segment of New York’s residents at the turn of the twenty-first century, Self/Portrait demonstrates the interaction between an artist’s identity and worldview and the experience of their sitters and viewers. Lyle Ashton Harris was born in the Bronx and currently lives and works between New York and Accra, Ghana. He received a BA with Honors from Wesleyan University in Connecticut (1988) and an MA from the California Institute of the Arts (1990), and he participated in the Whitney Museum Independent Study Program (1992). His work has been exhibited nationally and internationally, and is regularly featured in periodicals and publications. It is also represented in the Studio Museum’s permanent collection, and was included in the Museum’s African Queen (2005) and Collected. Propositions on the Permanent Collection (2009) exhibitions, as well as Performing MJ, a public performance in 2006. Lyle Ashton Harris: Self/Portrait is organized by Exhibition Coordinator and Program Associate Thomas J. Lax. Click above to hear Lyle Ashton Harris discuss the origins of the "Chocolate Polaroids" series, and themes within the work. |
Martine Syms
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David Hartt
David Hartt: Stray Light presents color photographs, sculptures and a video installation by Chicago-based conceptual photographer David Hartt (b. 1967) reflecting on the iconic headquarters of the Johnson Publishing Company in downtown Chicago. The eleven-story Modernist building on South Michigan Avenue was home to Jet and Ebony magazines since its design in 1971. The building was heralded as the first major downtown Chicago building designed by an African-American architect since the eighteenth century. In the case of the Johnson family and its legacy, Hartt looks to the intersection of the publisher’s ideals and values, the style and aesthetics embodied by the site and the lasting cultural impact of the magazines. David Hartt: Stray Light was organized by the Museum of Contemporary Art Chicago, where it was curated by Michael Darling, James W. Alsdorf Chief Curator. Support for this exhibition is generously provided by the Chauncey and Marion Deering McCormick Family Foundation. The presentation at The Studio Museum in Harlem was organized by Thomas J. Lax, Assistant Curator. |
Bruce Talamon
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Bessie Harvey
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Michelle Talibah
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Kay Hassan
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Ann Tanksley
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Maren Hassinger
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Henry Ossawa Tanner
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Cynthia Hawkins
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Ron Tarver
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Hugh Hayden
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Henry Taylor
After years of working odd jobs—including a ten-year stint as a psychiatric technician—the painter Henry Taylor is finally receiving acclaim as one of today’s most engaging emerging artists. The Studio Museum in Harlem is proud to present his first museum solo exhibition, Sis and Bra, an exploration of economic and racial disparities of the United States through portraiture. Taylor, who finds inspiration in just about everything around him, has a refreshing, idiosyncratic perspective on the American cultural landscape. “Taylor started his formal art training later in life,” explains Associate Curator Christine Y. Kim. “While considered by some to be an ‘outsider artist’ because of his work’s aesthetics and biographical background, he focuses on the intimate and familiar world for inspiration, and situates these experiences within the living trajectory of contemporary American painting.” The exhibition features a selection of Taylor’s recent figurative paintings. While his pieces come in a variety of sizes and are often made on a wide range of found materials, including cigarette and cereal boxes, cutting boards and suitcases, these works are primarily on traditional canvases. Taylor frequently depicts friends, family members and acquaintances at barbecues, sporting events and other neighborhood activities. A perceptive portraitist, he captures nuances of expression and mood in his subjects, including his former hospital patients (Tasered, 2005) and family members such as his son Noah. In Homage to a Brother (2007), a portrait of Sean Bell, the African-American man shot and killed by plainclothes detectives on the eve of his wedding in Queens--Taylor utilizes found images of Bell’s neighborhood and environment to comment on the larger issues the killing brought up. Henry Taylor: Sis and Bra was organized by Christine Y. Kim former Associate Curator. About the Artist |
Frederick Hayes
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Janet E. Taylor
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Mike Henderson
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Margaret Taylor-Burroughs
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Barkley L. Hendricks
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Pascale Marthine Tayou
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Gregory Henry
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Thomas Teamoh
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Leslie Hewitt
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Felandus Thames
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Chester Higgins
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Alma Thomas
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EJ Hill
Born 1985, Los Angeles 2013 MFA, University of California, Los Angeles, CA 2011 BFA, Columbia College, Chicago, IL
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Hank Willis Thomas
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Candace Hill-Montgomery
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James "Son Ford" Thomas
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Kenyatta A.C. Hinkle
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Lava Thomas
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Arnold C. Hinton
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Mickalene Thomas
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Nicholas Hlobo
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Philip Thomas
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Wayne Hodge
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Bob Thompson
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Geoffrey Holder
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Justin Randolph Thompson
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Fred Holland
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Barthélémy Toguo
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Lonnie Bradley Holley
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Mose Ernest Tolliver
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Alvin C. Hollingsworth
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Rigoberto Torres
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Charles Hoppe
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Tourmaline
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Patricia Howard
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Renee Townsend
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Earlie Hudnall Jr.
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Bill Traylor
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David Huffman
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Brad Trent
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Jibade-Khalil Huffman
Born 1981, Detroit, MI Lives and works in Los Angeles 2013 MFA, Roski School of Fine Arts, University of Southern California, Los Angeles CA 2005 MFA, Graduate Program in Literary Arts, Brown University, Providence RI 2003 BA, Bard College, Annandale-on-Hudson, NY |
Fatimah Tuggar
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Manuel Hughes
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Cornelius Tulloch
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Richard Hunt
Chicago-based sculptor Richard Hunt (b. 1935) is best known for his public commissions sited in more than 125 parks, schools and public areas across the nation, including the intersection of 125th Street and Morningside Avenue in New York, where the abstract forms of his Harlem Hybrid (1976) seem to draw together elements of the surroundings while creating a dynamic environment of their own. Richard Hunt: Framed and Extended explores three lesser-known but integral aspects of Hunt’s art—printmaking, small-scale sculpture and wall sculpture—that share a vocabulary with the public commissions and express the same sense of lightness and vitality. The exhibition’s title, drawn from one of Hunt’s wall sculptures, testifies to the artist’s practice of sculpture as the three-dimensional counterpart to drawing. The exhibition brings together some seventeen works that span Hunt’s career. These range from the bold, angular lines of his print Untitled (1965) and the sweeping, gestural combination of abstracted organic forms and hard-edged geometry in the freestanding Hybrid Form #3 (1970) to his Wall Piece Two and Wall Piece Seven (both 1989) and the recent freestanding Spiral Odyssey II (2014). Richard Hunt: Framed and Extended is organized by Lauren Haynes, Associate Curator, Permanent Collection, and Hallie Ringle, Assistant Curator. Exhibitions at The Studio Museum in Harlem are made possible thanks to support from the following government agencies: The New York City Department of Cultural Affairs, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Council. Additional support is generously provided by The Andrew W. Mellon Foundation. |
Luce Turnier
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Clementine Hunter
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Twins Seven Seven
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Bill Hutson
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Doris Ulmann
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Juliana Huxtable
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Pierre-Joseph Valcin
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Hector Hyppolite
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Jina Valentine
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Jerald Ieans
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Carl Van Vechten
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Birney Imes
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James VanDerZee
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Texas Isaiah
Texas Isaiah (born in Brooklyn, NY; currently lives and works in Los Angeles, Oakland, and New York) is a visual narrator. The intimate works he creates center the possibilities that can emerge by inviting individuals to participate in the photographic process. He is attempting to shift the power dynamics rooted in photography to display different ways of accessing support in one’s own body. Texas Isaiah’s work has been exhibited in spaces including Fotografiska, New York; Aperture Foundation Gallery, New York; Charlie James Gallery, Los Angeles; UTA Artist Space, Los Angeles; Residency, Los Angeles; Hammer Museum, Los Angeles; The Kitchen, New York; and The Studio Museum in Harlem, New York. Selected interviews, articles, and commissions include British Vogue, The New York Times, Los Angeles Times, Adweek, Artforum, Them, The FADER, VSCO, Vice, LALA Magazine, and Cultured magazine. He is one of the 2018 grant recipients of Art Matters and the 2019 recipient of the Getty Images: Where We Stand Creative Bursary grant. |
Jessica Vaughn
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Ayana V. Jackson
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Nontsikelelo Veleko
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Duron Jackson
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Sam Vernon
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Oliver Lee Jackson
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William Villalongo
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Reginald Jackson
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Stacy Lynn Waddell
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Tomashi Jackson
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Andre D. Wagner
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Walter C. Jackson
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Adolfo Nadal Walcot
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Arthur Jafa
Arthur Jafa(b. 1960, Tupelo, Mississippi)
Across three decades, artist, filmmaker, and cinematographer Arthur Jafa has developed a dynamic practice comprising films, artefacts and happenings that reference and question the universal and specific articulations of Black being. Underscoring the many facets of Jafa’s practice is a recurring question: how can visual media, such as objects, static and moving images, transmit the equivalent "power, beauty and alienation" embedded within forms of Black music in US culture? Jafa’s films have garnered acclaim at the Los Angeles, New York and Black Star Film Festivals and his artwork is represented in celebrated collections worldwide including The Metropolitan Museum of Art, The Museum of Modern Art, Tate, The San Francisco Museum of Modern Art, The Studio Museum in Harlem, The High Museum Atlanta, The Dallas Museum of Art, The Museum of Contemporary Art in Chicago, The Stedelijk, LUMA Foundation, The Perez Art Museum Miami, Los Angeles Museum of Contemporary Art, The Hirshhorn Museum and Sculpture Garden and the Smithsonian American Art Museum, among many others. Jafa has recent and forthcoming exhibitions of his work at the Berkeley Art Museum and Pacific Film Archives; Moderna Museet, Stockholm; Fundação de Serralves, Porto; the 22nd Biennale of Sydney and the Louisiana Museum of Art, Denmark. In 2019, he received the Golden Lion for the Best Participant of the 58th Venice Biennale “May You Live in Interesting Times.” |
Derek Walcott
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Wadsworth Jarrell
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Christian Walker
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Njena Surae Jarvis
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Henderson Day (Bo) Walker
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Eliegene Jean
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Kara Walker
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Paul Jean
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Larry Walker
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Steffani Jemison
Steffani Jemison (b. 1981, Berkeley, CA) Lives and works in Brooklyn, NY
2009 MFA, School of the Art Institute of Chicago, Chicago, IL 2003 BA, Columbia University, New York, NY |
Leon Waller
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Olalekan Jeyifous
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Nari Ward
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Daniel LaRue Johnson
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Burnham Ware
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Joshua Johnson
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Andy Warhol
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Malvin Gray Johnson
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Cullen Washington Jr.
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Oliver Johnson
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Albert Watson
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Rashid Johnson
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Ouattara Watts
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Serge Jolimeau
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Ian Weaver
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Ben F. Jones
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Stephanie Weaver
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Jennie C. Jones
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Lisa Diane Wedgeworth
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Lois Mailou Jones
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Carrie Mae Weems
Carrie Mae Weems: The Museum Series presents an intimate look at an ongoing series that Weems began in 2006. The artist stands, with her back turned to the camera, in proximity to some of the world's leading museums and cultural institutions. The resulting images act as ruminations on the collecting and exhibiting practices of these sites. Since 1978, Weems (b. 1953, Portland, Oregon) has examined the historical complexities of identity, class and social relations through photography and other media, such as video, installation, sound and text. Working in series, her generally Black-and-white photographs articulate and reify the African-American experience in particular for broad contemplation. Varying from intimate to sweeping in scale, Weems's diverse oeuvre reflects the artist's commitment to revealing inequalities that potentially touch upon all segments of humanity. The Museum Series (2006–present) shows Weems, shrouded in Black, traveling to domestic locations, such as the Philadelphia Museum of Art and Project Row Houses in Houston, as well as outside of the United States to the Tate Modern, London; the Pergamon Museum in Berlin; and the Galleria Nazionale D'Arte Moderna in Rome. The images are complicated by her position as an artist in relationship to these institutions as well as by the constellation of race and gender inequality, agency and access that surround them. Implicated in each photograph by virtue of size and physical position, the viewer is asked to question the manner by which cultural institutions affirm or reject certain histories through their collecting and display decisions. Carrie Mae Weems: The Museum Series is organized by Assistant Curator Lauren Haynes and runs concurrently with Weems’s mid-career retrospective, Carrie Mae Weems: Three Decades of Photography and Video, on view at the Guggenheim Museum from January 24 – May 14, 2014. Three Decades was organized by the Frist Center for Visual Arts in Nashville and has traveled to the Portland Art Museum, The Cleveland Museum of Art and the Cantor Arts Center at Stanford University. |
Samuel Levi Jones
Samuel Levi Jones (b. 1978) deconstructs and manipulates books such as encyclopedias and textbooks, to critically explore systems of knowledge and power. Samuel Levi Jones: Unbound, the artist’s first solo museum exhibition, is a site-specific installation, composed of deconstructed law books, that symbolically dismantles their implicit authority. In 2013, Jones began collecting the encyclopedias and reference books—often understood as authoritative sources of information, even though they are sometimes biased and inaccurate—that form the foundation of his current project. He tears the covers off these books and stitches the exposed binding surfaces together in grids, which he then mounts on canvas. The works recall the rational grid employed by Minimalists such as Agnes Martin and Sol LeWitt. Further, the raw edges reveal layers of cardboard and fabric and add textural roughness that evokes the painterly, gestural marks of Abstract Expressionists such as Jackson Pollock. For Unbound, Jones presents three new works that are his largest yet, and utilizes law textbooks disassembled into their structural components. Spines and covers form wall-to-wall painting-like works mounted on canvas or adhered directly to the wall (Unbound, Jaded and Don’t Feel Right). In the three wall works, form and materiality are emphasized, while function and value are called into question—the books have been stripped of authoritative identity. These works engage recent criticism of the law and the justice system with respect to human rights and social welfare. Samuel Levi Jones: Unbound is organized by Naima J. Keith, Associate Curator. |
James L. Wells
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Barbara Jones-Hogu
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Eric Wesley
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Jasmin Joseph
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Pheoris West
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William Joseph
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Linda Whitaker
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Isaac Julien
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Charles White
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Cyrus Kabiru
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Stanley Whitney
The Studio Museum in Harlem is proud to present Stanley Whitney: Dance the Orange, the first New York City solo museum exhibition of the work of a painter (born Philadelphia, 1946) whose intensely color-based abstractions have won steadily mounting recognition since the mid-1990s. The exhibition will feature twenty-eight paintings and works on paper created between 2008 and 2015, including the 2013 title work. Following time spent in Italy and then later in Egypt in the mid-1990s, Whitney developed the weighty, almost architectural approach that has now become his signature style. Rhythmic and lyrical, with a combination of pre-ordained structure and improvisation inspired in part by his love of jazz, the square-format paintings arrange rectangles of vivid, single colors in a deliberately irregular grid, with the close-fitting, many-hued “bricks” or “tiles” stacked vertically and arrayed in horizontal bands. Stanley Whitney: Dance the Orange is organized for the Studio Museum by Lauren Haynes, Associate Curator, Permanent Collection. A full-color catalogue will accompany the exhibition, featuring contributions by Lauren Haynes, Robert Storr, Lowery Stokes Sims and Stanley Whitney, with a foreword by Thelma Golden. Stanley Whitney: Dance the Orange is made possible thanks to support from the following government agencies: The New York City Department of Cultural Affairs; New York State Council on the Arts, a state agency; and the New York City Council. Additional funding is provided by The Andrew W. Mellon Foundation.
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Glenn Kaino
On October 16, 1968, during the medal ceremony for the men’s 200-meter race at the Mexico City Olympic Games, American athletes Tommie Smith and John Carlos raised Black-gloved fists as a symbolic act of protest. Australian silver medalist Peter Norman stood firmly with Smith and Carlos, displaying his solidarity by wearing an Olympic Project for Human Rights badge during the medal ceremony. The gesture, seen around the world and preserved in images that still resonate today, became a catalytic symbol for myriad beliefs, ideas and social causes. For Glenn Kaino: 19.83, Los Angeles–based Kaino (b. 1972) presents the New York debut of two works that mark the genesis of his ongoing collaboration with Smith. The exhibition consists of two works: Bridge (2013), in the Museum’s atrium, and 19.83, in the Museum’s project space. Bridge, a site-specific intervention composed of gold-painted casts of Smith’s arm, is a reservoir of memories that reflects on the power of the athletes’ gesture nearly four decades after its occurrence. 19.83, the title of both the work here and the exhibition as a whole, refers to Smith’s world record–breaking time in the 200-meter race, 19.83 seconds. The work is a sculptural environment that takes the form of a three-level platform reminiscent of the one used to honor Olympic medalists. Plated in gold, the reflective and monumental object gives shape to the complexities of memory and brings form to the structures in which narratives are created, transmitted, challenged and remade. Together, these works examine the conditions in which symbolic moments enter history, how these circumstances evolve over time, and how memory and history compete for relevance in the present. Glenn Kaino: 19.83 is organized by Assistant Curator Naima J. Keith. Glenn Kaino (b. 1972) lives and works in Los Angeles. His upcoming and recent solo exhibitions include Glenn Kaino, Kavi Gupta Chicago | Berlin (2014); Tank, Prospect3, New Orleans, (2014); Tank, Grand Arts, Kansas City, (2015); Bring Me The Hands of Piri Reis, Honor Fraser, Los Angeles (2012); In Every Grain, U.S. Pavilion, 13th International Cairo Biennale, Cairo, Egypt (2012-); The Space Between, A.Bandit, The Kitchen, New York (2011); Glenn Kaino: Safe | Vanish, LA><ART, Los Angeles (2011); Honor Among Thieves, Performa09, in collaboration with Creative Time, New York (2010); Transformer: The Work of Glenn Kaino, Andy Warhol Museum, Pittsburgh (2008); The Burning Boards, Whitney Museum of American Art at Altria, New York (2007); Laws Were Made for Rogues, Museum of Contemporary Art, San Diego (2006); and Bounce: Glenn Kaino and Mark Bradford, Gallery at REDCAT, Los Angeles (2004). Recent group exhibitions include 12th International Biennial de Lyon, Lyon, France (2013); In|Situ, Expo Chicago, Chicago, IL (2013); Role Model-Role Playing, Museum der Moderne Mochsberg, Salzburg, Germany (2011); The Artists’ Museum, Museum of Contemporary Art, Los Angeles (2010); Blackbelt, The Studio Museum in Harlem, New York (2004); Whitney Biennial 2004, Whitney Museum of American Art, New York (2004), California Biennial, Orange County Museum of Art, California (2004); and One Planet Under a Groove, Brooklyn Museum, New York (2001). Public collections include Los Angeles County Museum of Art, Los Angeles; the Hammer Museum, Los Angeles; Museum of Contemporary Art, San Diego; Museum Folkwang, Essen, Germany; and The Studio Museum in Harlem, New York. |
Jack Whitten
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Joyce Kalema
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Kehinde Wiley
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Lunga Kama
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Bernard Williams
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Martin W. Kane
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D'Angelo Lovell Williams
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Titus Kaphar
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Dan Williams
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James H. Karales
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Edna Williams
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Cyrus Karibu
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Fabian Williams
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Jayson Keeling
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Gerald Williams
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Paul Farwell Keene
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Lorna Williams
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William Keith
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Michael Kelly Williams
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Lauren Kelley
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Randy Williams
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Khalif Kelly
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Walter Williams
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Arnold J. Kemp
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William T. Williams
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Michael S. Kendall
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Deborah Willis
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John Kendrick
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Ellis Wilson
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Seydou Keïta
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Fred Wilson
For the first time since its exhibition in 1993, the Studio Museum will be presenting conceptual artist Fred Wilson (b. 1954)’s installation Local Color, originally created for the Studio Museum exhibition Artists Respond: The “New World” Question. Known for his installation and projects in museums and cultural institutions throughout the world, Wilson’s Local Color incorporates traditional African and Caribbean artifacts from the Studio Museum’s permanent collection and an assortment of objects the artist purchased along Harlem’s 125th Street. Interested in the intersections between art and popular culture, Wilson asks viewers to consider what museums choose to collect and which histories are preserved. Fred Wilson: Local Color is organized by Lauren Haynes, Assistant Curator. |
William Kitt
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LeRone Wilson
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Yashua Klos
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Paula Wilson
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Autumn Knight
Born 1980 in Houston, TX |
Wendy Wilson
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Gwendolyn C. Knight
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Frank Wimberley
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Jas Knight
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Hale Woodruff
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Jeremy Kost
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Leroy Woodson
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Marcia Kure
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Shirley Woodson
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Robert LaVigne
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Saya Woolfalk
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Jerome Lagarrigue
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Sasha Wortzel
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D. Lammie-Hanson
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Richard Yarde
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Moshekwa Langa
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Lynette Yiadom-Boakye
[image:1-6] Lynette Yiadom-Boakye: Any Number of Preoccupations, organized by Associate Curator Naomi Beckwith, will be British artist Lynette Yiadom-Boakye’s very first solo museum exhibition. Yiadom-Boakye (b. 1977, London) was recently included in the Studio Museum’s Flow (Spring 2008), an acclaimed exhibition of new work by emerging African artists from across the world. On view from November 11, 2010—March 13, 2011, Any Number of Preoccupations will feature works created between 2003—when the artist completed her postgraduate work at the Royal Academy Schools—and 2010. The twenty-four works on view are a mix of her larger and smaller canvases of fictional portraits, primarily oil-on-canvas. Similar to a novelist, Yiadom-Boakye creates characters that have lively back stories; yet she leaves it up to the viewer’s imagination to fill in the details of these fictional lives. She works quickly, embracing the physicality and technicality of painting, and often destroys unsuccessful work—a strategy she says helps her maintain “freshness and urgency.” Language is a strong influence on Yiadom-Boakye; in addition to painting she is a prolific writer of fiction, poetry and essays. The catalogue for the exhibition features essays by Beckwith and renowned critic and curator Okwui Enwezor, a short story by Yiadom-Boakye, and a foreword by Studio Museum Director and Chief Curator Thelma Golden. Below, hear Lynette Yiadom-Boakye speak about her painting practice, exclusive to studiomuseum.org! [audio:1-3] |
Claude Lawrence
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Jan Yoors
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Jacob Lawrence
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Annie Mae Young
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Deana Lawson
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Purvis Young
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Hughie Lee-Smith
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Brenna Youngblood
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Simone Leigh
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Yéanzi
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Ralph Lemon
Drawing from an eight-year project by New York-based movement artist Ralph Lemon (b. 1952, Cincinnati) in conjunction with Little Yazoo, Mississippi resident Walter Carter (1907–2010), 1856 Cessna Road explores a friendship that evolved into a close collaboration and features digital animation, large-scale color photographs and a video installation. Ralph Lemon is a dancer, choreographer, writer and visual artist, and is the Artistic Director of Cross Performance, which he founded in 1995. In 2004, Lemon concluded the ten-year project The Geography Trilogy. Lemon’s most recent multimedia performance, How Can You Stay in the House All Day and Not Go Anywhere? (2008–10), included the installation Meditation. Lemon has participated in solo and group exhibitions at many visual arts institutions including Contemporary Art Center, New Orleans; The Institute of Contemporary Art, Boston; the Hayward Gallery, London; The Kitchen, New York; Museum of Modern Art, New York; Nasher Museum of Art, Durham, North Carolina; Walker Art Center, Minneapolis; and Yerba Buena Center for the Arts, San Francisco, among others. Lemon is currently completing Four Walls, a live dance and film that will premiere in November 2012 at the Curtis R. Priem Experimental Media and Performing Arts Center in Troy, New York. Come home Charley Patton, the final book in The Geography Trilogy, will be published this fall by Wesleyan University Press. This fall, he will also curate a performance series titled Some sweet day at the Museum of Modern Art. |
Allan Zion
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David Levinthal
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