Thank You Target Free Sunday's Families and Friends!

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As October comes to a close and we say goodbye to the wonderful works in our summer exhibition season, we at the Studio Museum would like to say THANK YOU to all the wonderful friends and families who joined us for Target Free Sunday this season!

Whether making insightful comments about the works on view or sharing your creativity with us by donating your beautiful masterpieces to the Museum, we sincerely thank you for sharing your Sundays with us. For our fall/winter exhibition season, we will continue to have activities for all ages to enjoy including tours of our new exhibitions, hands-on activities such as greeting card making for the holidays, and a few other surprises!

30 Americans at the Corcoran Gallery

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  • Jean-Michel Basquiat
    Bird On Money, 1981
    Courtesy the Corcoran Gallery

  • Nick Cave
    Soundsuit, 2008
    Courtesy the Corcoran Gallery

  • Mickalene Thomas
    Baby I Am Ready Now, 2007
    Courtesy the Rubell Family Collection/Contemporary Arts Foundation

  • Kara Walker
    Camptown Ladies, 1998
    Courtesy the Rubell Family Collection/Contemporary Arts Foundation

  • Kehinde Wiley
    Equestrian Portrait of the Count Duke Olivares, 2005
    Courtesy the Rubell Family Collection/Contemporary Arts Foundation

Every once in a while, we are gifted with an exhibition that reminds us just how spectacular black art can be—30 Americans is that exhibition. Now on display at the Corcoran Gallery in Washington D.C., 30 Americans features 76 works from the Rubell Family Collection by 31 black artists—many of whom sparked my interest in art.
Imagine three decades of artwork created by some of America’s most influential artists; the show was grand to say the least. It’s hard to pick highlights from a show with so many fantastic works, but visitors flocked to works by Kehinde Wiley, Nick Cave, Jean Michel Basquiat and Mickalene Thomas.

Join Us For Target Free Sundays!

For the past two months, Sunday has easily been my favorite day of the week. Not burdened by the confines of a classroom desk or having to run the miscellaneous errands that mark adulthood, Sunday has become a welcomed reprieve from ordinary day-to-day life, allowing me to spend my day doing what I love the best: engaging people in hands- on-art activities and conversations about art.

The Artist's Voice: Spiral Icon Emma Amos

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  • Emma Amos
    Work Suit, 1994
    Courtesy the artist

    Based on a Lucien Freud self portrait, Amos paints her head on Freud’s nude body as a reaction against the privileges of white male artists.

  • Emma Amos
    Yo Man Ray Yo, 2000
    Courtesy the artist

    In response to Man Ray’s Noire et Blanche (1926), Yo Man Ray Yo (2000) depicts two women –both beautiful in their own respects—who gaze at each other and affirm that women are real, not objects.

Esteemed artist Emma Amos and Assistant Curator, Lauren Haynes were the latest to sit down for The Artist’s Voice, a conversation series at the Studio Museum on Thursday, September 29th.

If you are a fan of Emma Amos, then you know that the she is anything but ordinary. The artist, like her work, is vibrant, poignant, and remarkably expressive.

The Romare Bearden Commemorative Stamps Unveiling

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  • Courtesy the United States Postal Service

  • E.T. Williams, Chairman of the Board of Directors of the Romare Bearden Foundation and Thelma Golden, Director and Chief Curator of the Studio Museum Courtesy of the Harvey B. Gantt Center

  • Romare Bearden The Block, 1971 Courtesy of the Harvey B. Gantt Center

  • Audience members at the Romare Bearden commemorative stamps unveiling singing "Lift Every Voice and Sing" Courtesy of the Harvey B. Gantt Center

Last Wednesday the Schomburg Center was packed with energy as a multitude of guests eagerly anticipated the unveiling of four stamps honoring Romare Bearden. On the centennial of the artist’s birthday, cultural institutions all over New York City are commemorating Bearden and his powerful creative legacy. Currently on view at the Studio Museum is the majestic black and white Conjur Woman, 1964, created while Bearden was part of the historic Spiral group dedicated to the political and gallery representation of black artists.

Pacific Standard Time

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  • David Hammons
    Bag Lady in Flight, c. 1970
    Collection of Eileen Harris Narton, Santa Monica, CA
    Courtesy the Hammer Museum, Los Angeles

  • Dale Brockman Davis
    Swept, 1970
    Blocker Collection c/o Rick Blocker
    Courtesy the Hammer Museum, Los Angeles

  • Betye Saar
    Black Girl's Window, 1969
    Collection of the artist
    Courtesy Michael Rosenfeld Gallery, LLC, New York

In honor of the launch of the Pacific Standard Time initiative this weekend, we're reproducing an article from the current issue of Studio magazine that highlights two of the incredible exhibitions that anyone in the Los Angeles area must not miss!


Mark Your Calendar for The Artist's Voice!

Hear Lyle Ashton Harris in conversation with "Chocolate Polaroid" sitters

  • Lyle Ashton Harris
    Untitled (Face #155 Lyle), 2000
    Untitled (Back #155 Lyle), 2000
    Courtesy the artist and CRG Gallery, New York

Join us Thursday, September 22 at 7:00 pm for the latest installment of The Artist's Voice, featuring Lyle Ashton Harris, whose work is currently on view in Self/Portait. The evening presents a rare opportunity to hear Harris in conversation with Nancy Barton, Jim Hodges, and Shirin Neshat, all sitters from his "Chocolate Polaroid" series and seminal artists themselves. Stop by the Museum Store to pick up Excessive Exposure: The Complete Chocolate Portraits, the recently released monograph of Harris's work and have the book signed by the artist after the discussion!

Twitter Asked, Thelma Answered!

Director's Q&A: #AskThelma

Recently, we asked our Twitter followers if they had any burning questions for Director and Chief Curator Thelma Golden. They asked, and she answered. We hope you’ll join the conversation: follow @studiomuseum and visit facebook.com/studiomuseum for up-to-the-minute news and interactive features like #AskThelma!

@artfagcity: Does Golden have any Freestyle-type exhibitions planned for the future?
TG: Freestyle (2001), Frequency (2005-06) and Flow (2008) were large, group exhibitions of emerging artists, the support of whom remains central to our curatorial focus. There might be another “F” show in the future…but exhibitions in that vein develop as the work demands, so all I can say is: stay tuned!

as it is, as it could be Microsite Has Launched!

ETW '11 Exhibition Gets Virtual Home

We're thrilled that as it is, as it could be, this year's Expanding the Walls exhibition, has "expanded its walls" to the web! Visit the microsite to browse not only the photographs on view in the exhibition, but additional works by the photographers and their statements.

Click here to visit the as it is, as it could be microsite!

While the microsite in itself is a fantastic exhibition, be sure to stop by the Museum to see as it is, as it could be in person before it closes on October 23.

A Different Perspective

An intern visit to Lorna Simpson's studio

  • Lorna Simpson
    1957-2009 Interiors (detail), 2009.
    Courtesy the artist and Salon 94, New York 

Appreciation of an artist, like anything in life, is generally a matter of perspective: Perspective on the artist's thoughts and ideas, identifying their clever arrangement of color or play on words, even a sense of connection to the story they are presenting. Prior to my first summer outing with the Studio Museum, my perspective on Lorna Simpson could essentially be summarized into a very flattering, yet confined sentence about her work. Yet, after one day exploring Lorna Simpson’s Brooklyn Museum exhibition and a surprise visit to her Brooklyn studio where the Studio Museum summer interns were treated to lunch with the artist herself, my perspective on Lorna has evolved into a dynamic understanding of not only her work but the many facets of her life, career and growth as an artist.