I first came across multidisciplinary artist Santiago Mostyn’s work on a visit to Moderna Museet in Stockholm. His video performance Delay (2014) followed the artist through the streets of the Swedish capital as he encountered affluent white men and addressed each racially charged interaction with the simple touch of his hand. It is in this way that Mostyn approaches his experiences, by becoming a character through which social forces are reflected, that drew me to his work.
Eric Booker: When we first spoke you brought up this idea of the American diaspora, which is an interesting point to start with, given your international upbringing.
One Black Day (II)
The Studio Museum in Harlem believes that the radical voices of artists telling the truths of the moment are essential to democracy. The Museum has long been committed to giving artists a space to share their provocations and insight—artist Glenn Ligon’s One Black Day (II) (2017), currently on display in the Museum’s window, is the most recent example of this.
Expanding the Walls 2017 has officially begun! Congratulations to the sixteen participants from all over New York City that have been selected to participate in the Museum's after-school teen photography program. Every Tuesday and Saturday for the next eight months, we will meet to create art, engage in discussion groups and embark on excursions all while learning the basics of digital photography!
What will this year bring for Expanding the Walls? We are looking forward to a lot of exciting experiences this year, including visiting artists, learning film photography though a partnership at the School of Visual arts, exchanges with other cultural institutions, artmaking and time capsules. We hope you will follow us on our journey!
Congratulations again to the Expanding the Walls class of 2017! I’m proud of you all and excited to see what we create together.
2016 was a fantastic year for The Studio Museum in Harlem. We launched inHarlem with sculptural installations in four of Harlem’s Historic Parks, presented trailblazing exhibitions, and confirmed the vital place our Artist-in-Residence program holds within the community and art world at large. Help us continue the exciting work of the Studio Museum and participate in the Annual Fund. We wish you the very best in the New Year.
There is no doubt that Kerry James Marshall, a 1985–86 Studio Museum artist in residence, has made a name for himself in the contemporary art world as an inspired and imaginative chronicler of the African-American experience via his paintings, drawings, sculptural installations and photography. This season, the largest museum retrospective of his works to date will be the cornerstone of the season at the Met Breuer.
Mastry is a survey of almost eighty of Marshall’s works made over the last thirty-five years, in which he explores conceptions of blackness, and critiques western art history and its exclusion of people of color in canonical painting forms such as historical tableau, landscape and portraiture.
Love, The Sinner
“The violence associated with [public] art is inseparable from its publicness, especially its exploitation of and by the apparatus of publicity, reproduction, and commercial distribution. The […] obtrusive theatricality of these images hold up a mirror to the nature of the commodified image.” —W. J. T. Mitchell, "The Violence of Public Art: Do The Right Thing"
At The Studio Museum in Harlem, performance artist EJ Hill lays on a low rectangular platform. Behind him is a model roller coaster adorned with purple neon lights. Hill is a 2015–16 artist in residence at The Studio Museum in Harlem, and this piece, A Monumental Offering of Potential Energy, is part of Tenses, the exhibition that culminates the three artists' eleven-month residency.
Jibade-Khalil Huffman’s practice depends on ideas, and the medium is his way of bringing these ideas to life, not the other way around. As a poet and artist, his work exists in between the visual and textual, and utilizes poetry, video, photography, installation, performance and painting. His initial months at The Studio in Harlem allowed him to return to painting, take new photographs and work on a two-channel, seventeen-minute video piece, filming some scenes in Harlem. When asked to narrow down his practice, Huffman told me he would reluctantly choose writing, photography and video. Luckily at the Studio Museum he faces no such circumstances, freely tackling lingering ideas on narrative and audience.
A Freewheeling Exploration of Artistic Practice
On June 19, Making and Unmaking opened at the Camden Arts Centre in London. Curated by Nigerian-born designer Duro Olowu, the exhibition features works by more than seventy artists, including Wangechi Mutu, Ibrahim El-Salahi, Stanley Whitney, Rodney McMillian, Eric Mack, Kehinde Wiley and Lorna Simpson. While the artists in the show create in a wide array of media—including textile, sculpture and photography—Olowu connects their work through thematic and narrative elements. Spanning two centuries and coming from countries around the globe, the works chosen by Olowu represent a diversity of approaches to timeless issues such as identity, self-adornment and the body.