Tiffany Barber talks to Manuel Mathieu
“Repetition” and “recirculation” are words typically associated with mid-twentieth century representational practices. From silkscreen prints to text-based neon works, artists such as Andy Warhol, Richard Hamilton, Bruce Nauman, Tracey Emin and Glenn Ligon have contested the rise of consumerism in popular media and culture. Now, the sites in which images are made and circulated have multiplied, as well as the means by which we invest images with values to correspond to our identities. What are the stakes of representation and artmaking in this ‘new media’ landscape?
Ayana V. Jackson
Per the gracious introduction of Thomas Lax, I had the opportunity to meet and visit with Ayana V. Jackson some time ago. We first met in Berlin, where Ayana graciously guided me around the city. Jackson, a US American and graduate of Spelman College, splits her time between Johannesburg, New York and Paris, where we followed up a few weeks later to discuss her work and artistic practice. Her photography and filmmaking, while simultaneously alluring and shocking, serve a higher conceptual function: a bitingly intelligent elucidation of the power of the image, the scars of history and the internalized architectures of difference built thereof. Confronting what she terms the “original sin of images,” Jackson manipulates her own body as subject, creating a running critique of socialized perceptions of race, gender and class and their intersections.
Artist Alexis Peskine (b. 1979) focuses on questions of national and racial identity, the black body experience, and universal emotions. Peskine moved to the United States to attend Howard University in Washington, D.C., where he received a Bachelor of Fine Art degree in 2003 and a Master’s degree in Digital Art in 2004. He then enrolled in Maryland Institute College of Art (MICA) on a Fulbright Scholarship (the first foreign student to be awarded this honor), where he completed his MFA. His influences are wide-ranging, including Kara Walker, Takashi Murakami, Jean-Michel Basquiat and Banksy, as is his approach to art-making and his chosen materials.
Questions for performance artist Dave McKenzie
On February 20 and 21, 2014, Dave McKenzie performs his retrospective Darker than the Moon, Smaller than the Sun. The performance is part of the live programs series organized on the occasion of Radical Presence: Black Performance in Contemporary Art, currently on view through March 9, 2014 at the Studio Museum.
The staff and trustees of The Studio Museum in Harlem mourn the tragic loss of a great artist, musician, teacher and performer. Terry Adkins was one of the most innovative artists of his generation, combining a musical and lyrical approach to visual art with a deep investment in the individuals who shaped American history and a fascination with material culture. The Studio Museum is proud to have had a long association with him dating back to his participation in the Museum’s Artist-in-Residence program in 1982–83. His legacy will live on not only through his incredible body of work, but also through the lives and work of the many students he mentored during his tenure as a beloved Fine Arts professor at the University of Pennsylvania.
Allison Janae Hamilton presents her foppish subjects in lush landscapes
When I look at the new work of Harlem-based photographer Allison Hamilton, a series entitled "Kingdom of the Marvelous," counterintuitively I think about the folkloric tale of John Henry, the legendary steel driver who tried to prove his worth by successfully outpacing an industrial machine. Perhaps not the work itself makes me think of the story, but something she said to me during a recent studio visit: “I wanted to place black men in a setting other than the usual urban landscape where they always seem to be at odds, even struggling against it.” Like the themes in the story, Hamilton is working with the tension between masculinity and its relationship to the land the black body versus its environs.
Curatorial Fellow Monique Long on Fashion in Harlem and Art
In the glossary that accompanied Zora Neale Hurston’s short story “Story in Harlem Slang,” (1942) there are five different terms listed for someone fashionable. Invariably, iconic photographs of Harlemites include those dressed in blindingly fashionable clothes. There’s a rich history and tradition in Harlem that defines the neighborhood not only as the cornerstone of African-American culture but style as well. Visitors and residents alike assimilate to the expectation that you must express yourself fashionably here, demonstrated beautifully by the attendees at our summer opening in July and the monumental drawings by Rob Pruitt of fashionable women that hang in the main gallery.
A Day with Lorna Simpson
On March 30th, artist Lorna Simpson (b. 1960) welcomed the Expanding the Walls (ETW) artists to her Fort Greene, Brooklyn studio for a day of experimentation. As we’re halfway through the 2013 program, the young artists have encountered many points of inspiration generated from countless sources. This particular interaction provided fascinating results that reflected the diverse perspectives of this ETW group.
“…it’s more about [my] experience and the process of making things.”—Lorna Simpson
On February 12, 2009-2010 artist-in-residence Valerie Piraino, whose work is currently on view in Fore, discussed her artistic practice and led a hands-on demonstration as part of our Teaching and Learning Workshop series. They are are exhibition-specific workshops and seminars designed for teachers in core curriculum areas that focus on creative methods for using and integrating art in the classroom. Educators left with an experimental technique that connected to Common Core standards in English and Language Arts (ELA) and Social Studies as well as a lesson plan and model for their classrooms.