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.
A brief look into Untitled (Structures): Leslie Hewitt in collaboration with Bradford Young
Former Studio Museum artist-in-residence and 2010 recipient of the Joyce Alexander Wein Prize, Leslie Hewitt (b. 1977) brings a fresh and dynamic perspective into how we visually experience our history in her new film installation, Untitled (Structures) (2012), at the Menil Collection in Houston.
History on Paper
As a Curatorial Intern at the Studio Museum in Harlem, it has been exciting to work behind the scenes as part of the planning process of exhibitions supporting the Museum’s mission as a site for the dynamic exchange of ideas about art and society. One of my favorite moments during my internship happened when I first glimpsed into the archives of earlier exhibitions that have happened here. Brochures, pamphlets, and other didactic materials used in promoting the exhibitions on view are meant to be taken by visitors for additional information, but are not necessarily made to be kept. The ephemeral nature of these materials, often printed on paper and easily recyclable, means that they are not often saved long enough to be able to review at a later period.
This issue includes covers by artists Kianja Strobert and David Hartt; a conversation between David Hartt, Thelma Golden and Thomas J. Lax about his upcoming Spring 2013 exhibition at Studio Museum; an introduction to our 2012-13 Artists in Residence; a report from dOCUMENTA (13); and commentaries on inspiration from the artists featured in Fore.
Visit the Museum Store now through December 31, 2012 to view the culmination of the 2011 Kwanzaa Community Quilt Project. Members and visitors to the Studio Museum began constructing the quilt December 2011 during Target Free Sunday workshops to celebrate the core Kwanzaa values of Culture, Creativity, and Unity. Interest grew and the project continued until August 2012 under the volunteer leadership of Ife Felix, founding member of the Harlem Girls Quilt Circle. We hope all will enjoy this labor of love and community.
An Antebellum African-American Artist
There are only two weeks left to see a fantastic exhibition here in New York City: Robert S. Duncanson: An Antebellum African-American Artist, on view at Columbia University’s Miriam and Ira D. Wallach Art Gallery through December 8.
This past month London was bustling with art openings, projects, and performances, all a part of a phenomenon known as “Frieze.” From October 11–14, Regent’s Park played host to the Frieze art fair, presenting over 170 international contemporary galleries as well as a prestigious program of artist commissions and talks. Now in its tenth edition, Frieze London continues to be one of the art highlights of the year, generating a week filled with not only lucrative transactions, but also creative expression and critical awareness.
Notably, works by many Studio Museum in Harlem artists were prominently featured throughout the fair grounds. Here are some highlights of pieces by artists involved at the Museum, either through being represented in our Permanent Collection or having participated in our acclaimed Artist-in-Residence program. Enjoy!
Featured Store Item!
The newly released The Bearden Project is the capstone of the Studio Museum’s exhibition by the same name—celebrating the centennial of Romare Bearden’s birth. It includes all 100 works inspired, informed, and influenced by Bearden, as well as artist statements detailing exactly how the iconic pioneer affected their work. The intergenerational group of artists, working with an array of mediums, includes some privileged to have known Bearden personally and others who encountered his work through later exhibitions. As museum director Thelma Golden points out, “What these artists share… is an awareness of the crucial importance of Bearden’s contributions to their development, both institutionally and creatively, as visual artists.”