MoMA Temporarily Closes Museums and Stores in New York
MoMA announced today that it will close The Museum of Modern Art on 53rd Street, MoMA PS1 in Queens, and the MoMA Design Stores on 53rd Street and in Soho, effective immediately and through March 30. MoMA will continue to monitor developments with COVID-19 and regularly reassess this temporary closure.
Glenn D. Lowry, The David Rockefeller Director of The Museum of Modern Art, said: “Nothing is more important to MoMA than the health and safety of our community. We take seriously our responsibility as a civic institution to serve the public good. With that in mind, as it is more and more challenging to predict the impacts of the novel coronavirus (COVID-19) outbreak, we have decided to temporarily close MoMA.”
MoMA has been prepared for this possibility for several weeks and made the decision in ongoing consultation with public health experts, city and state officials, peer institutions, and the Boards of The Museum of Modern Art and MoMA PS1. There have been no confirmed cases of COVID-19 among MoMA employees. Plans are in place to continue to support employees and MoMA’s better than best practice cleaning and sanitization protocols.
MoMA plans to re-open at the first opportunity that ensures the health and safety of all visitors and employees.
All Events at Carnegie Hall from Friday, March 13 through Tuesday, March 31, 2020 are Cancelled
All March events cancelled in effort to reduce spread of COVID-19
With the health and safety of its public, artists, and staff as its foremost priority, Carnegie Hall today announced that it will be closed for all public events and programming through the end of March, effective midnight tonight, in an effort to reduce the spread of the new coronavirus (COVID-19).
All events and programming at Carnegie Hall from Friday, March 13 through Tuesday, March 31, 2020 have been cancelled. For a list of performances at Carnegie Hall that are affected, please see the attached list or click here. Carnegie Hall events on Thursday evening, March 12 will take place as scheduled.
Upcoming education programming presented by Carnegie Hall’s Weill Music Institute—whether taking place at Carnegie Hall or in off-site locations—is suspended through March 31. All free Carnegie Hall Citywide performances in venues throughout New York City are cancelled through March 31.
All other scheduled concerts and programming starting on April 1, 2020 and beyond remain on the schedule pending the reopening of Carnegie Hall. The general public is encouraged to check carnegiehall.org/events for the most up-to-date programming information.
Patrons who purchased tickets by credit card from Carnegie Hall for a performance that has been canceled will receive automatic refunds; those who purchased by cash at the Box Office may email a scan or photo of the tickets to email@example.com, along with complete contact details (name, mailing address, and phone number), through June 30, 2020, for a refund. Those who purchased tickets directly from other concert presenters should contact that presenter for refund information.
Patrons who have any further questions should contact CarnegieCharge at 212-247-7800 or email firstname.lastname@example.org. Please note that email and call volume may be high with limited in-house staff, and tickets may be refunded on a delayed schedule. We thank you for your patience as we navigate this evolving situation together.
Asian Art Museum, Fine Arts Museums of San Francisco and San Francisco Museum of Modern Art Announce Temporary Closure Effective March 14, 2020
The Asian Art Museum, the Fine Arts Museums of San Francisco (FAMSF), comprising the de Young Museum and the Legion of Honor, and the San Francisco Museum of Modern Art (SFMOMA) collaboratively announce a temporary closure to the public effective at 5 pm PST on Friday, March 13. With their united focus on the health and safety of their visitors and staff members, the museums made this decision to align with local and federal guidelines and social distancing recommendations for the containment of the coronavirus.
The Asian Art Museum and SFMOMA will tentatively reopen to the public on Saturday, March 28, 2020, and the FAMSF museums will reopen on Tuesday, March 31, 2020. The museums will individually evaluate whether the closure timeframe needs to be extended.
ASIAN ART MUSEUM
The closure of the Asian Art Museum includes the museum, its café (Sunday at the Museum) and its store. More information can be found at asianart.org.
SFMOMA’s closure includes the museum, its restaurants (In Situ, Cafe 5 and Sightglass coffee bars), stores (museum and SFO store) and the Artists Gallery at Fort Mason. For the most up-to-date information including information on rescheduling a visit, go to sfmoma.org/coronavirus-update.
The Runway Afternoon Tea, Inspired By The Exhibition “Lagerfeld: The Chanel Shows,” Launches At Four Seasons Hotel London At Ten Trinity Square
The Exhibition Offers An Access All Areas Experience Of Karl Lagerfeld’s Most Influential And Monumental Fashion Shows Will Exhibit For The First Time In The Uk At The Forbes 5-Star Hotel
Widely regarded as one of the most outstanding photographers of his generation, Simon Procter’s exhibition features images captured backstage at Lagerfeld’s shows, providing a glimpse through his lens into the inner world of Chanel and the celebrated designer.
Following the Fall 2020/Winter 2021 shows at Paris Fashion Week, Four Seasons Hotel London at Ten Trinity Square and Art Photo Expo will present the UK debut of Lagerfeld: The Chanel Shows– an exhibition of photographs by renowned British artist Simon Procter, celebrating the work of the late Karl Lagerfeld. The exhibition will launch on March 18, 2020, and will be on display in the Rotunda Bar and Lounge at Four Seasons Hotel London at Ten Trinity Square.
Widely respected in today’s contemporary art scene and acclaimed as one of the most outstanding photographers of his generation, Procter was also one of Karl Lagerfeld’s most trusted documentary photographers, having been granted unprecedented backstage access at the Chanel shows. For more than a decade, Procter’s daring camerawork captured the energy and essence of the Chanel shows, visually recreating the epic sets. From a luscious forest scene to a rocket launch, Procter combines multiple photographs to illustrate in a single image the many perspectives of the intense but fleeting spectacle. Procter also captured images of Lagerfeld preparing models backstage, a privilege afforded to few, offering a unique glimpse into the inner sanctum of the fashion house.
Following Lagerfeld’s death in 2019, Rizzoli devoted a book comprising Procter’s photographs and candid never-before-seen images of Lagerfeld backstage entitledLagerfeld: The Chanel Shows.
Bringing the book to life, the large-scale photographs will line the circular perimeter of the Hotel’s Rotunda Bar and Lounge, and the exhibition will include some never-before-seen artworks. Guests will be offered an unparalleled look into the wide-ranging creativity of one of history’s most respected and iconic designers, making it essential viewing for all lovers of fashion and admirers of Chanel and Lagerfeld’s incomparable legacy.
In addition to the works showcased in Rotunda, limited edition artworks will be available to view and purchase in an adjacent gallery for the duration of the exhibition, with prices starting from GBP 5,500. The Lagerfeld: The Chanel Shows books will also be available for purchase in the gallery, including a limited number of copies signed by Procter himself.
Running until June 30, 2020, visitors can also enjoy The Runway Afternoon Tea inspired by Lagerfeld: The Chanel Shows by Simon Procter and a cocktail crafted by Director of Mixology Harry Nikolaou in celebration of the exhibition.
The Virginia Museum of Fine Arts is pleased to announce the 2020-21 recipients of VMFA fellowships. Twenty-six students and professional artists were selected from more than 500 applicants to receive a total of $146,000 towards professional advancements in the arts. The VMFA Fellowship Program has awarded more than $5.8 million to over 1,395 artists since 1940. Recipients must be Virginia residents and may use the award as desired, including for education and studio investments. Each year, professional curators and working artists serve as jurors to select fellowship recipients.
“The Virginia Museum of Fine Arts Fellowship Program is proud to support student and professional artists working across the Commonwealth,” said Alex Nyerges, VMFA director and CEO. “We offer one of the largest fellowship programs of its kind in the United States and recognize this effort as a core part of our mission.”
VMFA awarded ten professional fellowships of $8,000 each this year. Professional fellowship recipients are:
Paul Finch, New & Emerging Media, Richmond;
Emma Gould, Photography, Richmond;
Sterling Hundley, Drawing, Chesterfield;
Sue Johnson, Mixed Media, Richmond;
Abigail Lucien, Sculpture, Richmond;
Margaret Meehan, Sculpture, Richmond;
David Riley, Film/Video, Richmond;
Dash Shaw, Drawing, Richmond;
Jon-Philip Sheridan, New & Emerging Media, Richmond; and
Susan Worsham, Photography, Richmond.
Veronica Roberts, curator of modern and contemporary art at the Blanton Museum of Art, was the juror for the professional fellowship entries.
Undergraduate fellowships of $4,000 went to ten students this year. The recipients are:
Tatyana Bailey, Photography, Virginia Commonwealth Univeristy (VCU), Richmond;
Emma Carlson, Film/Video, VCU, Des Moines, IA;
Nicolas Fernandez, Photography, VCU, Fredericksburg;
The Museum of Modern Art announces the appointment of Clément Chéroux as the next Joel and Anne Ehrenkranz Chief Curator of Photography. MoMA has exhibited and collected photography since its founding in 1929, and formally established a Department of Photography in 1940. Chéroux succeeds Quentin Bajac, who served as Chief from 2013-2018, and now directs the Jeu de Paume, Paris. Chéroux will lead a department with a renowned legacy and unparalleled collection of more than 30,000 works that continues to play an important global role in exploring photography’s diverse and powerful impacts on modern life. He will guide all aspects of the department, including its installations, acquisitions, exhibitions, publications, and loan programs. Chéroux will join MoMA in June 2020.
“After an extensive and international search, we’re thrilled to welcome Clément as the new Chief Curator of Photography,” said Glenn D. Lowry, the David Rockefeller Director of MoMA. “Clément’s outstanding success and reputation as a gifted leader, curator, scholar, and collaborator is matched by his deep passion for and knowledge of the diversity of modern and contemporary photography practice.”
Chéroux is currently the Senior Curator of the Pritzker Center for Photography at the San Francisco Museum of Modern Art, San Francisco—one of the largest museums of modern and contemporary art in the United States and a thriving cultural center. At SFMOMA, he organized exhibitions including Don’t! Photography and the Art of Mistakes (2019); snap + share. Transmitting photographs from mail art to social networks (2019); Louis Stettner. Traveling light (2018); Johannes Brus (2018); The Train, RFK’s Last Journey: Paul Fusco, Rein Jelle Terpstra, Philippe Parreno (2018); Carolyn Drake, Wild Pigeon (2018); and Walker Evans (2017).
From 2007-2016, Chéroux served in the Department of Photography at the Centre Pompidou, Musée National d’Art Moderne, Paris—first as Curator, and then leading the department as Chief Curator from 2013-2016. He organized more than 25 exhibitions featuring the work of Walker Evans, Josef Koudelka, Jafar Panahi, Agnès Varda, Thierry Fontaine, Valérie Belin, Man Ray, Henri Cartier-Bresson, Edvard Munch, and many others. Chéroux has published more than 45 books and catalogues and lectured widely on the topic of photography, its history, and its modern and contemporary contexts.
Chéroux previously held positions as a freelance curator, as executive editor of the magazine Études Photographiques published by the Société française de photographie, and as a lecturer at the Universities of Paris I, Paris VIII, and Lausanne. He holds a doctorate in art history from the University of Paris I Panthéon/Sorbonne and a degree from the École Nationale Supérieure de la Photographie (Arles).
“It was a pleasure to work at SFMOMA for three years and to have the support of a fantastic Bay Area photo community. I am very excited to be part of the energy of the new MoMA and to work with the team and collection to develop great projects,” shared Chéroux.
A Selection from the Acquisition will be Featured in a Gallery Titled Gordon Parks and the Atmosphere of Crime in the Museum’s Spring Collection Rotation in May 2020
The Museum of Modern Art has acquired 56 prints from American artist Gordon Parks’s series of color photographs made in 1957 for a Life magazine photo essay titled “The Atmosphere of Crime.” The Museum and The Gordon Parks Foundation collaborated closely on the selection of 55 modern color prints that MoMA purchased from the Foundation, and the Foundation has also given the Museum a rare vintage gelatin silver print (a companion to a print Parks himself gave the Museum in 1993). A generous selection of these prints will go on view in May 2020 as part of the first seasonal rotation of the Museum’s newly expanded and re-envisioned collection galleries. The collection installation Gordon Parks and the Atmosphere of Crime will be located on the fourth floor, with Parks’s work as an anchor for exploring representations of criminality in photography, with a particular focus on work made in the United States.
One of the preeminent photographers of the mid-20th century, Gordon Parks (1912–2006) left behind a body of work that documents American life and culture from the early 1940s to the 2000s. Born in Fort Scott, Kansas, Parks worked as a youth in St. Paul, Minnesota, before discovering photography in 1937. He would come to view it as his “weapon of choice” for attacking issues including race relations, poverty, urban life, and injustice. After working for the US government’s Farm Security Administration in the early 1940s, Parks found success as a fashion photographer and a regular contributor to Ebony, Fortune, Glamour, and Vogue before he was hired as the first African American staff photographer at Life magazine in 1948.
In 1957, Life assigned Parks to photograph for the first in a series of articles addressing the perceived rise of crime in the US. With reporter Henry Suydam, Parks traversed the streets of New York, Chicago, Los Angeles, and San Francisco, producing a range of evocative color images, 12 of which were featured in the debut article, “The Atmosphere of Crime,” on September 9, 1957. Parks’s empathetic, probing views of crime scenes, police precincts, hospitals, morgues, and prisons do not name or identify “the criminal,” but instead give shape to the ground against which poverty, addiction, and race become criminalized. Shot using available light, Parks’s atmospheric photographs capture mysterious nocturnal activity unfolding on street corners and silhouetted figures with raised hands in the murky haze of a tenement hallway.
A robust selection from this acquisition will anchor a display within a fourth-floor collection gallery, titled Gordon Parks and the Atmosphere of Crime. Using Parks’s work as a point of departure, the installation will draw from a range of other works in the Museum’s collection, offering varied representations of crime and criminality. Since the 1940s, the Museum has collected and exhibited photographs of crime as represented in newspapers and tabloids, exemplified by the dramatic, flash-lit work of Weegee, complemented by 19th-century precedents such as mug shots, whose purported objectivity was expected to facilitate the identification of criminals, as well as acquisitions across media that point to subsequent investigations and more contemporary concerns.
Mack Lecture Series April 8–29, 7 pm$15 ($12 Walker members, students, and seniors)Walker Cinema
Hear directly from explorers of our culture and contemporary moment during the Mack Lecture Series. Throughout the month of April, artists, writers, and other great thinkers at the forefront of diverse fields share their vision on topics ranging from artificial intelligence in performance art to gender politics and gonzo journalism.
Writer-director Annie Dorsen tries “to make perceptible how ideas change over time: where they come from, how they influence and are influenced by politics and culture, and how they take root in the body, physically and emotionally.” For this conversation, she explores the intersection of algorithms and live performance with artificial intelligence researcher and computational linguist Catherine Havasi, moderated by Simon Adler, a producer for WNYC’s Radiolab.
Annie Dorsen’s performance work Yesterday Tomorrow, takes place in the Walker’s McGuire Theater March 27–28.
Genderqueer political activist, visual artist, and musician JD Samson is perhaps best known as leader of the band MEN and one-third of the electronic-feminist-punk band Le Tigre. As a self-defined “gender outlaw,” she will investigate the precarious masculinity of the butch/masculine-of-center body, play with traditional concepts of ownership and destruction, and break down the charged heteronormative history of queer sex dynamics.
The New York Times Magazine, New York, National Geographic Top List With Most Nominations For Coveted Ellie Awards;
Annual Awards Show To Be Held At Brooklyn Steel On March 12
Former Esquire Editor-In-Chief David Granger To Receive Magazine Editors’ Hall Of Fame Award
Pamela Colloff Ties Record For Most Nominated Female Writer In Awards History
The American Society of Magazine Editors (ASME) today announced via Twittercast the finalists for the 2020 National Magazine Awards for Print and Digital Media. ASME will celebrate the 55th annual presentation of the Ellie Awards and honor the 112 finalists on Thursday, March 12th, at Brooklyn Steel, a music venue in Williamsburg, Brooklyn.
This year, the Magazine Editors’ Hall of Fame Award will be presented by journalist Tom Junod to David Granger, former editor-in-chief of Esquire magazine. Junod previously wrote for Granger at GQ and Esquire, where his work included the cover story on Fred Rogers that inspired the movie “A Beautiful Day in the Neighborhood.”
The evening reception will include the presentation of the 2020 ASME Award for Fiction to The Paris Review, as well as honors for the five winners of the 2020 ASME Next Awards for Journalists Under 30. More than 500 magazine editors and publishers are expected to attend the annual event.
Other highlights in 2020 include Pamela Colloff, ProPublica senior reporter and The New York Times Magazine staff writer, receiving her seventh nomination with “False Witness.” Colloff now ties the overall record for most nominated female writer in awards history with The Atlantic’s Caitlin Flanagan.
The New York Times Magazine led the nominations with 10, the most in its history, with three nominations (General Excellence, Podcasting, Public Interest) honoring The 1619 Project, which “aims to reframe the country’s history by placing the consequences of slavery and the contributions of black Americans at the very center of our national narrative,” according to the magazine. Rounding out top finalists were New York magazine and National Geographic with nine and eight nominations respectively.
Titles with multiple nominations also included Bon Appétit and The New Yorker with six each, and SELF and Texas Monthly with four.
Sixty-two titles were nominated in 22 categories. Twenty publications were nominated for the most prestigious honor, General Excellence. Nominees include large-circulation titles such as Cosmopolitan (which also received its seventh-consecutive nomination in Personal Service), regional titles like Atlanta, special-interest magazines like National Parks, literary journals like Oxford American and digital-first publications like The Trace.
Bon Appétit was nominated for the ninth consecutive year in General Excellence, the most consecutive nominations in that category in the history of the awards. Aperture and New York magazine received their fifth-consecutive nominations in General Excellence, while The Marshall Project received its fourth-consecutive nomination in General Excellence.
Ten media organizations were first-time finalists in any category: 1843, Catapult, the Charleston Gazette-Mail, Emergence, Gimlet, National Parks, Quanta, Stranger’s Guide, Vox, and The Washington Post Magazine for its “Prison” issue featuring the work of currently and formerly incarcerated Americans.
Taffy Brodesser-Akner received her first nomination for Feature Writing with “All That Glitters,” a piece featured in The New York Times Magazine on gender discrimination and sexual harassment at Sterling Jewelers. Jia Tolentino is also a first-time finalist in Columns and Commentary for her work in The New Yorker.
New York magazine and The Cut writer Rebecca Traister received her fourth nomination in six years for her profile of Elizabeth Warren.
“This year’s finalists for the National Magazine Awards showcase an incredible range of innovative, inspiring journalism from 62 magazines and websites,” said Sid Holt, executive director of ASME. “Columbia and ASME join me in congratulating the many writers and editors nominated today—their work underscores the power of magazine journalism to entertain and challenge readers and listeners both in print and online.”
National Magazine Awards 2020 Finalists
General Excellence, News, Sports and Entertainment
INDIgenesis: GEN 3, A Showcase of Indigenous Filmmakers and Storytellers, March 19–28
Presented over two weeks, the series INDIgenesis: GEN 3, guest curated by Missy Whiteman (Northern Arapaho and Kickapoo Nations), opens with an evening of expanded cinema and includes several shorts programs in the Walker Cinema and Bentson Mediatheque, an afternoon of virtual reality, and a closing-night feature film.
The ongoing showcase of works by Native filmmakers and artists is rooted in Indigenous principles that consider the impact of our decisions on the next seven generations. GEN 3 connects perspectives and stories from the past, present, and future to convey Indigenous truths, teachings, and values.
“Indigenous artists use the creative process of filmmaking for revitalization and narrative sovereignty,” says Whiteman. “Our stories tell us where we came from, re-create our truths, affirm our languages and culture, and inspire us to imagine our Indigenous future. We come from the stars. How far will we take this medium?”
Throughout the program, join conversations with artists and community members centered on themes of Indigenous Futurism, revitalization, and artistic creation.
Opening Night: Remembering the Future Expanded Cinema Screening/Performance Thursday, March 19, 7:30 pm Free, Walker Cinema
Combining film, a live score, hoop dancing, hip-hop, and spoken word, a collective of Indigenous artists led by curator Missy Whiteman creates an immersive environment that transcends time and place. Guided by ancestral knowledge systems, traditional stories, and contemporary forms of expression, the expanded cinema program features performances by DJ AO (Hopi/Mdewakatonwan Dakota), Sacramento Knoxx (Ojibwe/Chicano), Lumhe “Micco” Sampson (Mvskoke Creek/Seneca), and Michael Wilson (Ojibwe). Archival found footage and Whiteman’s sci-fi docu-narrative The Coyote Way: Going Back Home(2016), filmed in the community of Little Earth in South Minneapolis, illuminate the space.
Indigenous Lens: Our RealityShort films by multiple directors Friday, March 20, 7 pm, $10 ($8 Walker members, students, and seniors), Walker Cinema
This evening of short films showcases a collection of contemporary stories about what it means to be Indigenous today, portraying identity and adaptability in a colonialist system. The program spans a spectrum of themes, including two-spirit transgender love, coming of age, reflections on friends and fathers, “indigenizing” pop art, and creative investigations into acts of repatriation. Digital video, 85 mins
Copresented with Hud Oberly (Comanche/Osage/Caddo), Indigenous Program at Sundance Institute (in attendance).
Lore Directed by Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians)
Images of friends and landscapes are fragmented and reassembled as a voice tells stories, composing elements of nostalgia in terms of lore. 2019, 10 min. View excerpt.
Culture Capture: Terminal Adddition Directed by New Red Order: Adam Khalil (Ojibway), Zack Khalil (Ojibway), Jackson Polys (Tlingit), Bayley Sweitzer
The latest video by the public secret society known as the New Red Order is an incendiary indictment of the norms of European settler colonialism. Examining institutionalized racism through a mix of 3D photographic scans and vivid dramatizations, this work questions the contemporary act of disposing historical artifacts as quick fixes, proposing the political potential of adding rather than removing. 2019, 7 min. View excerpt.
Mino Bimaadiziwin Directed by Shane McSauby (Grand Traverse Band of Ottawa and Chippewa Indians)
A trans Anishinaabe man meets a young Anishinaabe woman who pushes him to reconnect with their culture. 2017, 10 min. View excerpt.
The Moon and the Night Directed by Erin Lau (Kanaka Maoli)
Set in rural Hawaii, a Native Hawaiian teenage girl must confront her father after he enters her beloved pet in a dogfight. 2018, 19 min. View excerpt.
Shinaab II Directed by Lyle Michell Corbine, Jr. (Bad River Band of the Lake Superior Chippewa Indians)
A young man seeks to honor the memory of his late father in a film that looks at Ojibwe ideas surrounding death and mourning. 2019, 6 min.
Viva Diva Directed by Daniel Flores (Yaqui)
This road trip movie follows Rozene and Diva as they make their way down to Guadalajara for their gender affirmation surgeries. 2017, 15 min. View excerpt.
Dig It If You Can Directed by Kyle Bell (Creek-Thlopthlocco Tribal Town)
An insightful portrait of the self-taught artist and designer Steven Paul Judd (Kiowa), whose satirical manipulations of pop culture for an Indigenous audience are gaining a passionate, mass following as he realizes his youthful dreams. 2016, 18 min. View excerpt.
Open 365 days a year, the VMFA shares its growing collection of African American art all year long. During Black History Month 2020, it’s great time to visit the collection and join the ongoing celebration of African American art, history, and culture.
TALK Working Together: Louis Draper and the Kamoinge Workshop Dr. Sarah Eckhardt, Associate Curator of Modern and Contemporary Art, VMFA, in conversation with Nell Draper-Winston Thu, Jan 30 | 6:30–7:30 pm, $8 (VMFA members $5), Leslie Cheek Theater
VMFA’s Dr. Sarah Eckhardt, curator of Working Together: Louis Draper and the Kamoinge Workshop, will provide an overview of the exhibition, which features photography by members of the Kamoinge Workshop, an artist collective founded in New York City in 1963. Nell Draper-Winston, sister of photographer Louis Draper, will join Dr. Eckhardt in conversation to discuss her brother’s photographs and his roots in Richmond.
OPEN STUDIO PLUS PERFORMANCE Grandma’s Hands Sun, Feb 2 | 1–4 pm, Free, no tickets required. Art Education Center. Performances in the Atrium 2 pm & 3 pm
Join others as they encounter generational lessons from two sisters with remarkable stories to share from the perspective of the African American South. Through song, stories, and signed poetry, we will learn how women have made an impact on culture through practices passed down from family matriarchs.
RVA Community Makers Art Activity Sun, Feb 2 | 1–4 pm, Free, no tickets required. Art Education Center
During Open Studio Plus Performance, celebrate family with Richmond artist Hamilton Glass and local African American photographers.
Take your digital family portraits onsite at VMFA to become part of a mixed-media public art collaboration. Glass will guide attendees in hands-on participation. You can also capture fun memories in the Family Portrait Photo Booth.
Extending the meaning of family to community, the project also brings together six local photographers—Regina Boone, Courtney Jones, Brian Palmer, Sandra Sellars, Ayasha Sledge, and James Wallace— who will create portraits of six selected community leaders.
FIRST FRIDAY Spirituals, Fri, Feb 7 | 6–8 pm, Free, no tickets required. Atrium
Welcome sopranos Lisa Edwards Burrs and Olletta Cheatham to the First Friday series with an evening of Spirituals. Lisa and Olletta will sing many powerful songs of the genre and explore their resonating impact on history.
DANCE PARTY VMFA After Hours: VMFA Is for Lovers Sat, Feb 15 | 7–11:30 pm, $45/person ($35 VMFA members). Museum wide
Join host Kelli Lemon for a night of art, music, dancing, and love after dark. Catch DJ Lonnie B on the spin in the Marble Hall. Enjoy Legacy Band performing live music in the Atrium. Experience the exhibitions Edward Hopper and the American Hotel and Working Together: Louis Draper and the Kamoinge Workshop.
All galleries will be open during this event to give you access to our diverse collections of art from around the world.
LIVE JAZZ, Dominion Energy Jazz Café: Jazz Around the Museum. Thu, Feb 13 | 6–9 pm, Free, no tickets required. Marble Hall
Back by popular demand! Who says a Jazz band can’t party, get down, and get funky? Led by saxophonist Robert “Bo” Bohannon, Klaxton Brown combines the old with the new, and will rock you steady all night long. Prepare to get Klaxtonized!
Gift represents the largest single donation of photographs in VMFA’s history; VMFA will take over the administration of the Aaron Siskind Fellowship Prize.
The Virginia Museum of Fine Arts has been given an extraordinary gift of more than 8,000 photographs by Aaron Siskind (1903–1991) from the Aaron Siskind Foundation in New York. Established by the artist in 1984, the foundation’s mission has been to preserve and protect Siskind’s artistic legacy, as well as to foster knowledge and appreciation for photography through research, publications, exhibitions and an annual fellowship prize for individual artists. The foundation recently decided to dissolve its operations and transfer the collection to an American art museum that would be willing to administer the annual fellowship prize and care for, interpret, and display the foundation’s core collection of Siskind’s photographs. VMFA was awarded this major gift thanks to the museum’s demonstrated commitment to photography and its outstanding fellowship program. The transfer of the collection to VMFA took place on January 1, 2020.
“After a thorough search of the major art institutions across the country, the Aaron Siskind Foundation was delighted to find that the visionary leadership, ambitious plans for the future, and commitment to carrying on Aaron Siskind’s legacy made VMFA the ideal choice as the new and permanent home for the collection and administration of the Siskind Prize,” says Victor Schrager, President of the Aaron Siskind Foundation.
“With this remarkable donation from the Aaron Siskind Foundation, the Virginia Museum of Fine Arts owns what Siskind and his colleagues considered to be the finest prints of every important work he ever made,” says VMFA Director and CEO Alex Nyerges. “Comparable to the key sets of Paul Strand’s photographs at the Philadelphia Museum of Art and Alfred Stieglitz’s photographs at the National Gallery of Art in Washington, D.C., this gift also allows VMFA to become an important center for the study and appreciation of Siskind’s life and work, as well as photography in general.”
The son of Russian Jewish immigrants, Siskind was born and raised in New York City and graduated from the College of the City of New York in 1926. Three years later, Siskind received a large-format view camera as a wedding gift when he married Sidonie Glatter. He took his first photographs with this camera on their honeymoon in Bermuda in 1930. Siskind later joined the Film and Photo League in New York. Inspired by the social documentary photography that he saw at the Film and Photo League, Siskind spent the next decade working as a street photographer, most notably producing his acclaimed Harlem Document series. In the early 1940s, he shifted to more abstract and symbolic work, often based on found objects.
Siskind supported himself by teaching in the New York public school system until 1949, when he resigned and briefly tried to earn his living as a freelance photographer. Unable to do so, Siskind moved to Chicago at the invitation of fellow photographer Harry Callahan, whom he met in the summer of 1950 at Black Mountain College in Asheville, North Carolina, where they both taught photography. Siskind went on to teach photography at the Institute of Design at Illinois Institute of Technology in Chicago from 1951 to 1970. By the 1950s, his work had become widely associated with the Abstract Expressionist movement thanks to his acclaimed photographs of the walls of buildings, whose flat, variegated surfaces enlivened by peeling paint or the remnants of torn posters provided a visual counterpart to the work of Franz Kline, Willem de Kooning and other painters of the New York School. Siskind’s photographs were shown alongside the paintings of these artists in a series of exhibitions at the Charles Egan Gallery in New York between 1947 and 1951. At a time when photography rarely achieved equality with painting as a fine art, Siskind’s success in the broader New York art scene signaled an important advancement for the medium.
The Walker Arts Center continues to flesh out what is considerably a very dynamic exhibition schedule for the next two years. Additions to the Walker Art Center’s 2020–2021 exhibition schedule include two new solo exhibitions by female artists, Faye Driscoll: Thank You for Coming(February 27–June 14, 2020) and Candice Lin(April 17–August 29, 2021) as well as a Walker collection show of women artists, Don’t let this be easy(July 16–March 14, 2021). For her first solo museum exhibition, Faye Driscoll incorporates a guided audio soundtrack, moving image works, and props to look back across the entirety of her trilogy of performances Thank You For Coming—Attendance(2014), Play(2016), and Space(2019)—works that were presented and co-commissioned by the Walker and subsequently toured around the world over the past six years. Another newly added exhibition, Candice Lin, is the first US museum solo show by the artist, co-organized by the Walker Art Center and the Carpenter Center for Visual Arts (CCVA). Lin is creating a site-specific installation that responds to the space of the gallery at each institution, allowing the shape of the work to evolve over the course of its presentation.
The Walker-organized exhibition Don’t let this be easy highlights the diverse and experimental practices of women artists spanning some 50 years through a selection of paintings, sculptures, moving image works, artists’ books, and materials from the archives.
The initiative is presented in conjunction with the Feminist Art Coalition (FAC), a nationwide effort involving more than 60 museums committed to social justice and structural change.
Other upcoming exhibitions include An Art Of Changes: Jasper Johns Prints, 1960–2018 (February 16–September 20, 2020), a survey of six decades of Johns’ work in printmaking drawn from the Walker’s complete collection of the artists’ prints including intaglio, lithography, woodcut, linoleum cut, screenprinting, lead relief, and blind embossing; The Paradox of Stillness: Art, Object, and Performance (formerly titiled Still and Yet) (April 18–July 26, 2020), is an exhibition that rethinks the history of performance featuring artists whose works include performative elements but also embrace acts, objects, and gestures that refer more to the inert qualities of traditional painting or sculpture than to true staged action.
Additional exhibitions include Michaela Eichwald’s (June 13–November 8, 2020) first US solo museum presentation, bringing together painting, sculpture, and collage from across the past 10 years of her practice; Designs for Different Futures (September 12, 2020 – January 3, 2021)—a collaborative group show co-organized by the Walker Art Center, Philadelphia Museum of Art, and the Art Institute of Chicago—brings together about 80 dynamic works that address the challenges and opportunities that humans may encounter in the years, decades, and centuries to come; Rayyane Tabet(December 10, 2020– April 18, 2021), a solo show by the Beirut-based multidisciplinary artist featuring a new installation for the Walker that begins with a time capsule discovered on the site of what was once an IBM manufacturing facility in Rochester, Minnesota.
AN ART OF CHANGES: JASPER JOHNS PRINTS, 1960–2018, February 16–September 20, 2020
When Jasper Johns’s paintings of flags and targets debuted in 1958, they brought him instant acclaim and established him as a critical link between Abstract Expressionism and Pop Art. In the ensuing 60 years, Johns (US, b. 1930) has continued to astonish viewers with the beauty and complexity of his paintings, drawings, sculpture, and prints. Today, he is considered one of the 20th century’s greatest American artists.
In celebration of the artist’s 90th birthday, An Art of Changes surveys six decades of Johns’s work in printmaking, highlighting his experiments with familiar, abstract, and personal imagery that play with memory and visual perception in endlessly original ways. The exhibition features some 90 works in intaglio, lithography, woodcut, linoleum cut, screenprinting, and lead relief—all drawn from the Walker’s comprehensive collection of the artist’s prints.
Organized in four thematic sections, the show follows Johns through the years as he revises and recycles key motifs over time, including the American flag, numerals, and the English alphabet, which he describes as “things the mind already knows.” Some works explore artists’ tools, materials, and techniques. Others explore signature aspects of the artist’s distinctive mark-making, including flagstones and hatch marks, while later pieces teem with autobiographical imagery. To underscore Johns’s fascination with the changes that occur when an image is reworked in another medium, the prints will be augmented by a small selection of paintings and sculptures.
Curator: Joan Rothfuss, guest curator, Visual Arts.
Exhibition Tour Carnegie Museum of Art, Pittsburgh: October 12, 2019–January 20, 2020 Walker Art Center, Minneapolis: February 16–September 20, 2020 Grand Rapids Art Museum, Michigan: October 24, 2020–January 24, 2021 Tampa Art Museum, Florida: April 28–September 6, 2021
Exhibition Will Explore Latina/o Impact Through Baseball Artifacts, Stories and Photos
Before he was a World Series champion, Anthony Rendon, the former Washington Nationals third baseman and current Los Angeles Angel, was an ordinary kid; signed up for youth baseball at the YMCA in Houston. His childhood jersey and “first” baseball card will be on view in the upcoming Smithsonian exhibition, “¡Pleibol! In the Barrios and the Big Leagues/En los barrios y las grandes ligas” at the Smithsonian’s National Museum of American History beginning Oct. 9, 2020.
Rendon’s story, like that of many baseball-loving families in Latino communities, shows passion and dedication to the game. The bilingual exhibition will capture the excitement of the sport and will highlight how Latinas/os have transformed American culture and society through the lens of baseball, the national pastime.
The Smithsonian Institution Traveling Exhibition Service (SITES) will be traveling a version of “¡Pleibol!” to 15 cities through 2025. In Washington, D.C., the exhibition opens in the museum’s Albert M. Small Documents Gallery and will feature more than 60 artifacts and objects such as baseball cards, programs and scrapbooks.
Throughout the 20th century in the United States and Latin America, baseball provided Latino communities a path for a better future. Workers in agriculture and industry in the United States used baseball as a means to make ends meet and as a socially acceptable space to find community and organize for rights and justice.
“‘¡Pleibol!’ presents major league stories, but it is first and foremost rooted in communities and the reality of who was allowed to play ball and where,” said Margaret Salazar-Porzio, curator in the museum’s Division of Cultural and Community Life. “The story we tell shows how Latino communities played, celebrated and changed the game.”
PHOTO | BRUT: Collection Bruno Decharme & Compagnie, at the American Folk Art Museum in New York City. presents the first international survey of self-taught photography. Gathering works dating from 1870 to the present by artists from various countries, the exhibition reveals the critical potential of this still relatively unexplored segment of the research on art brut. It includes four hundred works by more than forty artists (notably, Morton Bartlett, Lee Godie, Norma Oliver, Miroslav Tichý, and Marcel Bascoulard) with projections of never-before-printed images by Eugene Von Bruenchenhein and the Instagram transformations of Ichio Sugino. It also gathers assemblages made of photographs by Felipe Jesus Consalvos, Kasuo Handa, and Steve Ashby, and works relying heavily on the photographic process by Henry Darger and Leopold Strobl. This exhibition shines light on the innovative practices in the field of photography, offering fresh insight into the medium. The works have been selected from the exceptional collection of Bruno Decharme, as well as from the American Folk Art Museum, public institutions, and private collections.
This exhibition is co-produced by the American Folk Art Museum, abcd, and Les Rencontres d’Arles. It is curated by Valérie Rousseau, PhD, senior curator & curator of self-taught art and art brut, and Bruno Decharme, in collaboration with Paula Aisemberg, Barbara Safarova, and Sam Stourdzé.
A 320-page catalog (printed in English and French, 2019), published by Flammarion in collaboration with the American Folk Art Museum and abcd, is available at the Museum Shop. It includes contributions by the exhibition curators Bruno Decharme, Valérie Rousseau, Barbara Safarova, and Sam Stourdzé, and renowned specialists Michel Thévoz and Brian Wallis, among others.
This exhibition is supported in part by the David Davies and Jack Weeden Fund for Exhibitions, the Stacy C. Hollander Fund for Exhibitions, William Talbott Hillman Foundation, the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and the Council for Self-Taught Art.
This past week, Christie’s announced auction channel sales of £3.9 billion (US$5 billion) for 2019.
Key highlights for the year included:
A new top price for any living artist at auction, achieved with Jeff Koon’s Rabbit, which realized US$91,075,000 at Christie’s New York in May 2019.
Numerous record prices in 2019, including top prices for artworks and objects sold in London (David Hockney, Henry Geldzahler and Christopher Scott, for £37,661,248/US$49,521,696), Hong Kong (Sanyu, Five Nudes, for HK$303,984,992/US$38,848,420) and Geneva (Patek Philippe Grandmaster Chime ref. 6300A for ONLY WATCH for CHF31,000,000/US$31,244,094). In Paris Nicolas de Staël’s Parc des Princes realized €20,000,000/US$22,254,368, and set a record for the artist and was the top price for any lot sold at Christie’s Paris this year.
Christie’s remained the auction house of choice for major private and estate collections, achieving the top three results for named collections in 2019 with Masterpieces from the Collection of S.I. Newhouse, The Robert B. and Beatrice C. Mayer Family Collection, and Maharajas and Mughal Magnificence.
Strong results were also achieved for the collections of notable collectors David Gilmour, Drue Heinz, the Irving Collection, James and Marilynn Alsdorf, Terry Allen Kramer, Eileen and I.M. Pei, Richard L. Weisman, George Michael, the Clarke Collection, Ron and Diane Disney Miller, the Matthys-Colle Collection, works from the UniCredit Group, Jeremy Lancaster, and masterpieces from a Rothschild Collection.
A Celebration of George Michael
The year opened with news that The George Michael Collection was tobe sold in London.Highlights were exhibited in New York, Los Angeles, Hong Kong and Shanghai before a special multi-media exhibition at King Street drew thousands of fans to celebrate the singer’s life, his music and the art he lived with.
The collection spoke volumes about a man who touched millions, due to the autobiographical nature of many of the works and because it revealed the extent to which George Michael had supported YBA artists such as Damien Hirst and Tracey Emin.
Numerous artists’ auction records were set across the live auction and the online sale, but perhaps the most poignant came withCommissioned Portrait Untitled (George)by Michael Craig-Martin, the man who taught many of the YBAs at Goldsmiths in London. The wall-mounted LCD sold for£175,000 in the online sale, contributing to a collection total of £11,328,125.
The money raised from the sale will extend the philanthropic legacy built by George Michael during his lifetime.
On a chilly night in London, Paul Signac’s pointillist masterpiece of a summer sunset over the port of Saint-Tropez struck a chord with collectors. Painted in May 1892, the work eclipsed Signac’s record price at auction, which had been set at Christie’s in 2007.
Christie’s Global President Jussi Pylkkänen described the painting as ‘one of the last great Signacs in private hands’, a billing that befitted the price it achieved: £19.5 million (including premium).
It was one of two polonaise carpets being auctioned that day, both of which were handmade in the royal ateliers of 17th-century Isfahan in Iran and presented to the future King of Poland. He in turn gifted them both to the Arch-Chancellor of the Holy Roman Empire, and they spent the following 300 years in the Weissenstein Palace in Germany
According to Alex Rotter, Chairman of the Post-War & Contemporary Art department in New York, the 11 masterpieces from the collection of S.I. Newhouse, the late American publishing magnate and one of the great art collectors of his age, represented ‘one of the most sought-after groupings of art in private hands’.
Works were spread across two auctions: the Impressionist & Modern Art Evening Sale and the Post-War & Contemporary Art Evening Sale. The star lot of the former proved to be Cézanne’s still life, Bouilloire et fruits, a mature work painted in Aix-en-Provence.
Bidding opened at $30 million and rose swiftly before it was eventually captured by a telephone bidder. The £59,295,000 paid came close to passing the record figure for a work by Cézanne at auction.
Just 48 hours later, in the Post-War and Contemporary Art Evening Sale, another work from Newhouse’s collection would break a very significant record indeed.
But first came the auction of this mesmerising Kifwebe masterpiece. Worn over the face and accessorised with raffia-palm beards, Kifwebe masks have been used for hundred of years by the Songye people of what is now the Democratic Republic of Congo.
‘Dumbstruck,’ was the word used by the Museum of Modern Art’s late curator Kirk Varnedoe to describe his first encounter with Rabbit by Jeff Koons in 1986.
Standing at just over three feet high, and made from polished stainless steel, the sculpture seems to be a mass of contradictions — solid, weightless, sensual, inert. It was instantly embraced by artists and critics, drawing comparisons with Brancusi’s perfect forms.
‘I couldn’t get my head around its simple beauty at first,’ recalled Damien Hirst. ‘I was stunned. The bunny knocked my socks off.’
Rabbit was offered in New York, the ultimate prize in the sale of masterpieces from the collection of S.I. Newhouse. Bidding started at $40 million and quickly rose to $60 million, with the work finally selling for $91,075,000. It was the top price achieved at Christie’s in 2019, and set a new world auction record for a work by a living artist.
New Museum Openings Enhance Month Of Significant Discounts At More Than 40 Museums
Every February, savvy travelers look to Seattle, also known as the Emerald City, where big savings can stack up for arts and culture lovers of all ages with Seattle Museum Month. From Feb. 1-29, 2020, travelers who stay at any one of nearly 60 participating downtown Seattle hotels receive 50 percent off admission prices to more than 40 museums and cultural institutions. February also historically offers lower rates for airfare to Seattle-Tacoma International Airport and special hotel packages to entice winter travelers. To see the full list of participating museums and hotels, visit the Seattle Museum Month website at www.seattlemuseummonth.com.
Seattle Museum Month is produced by Visit Seattleand funded by the Seattle Tourism Improvement Area (STIA), a dedicated marketing fund assessed from guests at 73 downtown Seattle hotels. The program was created to encourage travelers to visit Seattle in February and celebrate the remarkable collection of unique museums in the region.
“Seattle has a richly diverse and world-renowned collection of museums that draw people to our city year-round, but Seattle Museum Month offers unparalleled discounts for our visitors,” Visit Seattle Senior Director of Cultural Tourism Tracey Wickersham said. “Engaging hands-on experiences with history-making computers, vintage pinball machines, and experiential music galleries where you can look, listen and re-create some of rock ‘n’ roll’s greatest moments mean our museums entertain as well as educate. You’ll find mind-blowing gardens made of glass and ancient artifacts that explore all facets of life on earth, and art from around the globe. A trip to Seattle for Museum Month will make memories that last a lifetime.”
Seattle Museum Month celebrates with a host of museum openings that give travelers the opportunity to explore Seattle’s cultural legacy.
The Seattle Art Museum hosts the grand re-opening of the Seattle Asian Art Museum February 8 and 9. After a two-year renovation and expansion, the museum reopens with a reimagined collection installation that breaks boundaries with a thematic, rather than geographic or chronological, exploration of art from the world’s largest continent. Set in Seattle’s picturesque Volunteer Park, the historic Art Deco-era museum underwent a $56 million renovation and expansion to more fully display one of the largest collections of Asian art in the nation. Visitors wishing to attend the historic re-opening weekend on February 8 and 9 can reserve free timed tickets online. Beginning Feb. 12, Museum Month passes will be accepted.
With 16 million objects in its collections and infinite stories to tell, the recently re-openedBurke Museum of Natural History and Culture– the oldest museum in Washington state – welcomes visitors to an entirely new experience. Locally known as The Burke, the museum is located at the north end of The University of Washington Seattle campus and re-opened in October 2019. The new building designed by Olson Kundig creates unprecedented opportunities for visitors to see university faculty, researchers and students uncovering dinosaur skeletons, analyzing insects and collaborating with Native communities every day.
Enjoy renowned favorites as well like Museum of History & Industry (MOHAI), The Museum of Flight, Museum of Pop Culture (MoPOP) and explore other regional museums, like LeMay – America’s Car Museum in Tacoma, USS Turner Joy Museum Ship in Bremerton or the Bellevue Arts Museum in downtown Bellevue.
Seattle Museum Month discounts are only valid for guests staying at one of the participating hotels, up to four people, during hotel stay dates. Visitors must present an official Seattle Museum Month guest pass at participating museums to redeem the discounts.
“Magnum is a community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.” – Henri Cartier-Bresson
This spring, the High Museum of Art will be the first-ever U.S. venue for Live Lab, a photography residency and related exhibition organized in collaboration with the international photographic cooperative Magnum Photos. Live Lab is designed to involve the community in the realization of a new body of photographs, which will be created over a two-week period in a “lab” at the Museum. The Atlanta project will feature American photographer Carolyn Drake and South African artists Lindokuhle Sobekwa and Mikhael Subotzky, whose projects all will explore themes relevant to the city.
The process begins with a two-week–long “photographic jam session” (March 16–27, 2020) during which the photographers will use the High as their base of operations. They will travel into the city and metro area to shoot photographs, which they will then edit, make and sequence on site at the Museum. To render their creative process transparent, the photographers will open their workspace (located in the lobby of the High’s Anne Cox Chambers Wing) to the public at select times. The residency will culminate in a pop-up exhibition of the photographers’ work, on view in the Chambers lobby from March 28 through April 19, 2020.
Magnum Photos has hosted Live Labs in cities around the world, including London; Paris; Shenzhen, China; Kyoto, Japan; and most recently, Moscow.
“We are honored that Magnum chose the High, and Atlanta, as its first U.S. host for Live Lab, and we are delighted to bring this project to the city,” said Rand Suffolk, Nancy and Holcombe T. Green, Jr., director of the High. “This collaboration is a testament to the strength of our photography department and our commitment to supporting the creation of new work and offering innovative ways for our audience to connect with their museum and the greater community. We can’t wait to see what the photographers create.”
To help the artists learn more about Atlanta, the High provided them with a brief on the city, which touched on topics including its history, economy and position as the crossroads of the new South. The photographers are now in the process of developing their projects’ focus and scope.
“We look forward to welcoming these incredible photographers to Atlanta and to lifting the veil on their creative process for our visitors,” said Gregory Harris, the High’s assistant curator of photography. “Ours is a vibrant yet complicated and ever-changing city. It will be thrilling to see Atlanta through the lenses of these artists.”
Carolyn Drake (born 1971) is a California native now based in the Bay Area. She studied media/culture and history in the 1990s at Brown University, where she became interested in approaches to documentary and the ways that history and reality are purposefully shaped and revised over time. She worked for multimedia companies in New York for many years but eventually left her office job to engage with the physical world through photography. Between 2007 and 2013, Drake traveled frequently to Central Asia from her base in Istanbul to work on two projects that became acclaimed photo books. “Two Rivers” explores the connections between ecology, culture and political power along the Amu Darya and Syr Darya rivers. “Wild Pigeon” is an amalgam of photographs, drawings and embroideries she made in collaboration with Uyghur people in western China. Her latest book, “Knit Club,” will be published by TBW Books in the spring of 2020. Drake is the recipient of a Guggenheim Fellowship, the Dorothea Lange–Paul Taylor Prize, a World Press Photo award, a Magnum Emergency Fund grant and a Fulbright fellowship, among other awards. She became a Magnum nominee in 2015.
Lindokuhle Sobekwa (born 1995 in Katlehong, Johannesburg) came to photography in 2012 through his participation in the Of Soul and Joy Project, an educational program run in Thokoza, a township in southeastern Johannesburg. He went on to study with Bieke Depoorter, Cyprien Clément-Delmas, Thabiso Sekgala, Tjorven Bruyneel and Kutlwano Moagi. His early projects explore poverty and unemployment in the townships of South Africa as well as the growing nyaope drug crisis within them. His ongoing projects also address his own life—for example, his project “I Carry Her Photo with Me” examines his relationship with his sister, Ziyanda, who was estranged from her family when she died. In 2017, this project was selected by the Magnum Foundation’s Photography and Social Justice program for further development, and in 2018 Sobekwa received the Magnum Foundation Fund to continue his long–term project “Nyaope,” which has been selected for a residency at La Cité des Arts de la Réunion. Sobekwa became a Magnum nominee in 2018.
Exhibit Showcases Iconic Images, Cover Shoots, and Behind-the-Scenes Moments from Vanity Fair
Today, the Annenberg Space for Photography, L.A.’s premier destination for photography, announces its next exhibition opening in February 2020 – Vanity Fair: Hollywood Calling – The Stars, the Parties, and the Powerbrokers. The photo exhibit, opening Oscar weekend, runs from February 8 – July 26, 2020.
Curated by Vanity Fair‘s creative development editor David Friend and the magazine’s former director of photography Susan White, Vanity Fair: Hollywood Calling features photographic portraiture and multimedia installations that capture the magic and glamour of the film and television industry’s major players from the last four decades. The exhibition is a look at the Hollywood stars, the parties, and the powerbrokers, through the distinctive lens of Vanity Fair – the most widely celebrated journalistic arbiter of Hollywood power and personality.
With 130 photographs and more than 50 photographers, Hollywood Calling showcases Vanity Fair‘s vaunted portraitists, including the magazine’s principal photographer, Annie Leibovitz, as well as Jonathan Becker, Harry Benson, Cass Bird, Cristina de Middel, Ethan James Green, Erik Madigan Heck, Horst P. Horst, George Hurrell, Helmut Newton, Jackie Nickerson, Herb Ritts, Collier Schorr, Lord Snowdon, Firooz Zahedi, and dozens more.
The show features images of iconic celebrities in film/TV, comedy and more, including Demi Moore, Natalie Portman, Nicole Kidman, Meryl Streep, Lena Waithe, Lupita Nyong’o, Philip Seymour Hoffman, George Clooney, Michelle Williams, Tom Hanks, Angelina Jolie, Viola Davis, Brad Pitt, Heath Ledger, Jack Nicholson, Ellen DeGeneres, Robin Williams, Eddie Murphy, Jim Carrey, Steve Martin, Janet Jackson, Barbra Streisand, Jodie Foster, Jennifer Lopez, Halle Berry, Oprah Winfrey, Michael B. Jordan, Gwyneth Paltrow, Blythe Danner, Jennifer Lawrence, and many more.
More Than 10,000 Photographs Announced on Anniversary of Ailey’s Death and World AIDS Day
Ahead of World AIDS Day and the 30th anniversary of Alvin Ailey’s death (Dec. 1), the Smithsonian’s National Museum of African American History and Culture is making available the collection of more than 10,000 photographs chronicling the Alvin Ailey American Dance Theater from 1961 to 1994. The Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection includes 8,288 black-and-white negatives, 2,106 color slides and transparencies, and 339 black-and-white prints depicting private photo sessions, repertory by Alvin Ailey and a wide range of choreographers and iconic solo performers.
Jack Mitchell’s collection documents the dance company’s evolution while capturing the true idiosyncrasies and physicality of movement through still images. The photography showcases the innovative performances and groundbreaking artistry of Ailey, who shined a spotlight on the contributions and experiences of the African American heritage that inspired the racially diverse performances he presented that forever changed American dance and culture.
Acquired in 2013, the entire digitized photography collection has been recently made available to the public online via the Smithsonian’s Online Virtual Archives. The collection is jointly owned by the National Museum of African American History and Culture and Alvin Ailey Dance Foundation.
“To have one photographer as talented as Jack Mitchell capture the Alvin Ailey American Dance Theater’s history allows us to really witness the groundbreaking and historic nature of Alvin Ailey’s dance style and his vision for a dance company,” said Spencer Crew, interim director of the National Museum of African American History and Culture. “It’s particularly difficult to capture the essence of performing arts in photography, yet this collection showcases the ephemeral nature of the performances that made the Alvin Ailey American Dance Theater so special to so many audiences around the world.”
Mitchell’s photography vividly illustrates the evolution of Ailey’s principal dancers, notable performances and Ailey himself. The collection contains photographs of over 80 choreographed performances by Ailey, including his debut piece “Blues Suite” along with “The River” and “Revelations,” one of Ailey’s most popular and critically acclaimed pieces that tells the African American story from slavery to freedom and remains one the most beloved works of modern dance, acclaimed as a must-see and applauded by audiences around the world. The collection also features portraits of Judith Jamison, who was Ailey’s muse, most notably for the tour-de-force solo “Cry,” and who he entrusted to become artistic director before his death. Alvin Ailey American Dance Theater’s other earliest and most revered dancers are featured, including Dudley Williams, Sylvia Waters, Masazumi Chaya and Donna Wood.
Nearly 80 Works Explore Wide Range of the Artist’s 40+ Year Career
Dawoud Bey: An American Project, February 15–May 25, 2020
Photographer Dawoud Bey has dedicated more than four decades to portraying underrepresented communities and histories. From portraits in Harlem to nocturnal landscapes, classic street photography to large-scale studio portraits, his works combine an ethical imperative with an unparalleled mastery of his medium. The San Francisco Museum of Modern Art (SFMOMA) presents the artist’s first full career retrospective in 25 years, on view in the museum’s Pritzker Center for Photography from February 15 to May 25, 2020.
Featuring approximately 80 works, the exhibition, co-organized with the Whitney Museum of American Art, New York, spans the breadth of Bey’s career, from the 1970s to the present. Organized both thematically and chronologically, it ranges from his earliest street portraits in Harlem (1975–78) to his most recent exploration of the Underground Railroad (2017).
“The power of Bey’s work comes from the marriage of his extraordinary formal skill as a photographer with his deeply held belief in the political power of representation,” said Corey Keller, curator of photography at SFMOMA. “He sees making art as not just a personal expression but as an act of social responsibility, emphasizing the necessary work of artists and art institutions to break down obstacles to access, to convene communities and open dialogue. It has been truly inspiring to work with him on this project.”
Describing his process, Bey has said, “It begins with the subject, a deep interest in wanting to describe the Black subject in a way that’s as complex as the experiences of anyone else. It’s meant to kind of reshape the world one person at a time.”
Bey received his first camera as a gift from his godmother in 1968. The following year, he saw the landmark — and highly divisive — exhibition Harlem on My Mind at The Metropolitan Museum of Art in New York. The exhibition, widely criticized for its failure to include significant numbers of artworks by African Americans, nonetheless made an impression on young Bey and inspired him to take up his own documentary project about Harlem in 1975. Since that time, Bey has worked primarily in portraiture, making tender, psychologically rich and direct portrayals of Black subjects and rendering African-American history in a form that is poetic, poignant and immediate.
Lozano-Hemmer’s First Major Survey in the U.S., Unstable Presence Features Large-Scale Participatory Installations and Immersive Environments
Auerbach’s First Museum Survey, S v Z Traverses the Boundaries Between Art, Design, Science and Craft
Also Opening at SFMOMA, Select Video Projections from Theaster Gates and Cauleen Smith Shown Together for the First Time
San Francisco Museum of Modern Art (SFMOMA) will present two
major exhibitions celebrating the mixed media work of contemporary
artists Rafael Lozano-Hemmer and Tauba Auerbach this
upcoming spring. The artist’s first major survey exhibition in the
U.S., Rafael Lozano-Hemmer: Unstable Presence (April
25–November 1, 2020) will explore our presence in fundamentally
turbulent environments through a focused selection of 16 engaging
installations on the museum’s seventh floor. Simultaneously on the
museum’s fourth floor, Auerbach’s first museum survey, Tauba
Auerbach — S v Z (April 25–September 7, 2020),
will highlight her prolific and varied output over the last 16 years.
on view this spring will be select video projections from renowned
interdisciplinary artists Cauleen Smith and Theaster Gates
in Future Histories (April 25–November 1, 2020).
Lozano-Hemmer: Unstable Presence, April 25–November 1,
2020, Floor 7
and water, heartbeats and voices, text and light — these are the
materials of media artist Rafael Lozano-Hemmer. Over the past
few decades, the Mexico City–born, Montreal-based artist has earned
international recognition for large-scale participatory installations
that frequently incorporate technology and the architecture of public
spaces. On view in the U.S. exclusively at SFMOMA, Rafael
Lozano-Hemmer: Unstable Presence brings together recent
sculptural installations and immersive environments realized on
microscopic and macroscopic scales. These works engage visitors’
sense of play, and anxiety, as they experience the implications of
technology and behaviors of participation in social and political
Presence refers to the dynamic, poetic, but also disturbing
turbulence that characterizes social and technical interrelations,”
said Rudolf Frieling, curator of media arts at SFMOMA. “Materializing
on various scales, from the personal to the geopolitical, the
instability of these layers of presence is powerfully echoed in the
atmospheric but also sculptural installations.”
Lozano-Hemmer: Unstable Presence additionally examines the
concept of “co-presence” by highlighting how our physical
presence and the natural and technological spaces we inhabit form a
continuous stream of interaction. Lozano-Hemmer noted, “Presence
is often associated with existence, continuity in time or material
reality. The ‘unstable’ in the exhibition’s title refers to
interaction, improvisation and performance. The instability brought
by participation allows constant reinterpretation of the work, where
many outcomes are co-present.”
exhibition focuses on three major themes in Lozano-Hemmer’s work:
observation and surveillance; text-based poetic work;
and the instability of systems. Highlights of the presentation
include the following installations, the majority of which encourage
Newscast (2013) projects live news feeds from prominent
international news outlets, such as Reuters, Agencia EFE, Notimex,
AlterNet and AP. When visitors enter the space, their shadows disrupt
the projections and dissolve the projected words into smoke-like
patterns, creating an unstable atmospheric effect.
on Water (2016) is a fountain from which words emerge as
plumes of vapor, produced by hundreds of computer-controlled
ultrasonic atomizers. Fragment by fragment, poems by the celebrated
Mexican writer Octavio Paz briefly materialize in the mist before
dissipating in turbulence.
Spiral (2008) consists of hundreds of incandescent
lightbulbs hanging from the ceiling in a three-dimensional spiral.
This participatory installation records and responds to the heart
rates of visitors holding sensors, transforming their heartbeats into
mesmerizing flashes of light.
Packing: Bach (2018), the largest in Lozano-Hemmer’s
Sphere Packing series, is a three-meter spherical frame
supporting 1,128 loudspeakers, each simultaneously playing a
different composition by Johan Sebastian Bach. Visitors can enter the
sphere and be surrounded by the cacophonous crescendo of Bach’s
entire musical output.
Circular Breathing (2013) is a large sculptural
installation featuring brown paper bags that inflate and deflate at
human breathing rates; a set of motorized bellows and valves that
control the bags; and a sealed glass room with a decompression
chamber. Visitors are invited to enter the glass room to breathe the
air that was previously breathed by earlier participants. The piece
includes warnings about the risks of asphyxiation, contagion and
panic, offering a statement on the limits of the planet’s resources
as well as a commentary on participation, which in this case makes
the air more toxic for future visitors.
Alta [Out Loud] (2008)commemorates the 40th anniversary of the massacre of
hundreds of students in Tlatelolco, Mexico City, on October 2, 1968.
The original site-specific “anti-monument” is presented in the
gallery as a functional prototype: participants are invited to step
up to a megaphone and speak freely, their speech translated into
light flashes via a miniature searchlight. An FM radio transmitter
relays the sounds to which the light corresponds, and an archival
recording of the 2008 memorial plays after a participant has finished
speaking. In this way, the memory of the tragedy in Tlatelolco is
mixed with live participation.
Pavilion (2015) is an interactive installation created in
collaboration with artist Krzysztof Wodiczko. Consisting of
projections fed by computerized surveillance footage, the work uses
face recognition and other tracking algorithms to detect the presence
of participants and record their spatial relationships. Independent
cameras zoom in to amplify images with up to 35x magnification. The
zooming sequences become disorienting as they change the image
landscape from easily recognizable wide shots of the crowd to
Lozano-Hemmer was born in Mexico City in 1967, and lives and
works in Montreal. He was the first artist to represent Mexico at the
Venice Biennale, with an exhibition at the Palazzo Van Axel
in 2007. He has also shown at biennials and triennials in Cuenca,
Havana, Istanbul, Kōchi, Liverpool, Melbourne, Montreal, Moscow, New
Orleans, New York, Seoul, Seville, Shanghai, Singapore, Sydney and
Wuzhen. Lozano-Hemmer’s works have been featured in solo
exhibitions and performances in numerous institutions, including the
Museo Universitario Arte Contemporáneo (MUAC) in Mexico City
(2015); SFMOMA (2012); the Museum of Contemporary Art,
Sydney (2011); the Manchester Art Gallery (2010); the
Guggenheim Museum, New York (2009); and the Barbican
Centre, London (2008).
Lozano-Hemmer: Unstable Presence is accompanied by a
catalogue featuring full-color illustrations of works in the
exhibition and contributions covering a range of topical approaches.
It includes a curatorial introduction and four essays from Olivier
Asselin, Sean Cubitt, Tatiana Flores and Gloria Sutton that
explore the poetic and political dimensions of the artist’s work,
along with in-depth examinations of four major works — Zoom
Pavilion, Vicious Circular Breathing, Voz Alta and Pulse Room.
Edited by Rudolf Frieling and François LeTourneux, the
catalogue is published by the San Francisco Museum of Modern Art
in association with Delmonico Books/Prestel.
Lozano-Hemmer: Unstable Presence is co-organized by the San
Francisco Museum of Modern Art and the Musée d’art contemporain
de Montréal. The exhibition is co-curated by Lesley
Johnstone, curator and head of exhibitions and education,
François LeTourneux, associate curator at the MAC and Rudolf
Frieling, curator of media arts at SFMOMA.
support for Rafael Lozano-Hemmer: Unstable Presence is
provided by Debbie and Andy Rachleff and
Exhibition to Examine Radical Changes Transforming the Surface of the World beyond Cities
R. Guggenheim Museum will
an exhibition addressing urgent environmental, political, and
socioeconomic issues through the lens of architect and urbanist Rem
the think tank of the Office
for Metropolitan Architecture (OMA).
A unique exhibition for the Guggenheim rotunda, Countryside,
The Future will
explore radical changes in the vast nonurban areas of Earth with an
immersive installation premised on original research. The project
extends investigative work already underway by AMO, Koolhaas, and
students at the Harvard
Graduate School of Design;
Academy of Fine Arts, Beijing;
and the University
the past decades, I have noticed that while much of our energies and
intelligence have been focused on the urban areas of the world—under
the influence of global warming, the market economy, American tech
companies, African and European initiatives, Chinese politics, and
other forces—thecountryside has
changed almost beyond recognition,”
stated Koolhaas. “The
story of this transformation is largely untold, and it is
particularly meaningful for AMO to present it in one of the world’s
great museums in one of the world’s densest cities.”
(b. 1944, Rotterdam) founded the Office
for Metropolitan Architecture (OMA) in
1975 together with Elia
and Zoe Zenghelis
He graduated from the
Architectural Association School of Architecture
in London and in 1978 published Delirious
New York: A Retroactive Manifesto for Manhattan.
His 1995 book S,M,L,XL,
summarizes the work of OMA in “a novel about architecture.” In
2001 Koolhaas published with his students two volumes of the Harvard
Project on the City, The
Harvard Design School Guide to Shopping and
and in 2011 Project
Japan: Metabolism Talks looked
back at the Metabolism
His built work includes the
Garage Museum of Contemporary Art in Moscow
Prada in Milan
(2015), the headquarters for
China Central Television (CCTV) in
Beijing (2012), Casa
da Música in Porto, Portugal
(2004), and the Embassy
of the Netherlands in Berlin
(2003). Koolhaas designed the Guggenheim
in Las Vegas, open from 2001 to 2008, and, in 1978, The
Sparkling Metropolis, an
exhibition on the top ramp of the rotunda of the Guggenheim in New
York. Current projects include the Qatar
Performing Arts Center,
a new building for Axel
in Berlin, and the Factory
Manchester. Koolhaas is a professor at Harvard University and in 2014
was the director of the 14th
Venice Architecture Biennale,
beautifully constructed dance worlds of Seattle-based choreographer
Wallich meld with the gloriously ornate theatrical music of
pop/electronic hero Perfume
Genius to create the evening-length The
Sun Still Burns Here. This radical integration of dance and
live music features outstanding performers burning through a
postmodern swirl of classical and contemporary movement. The piece
delves into what the artists describe as “a spiritual unraveling of
romantic decay.” (Seattle Times).
Kate Wallich is a Seattle-based choreographer, director and educator. Named one of Dance Magazine’s “25 to Watch” in 2015, she has left a significant mark in the Pacific Northwest through commissions and presentations from leading local, national and international institutions including: On the Boards, Seattle Theater Group, Velocity Dance Center, Seattle Art Museum, Pacific Northwest Ballet, Whim W’Him and Northwest Dance Project, Walker Art Center with Liquid Music, MASS MoCa, The Joyce Theater, Jacob’s Pillow Inside/Out, Newfields/IMA, ICA Boston, Danse and SPOTLIGHT: USA in Bulgaria. In 2010, she co-founded her company The YC with Lavinia Vago and has gone on to create five evening-length works and three large-scale, site-specific works with the company. Also in 2010, she founded an all-abilities, community-focused class Dance Church® (no religious affiliation) which reaches over 550+ attendees per week and is taught weekly by professional dance artists in New York City, Seattle, Portland, Indianapolis, Salt Lake City, Los Angeles and more. Dance Church has partnered with local and national organizations including Gibney, Mark Morris Dance Center, LA Dance Project, Newfields/IMA, BodyVox, Adidas Studio London, Velocity, On the Boards, The Sweat Spot, Design Week Portland and goop among others.
“Mike Hadreas, the artist better known as Perfume Genius, has always been a physically expressive performer, and he’s made dance a crucial part of his generally stunning live shows and videos. And now he’s about to make it a focus.” —Stereogum
artists have been short-listed for the Hugo Boss Prize 2020,
the biennial award for significant achievement in contemporary art.
The short list is selected by a panel of international curators and
critics in recognition of artists whose work is transforming the
field. Since its inception in 1996, the prize has consistently
functioned as a platform for the most relevant and influential art of
the present, and has become a cornerstone of the Guggenheim’s
the occasion of the thirteenth Hugo Boss Prize, I’m delighted to
announce the finalists for the 2020 cycle,” said Nancy
Spector, Artistic Director and Jennifer and David Stockman Chief
Curator, Solomon R. Guggenheim Museum and Foundation, and jury
chair. “After a rigorous examination of today’s artistic
landscape, the jury identified a group of artists whose practices are
beacons of cultural impact. While diverse in their approaches and
themes, they each exemplify the spirit of experimentation and
innovation that the prize has always championed.”
Hugo Boss Prize recognizes the achievements of both emerging
and established artists, and sets no restrictions in terms of age,
gender, nationality, or medium. The winner, who will receive a
$100,000 honorarium, will be announced in the fall of 2020 and will
present a solo exhibition at the Solomon R. Guggenheim Museum
in spring 2021.
its inception in 1996, the Hugo Boss Prize has been awarded to
twelve influential contemporary artists: American artist Matthew
Barney (1996); Scottish artist Douglas Gordon (1998);
Slovenian artist Marjetica Potrč (2000); French artist Pierre
Huyghe (2002); Thai artist Rirkrit Tiravanija (2004);
English artist Tacita Dean (2006); Palestinian artist Emily
Jacir (2008); German artist Hans-Peter Feldmann (2010);
Danish artist Danh Vo (2012); American artist Paul Chan
(2014); American artist Anicka Yi (2016); and American artist
Simone Leigh (2018). The related exhibitions have constituted
some of the most compelling presentations in the museum’s history.
finalists include Laurie Anderson,
Janine Antoni, Cai Guo-Qiang, Stan Douglas, and Yasumasa Morimura
in 1996; Huang Yong Ping,
William Kentridge, Lee Bul, Pipilotti Rist, and Lorna Simpson in
1998; Vito Acconci, Maurizio
Cattelan, Michael Elmgreen and Ingar Dragset, Tom Friedman, Barry Le
Va, and Tunga in
2000; Francis Alÿs, Olafur
Eliasson, Hachiya Kazuhiko, Koo Jeong-A, and Anri Sala
in 2002; Franz Ackermann,
Rivane Neuenschwander, Jeroen de Rijke and Willem de Rooij, Simon
Starling, and Yang Fudong
in 2004; Allora &
Calzadilla, John Bock, Damián Ortega, Aïda Ruilova, and Tino Sehgal
in 2006; Christoph Büchel,
Patty Chang, Sam Durant, Joachim Koester, and Roman Signer
in 2008; Cao Fei, Roman Ondák,Walid Raad, Natascha SadrHaghighian, and Apichatpong
in 2010; Trisha Donnelly,
Rashid Johnson, Qiu Zhijie, Monika Sosnowska, and Tris Vonna-Michell
2012; Sheela Gowda, Camille
Henrot, Hassan Khan, and Charline von Heyl
in 2014; Tania Bruguera, Mark
Leckey, Ralph Lemon, Laura Owens, and Wael Shawky in
2016; and Bouchra Khalili,
Teresa Margolles, Emeka Ogboh, Frances Stark,
and Wu Tsang
following artists are finalists for the Hugo Boss Prize 2020:
Nairy Baghramian (b. 1971, Isfahan, Iran)
Kevin Beasley (b. 1985, Lynchburg, Va.)
Deana Lawson (b. 1979, Rochester, N.Y.)
Elias Sime (b. 1968, Addis Ababa, Ethiopia)
Cecilia Vicuña (b. 1948, Santiago, Chile)
Adrián Villar Rojas (b. 1980, Rosario, Argentina)
Hugo Boss Prize is our most prestigious engagement in the field of
arts,” said Mark Langer, CEO and Chairman of HUGO BOSS AG. “We
are excited about this diverse and distinguished short list for 2020
and looking forward to the announcement of the winner next fall.”
BOSS PRIZE 2020 SHORT LIST
1971, Isfahan, Iran) lives and works in Berlin. In an oeuvre that
probes the boundaries between the decorative, the utilitarian, and
the art object, Baghramian has illuminated new possibilities for
sculpture. The artist’s disarming biomorphic forms, made with a
range of materials including steel, silicon, resin, and leather,
elicit various unexpected art-historical and sociopolitical
references, reimagining the workings of the body, gender, and public
and private space.
work has been presented in solo exhibitions such as Privileged
Mudam Luxembourg—Musée d’Art Moderne Grand-Duc Jean (2019),
Spell (Un respire),
Palacio de Cristal del Retiro, Madrid (2018); Déformation
Museum der Moderne Salzburg, and Walker Art Center, Minneapolis
(2017); S.M.A.K. Museum of Contemporary Art, Ghent (2016); Nairy
Baghramian: Scruff of the Neck (Supplements),
Zurich Art Prize, Museum Haus Konstruktiv, Zurich (2016); Hand
Museo Tamayo, Mexico City (2015); Fluffing
MIT List Visual Arts Center, Cambridge, Mass. (2013), and Kunsthalle
Mannheim, Germany (2012); and Class
Contemporary Art Gallery, Vancouver (2012).
1985, Lynchburg, Va.) lives and works in New York. Working at the
intersection of sculpture, installation, and performance, Beasley
constructs revelatory formal and sonic experiences. In works that
embed found objects in substances such as resin, foam, and tar, or
incorporate unconventionally manipulated audio equipment, he
amplifies the cultural resonances of his materials to excavate
personal and shared histories of class, race, and institutional
has presented and performed in solo exhibitions such as ASSEMBLY,
The Kitchen, New York (2019); a
view of a landscape,
Whitney Museum of American Art, New York (2018); Kevin
The Institute of Contemporary Art, Boston (2018); Movement
CounterCurrent Festival, Cynthia Woods Mitchell Center for the Arts,
Houston (2017); Hammer
Projects: Kevin Beasley,
Hammer Museum at Art + Practice, Los Angeles (2017); Rubbings,
Kim? Contemporary Art Center, Riga, Latvia (2017); and inHarlem:
The Studio Museum in Harlem, New York (2016).
1979, Rochester, N.Y.) lives and works in New York. Her large-format
photographs channel vernacular, art-historical, and documentary
traditions within the medium, in compositions that valorize black
diasporic culture. Picturing individuals she encounters over the
course of her everyday life within carefully staged domestic
settings, Lawson choreographs every nuance of scenery, lighting, and
pose to create tableaux that powerfully evoke the agency of her
work has been presented in solo exhibitions including Deana
Huis Marseille, Museum voor Fotografie, Amsterdam (2019); Deana
The Underground Museum, Los Angeles (2018); Deana
Carnegie Museum of Art, Pittsburgh (2018); Deana
Contemporary Art Museum St. Louis (2017); Deana
The Art Institute of Chicago (2015); and Corporeal,
Light Work, Syracuse, N.Y. (2009).
More Deals of the Day and Deeper Discounts Than Ever Before on Buzzworthy Holiday Gifts Across Every Department
Kicking off this Friday, November 22, Amazon’s Black Friday deals week will offer new deals all day, every day from fashion to toys, home, electronics, Amazon Devices and more
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today shared a sneak peek of top deals for its
Black Friday Deals Week,
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thousands of amazing deals across every category, plus more Deals
of the Day
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29 (Black Friday),
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Music, Video & Books
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Get 3 months of Kindle Unlimited for free – Enjoy unlimited access to over 1 million books, popular magazines and thousands of books with Audible narration. Offer valid for new subscribers only.
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THE SEASON’S HOTTEST GIFTS
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BACK THIS HOLIDAY SEASON, AND BEYOND
is committed to making holiday giving and giving back easier than
jump right into holiday shopping and support your favorite
charitable organization at the same time, simply visit
starting with smile.amazon.com,
find the same Amazon experience, with the added bonus that Amazon
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Lists give charitable organizations an easy way to create wish lists
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RED) Shopathon: For
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DELIVERY MADE EASY
addition to free delivery on more than 100 million items for all
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and delivery on your terms: This
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cultural renaissance that emerged in Mexico in 1920 at the end of
that country’s revolution dramatically changed art not just in
Mexico but also in the United States. Vida Americana: Mexican
Muralists Remake American Art, 1925–1945 will explore the
profound influence Mexican artists had on the direction American art
would take. With approximately 200 works by sixty American and
Mexican artists, Vida Americana reorients art history,
acknowledging the wide-ranging and profound influence of Mexico’s
three leading muralists—José Clemente
Rivera, and David Alfaro
Siqueiros—on the style, subject matter, and ideology of
art in the United States made between 1925 and 1945.
Whitney Museum’s own connection to the Mexican muralists dates back
to 1924 when the Museum’s founder Gertrude Vanderbilt Whitney
presented an exhibition of the work of three Mexican artists—José
Clemente Orozco, Luis Hidalgo,
and Miguel Covarrubias—at the
Whitney Studio Club, organized by artist Alexander Brook.
It was Orozco’s first exhibition in the United States. A few years
later, in 1926, Orozco also showed watercolors from his House of
Tears series at the Studio Club; and the following year Juliana
Force, Mrs. Whitney’s executive assistant and future director
of the Whitney Museum, provided critical support for Orozco at
a time when he desperately needed it by acquiring ten of his
drawings. The Mexican muralists had a profound influence on many
artists who were mainstays of the Studio Club, and eventually the
Whitney Museum, including several American artists featured in Vida
Americana, such as Thomas Hart
Benton, William Gropper, Isamu Noguchi, and
Curated by Barbara Haskell, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant, Vida Americana: Mexican Muralists Remake American Art, 1925–1945 will be on view at the Whitney Museum of American Art from February 17 through May 17, 2020 and will travel to the McNay Art Museum in San Antonio, Texas, where it will be on display from June 25 through October 4, 2020. At the McNay Art Museum, the installation will be overseen by René Paul Barrilleaux.
Americana is an enormously important undertaking for the Whitney and
could not be more timely given its entwined aesthetic and political
concerns,” said Scott Rothkopf, Senior Deputy
Director and Nancy and Steve Crown Family Chief Curator. “It
not only represents the culmination of nearly a decade of scholarly
research and generous international collaboration but also
demonstrates our commitment to presenting a more comprehensive and
inclusive view of twentieth-century and contemporary art in the
of paintings, portable frescoes, films, sculptures, prints,
photographs, and drawings, as well as reproductions of in-situ
murals, Vida Americana will be divided into nine thematic
sections and will occupy the entirety of the Whitney’s fifth-floor
Neil Bluhm Family Galleries. This unprecedented installation, and
the catalogue that accompanies it, will provide the first opportunity
to reconsider this cultural history, revealing the immense influence
of Mexican artists on their American counterparts between 1925 and
movies are a form of personal filmmaking made to entertain intimate
audiences of family and friends at private screenings. Since the
introduction of small-gauge, portable cameras in 1922 heralded the
unofficial birth of amateur moviemaking, the many thousands of reels
of non-theatrical film shot by individuals around the world amounts
to perhaps the largest body of work on film produced in the twentieth
century. Commonly orphaned by those who made them, sold for stock
footage and used as documentation, less attention has been given to
what home movies represent as an alternative to theatrical film and
what they share with the work of avant-garde filmmakers.
Yoshiko and Akio Morita Galleries host Private Lives Public
Spaces (October 21, 2019 – July 01, 2020), the
Museum’s first large-scale exhibition of home movies and amateur
films drawn exclusively from its collection. This gallery
presentation of largely unseen, privately produced works will explore
the connection between artist’s cinema, amateur movies, and family
filmmaking since the 1923 introduction of small-gauge film stock
heralded the unofficial birth of affordable home moviemaking. The
Museum’s archival holdings of the genre represent a remarkable
range of creativity by artists, celebrities, world travelers, and the
public at large. This presentation of moving image work offers a
renewed perspective on the creative strategies that amateur
filmmaking shares with experimental and avant-garde cinema of the
20th century. In conjunction with the gallery installation, MoMA’s
Department of Education will stage a Home Movie Day
comprising three Library of Congress National Film Registry
by Ron Magliozzi, Curator, Brittany Shaw, Curatorial
Assistant, Katie Trainor, Collections Manager, Peter
Williamson, Preservation Officer, and Ashley Swinnerton,
Collection Specialist, Department of Film
works dating from 1907 to 1996, Private Lives Public
Spaces is the Museum’s first major exhibition of home
movies and amateur films drawn exclusively from its collection.
Democratic, personal, and unregulated, this “people’s cinema”
is viewed as a precursor to social media, and MoMA’s installation
is predicated on the expanded opportunities for display provided by
digital media and the fresh appreciation that viewers bring to
self-expression in present-day moving image culture.
Each recipient will receive $10,000 and a Leica Q2 to pursue a personal project relevant to today’s social and political climate, as expressed through the female perspective
Following the launch of the Leica Women Foto Project earlier this year – a platform dedicated to the expansion of diversity and inclusion in photography – Leica Camera USA is proud to announce the three recipients of the inaugural Leica Women Foto Project Award. Leica recognizes that the shape of a story is reactive to the storyteller’s perspective, often leaving out those whose point of views are underrepresented. By amplifying the female perspective in photography, Leica aims to help provide a more dynamic and diverse view of the world around us.
importance of diversity in visual storytelling strengthens the
integrity of our collective story,” says Kiran Karnani,
Director of Marketing for Leica Camera North America. “Visual
expressions through myriad lenses challenge and embrace ideas that
drive important conversations. We enable growth through an expansion
of thought when we actively support inclusivity through the
photographic medium. With the Leica Women Foto Project, we aim to
embolden photographers to think outside one’s own point of view,
support underrepresented voices to speak their visual languages, and
celebrate new ways of seeing.“
over 600 submissions across the United States, photographers
Debi Cornwall, Yana Paskova
were selected by a prestigious panel of judges in the photography,
art and entertainment industries to each receive $10,000 and a
to pursue a personal project that tells a story through the female
Cornwall was chosen for her series Necessary Fictions,
which explores the staging and performance of American power in
immersive, realistic military wargames. In this project, Cornwall
photographs the mysterious country of “Atropia.” Though
fictional, Atropia actually exists: mock Afghan and Iraqi villages
have been constructed on military bases across the United States to
host immersive, realistic military training exercises for troops
preparing to deploy. On ten such sites around the country, Cornwall
documents these mock villages, battle scenarios, and “cultural
role-players,” with the goal of examining how fictions are
deployed and embraced, and to invite critical inquiry among military
and civilian viewers alike about a society in which war has become
the rule rather than the exception. Cornwall will use the funding
from the Leica Women Foto Project Award to continue the story of
Necessary Fictions and to explore how fiction and reality blur
within the post-9/11 “fantasy-industrial complex.”
Paskova is a Bulgaria-born, Chicago-bred, Brooklyn-based
photojournalist and writer who uses her experience as a political
asylum immigrant to find a way to bridge humans’ understanding of
each other. Paskova will utilize the award funds to continue
developing her photographic series, Where Women Rule. She
describes the project as “a visual and sociological look at
what happens when cultural norms of gender are amended or removed —
via the all-female societies across the world, where women gather for
shelter or in matriarchy — leaving us with new notions of
femininity and masculinity, human bonds, family, and the fluid
boundaries of identity.”
told through her lens as a self-proclaimed African-American and
Chinese-American queer woman, Eva Woolridge will round out the
inaugural LWFP recipient class by bringing her personal experiences
to life in her project The Size of a Grapefruit. The series is
an artistic interpretation of Woolridge’s medically traumatic
experiences following her diagnosis of a dermoid cyst – the size of a
grapefruit – and consequential removal of her right ovary, which
she believes could have been saved had medical professionals taken
swifter action following their early conversations. With the
assistance of the Leica Women Foto Project, Woolridge aims to
bring to light more stories of black women worldwide who experience
racial bias through a visual representation of their perseverance,
grit and subsequent empowerment cultivated from their specific
Leica Women Foto Project is a keystone program for Leica Camera USA
as we expand opportunities to amplify visual stories told through the
lenses of underrepresented perspectives. The overwhelming response of
hundreds of USA-based submissions in just our first year alone –+is
indicative of the ongoing need for platforms that invite
conversations that provoke new ways of seeing.” says
Karnani.. “We welcome Debi, Yana, and Eva to the Leica family
of storytellers and we look forward to the continued evolution of
their impactful stories.“
projects submitted by Cornwall, Paskova, and Woolridge were carefully
selected by five influential women in the photography, art and
entertainment industries, which included:
Kaufmann, Art Director & Chief Representative, Leica
Steber, VII Agency photographer and Guggenheim fellow
Avedon, photography book and exhibition designer, independent
curator and writer
Roumanos, executive producer and co-founder, United Photo
Willis, university professor and Chair of the Department of
Photography & Imaging at the Tisch School of the Arts at New
York University and author of Envisioning Emancipation: Black
Americans and the End of Slavery
Q2s Cornwall, Paskova and Woolridge will each receive will initially
be provided as one-year loans to kickstart a legacy program helping
to foster community among recipients. At the end of the term, the
cameras will be passed on to the next three winners of the 2020
award. A replacement Leica camera will be offered to the initial set
of recipients to continue documenting their journey through the lens
of a Leica.
three women will showcase photographs from their respective projects
in a joint exhibit at Leica Gallery Boston beginning March
5, 2020 through April 26, 2020 where visitors can view the
journey of their personal projects. To learn more about the Leica
Women Foto Project Award and the 2019 recipients, visit
represents a union of craftsmanship, design and experience. It is a
beautiful collision of art and engineering, and the future of form
and functionality. Leica Camera, headquartered in Wetzlar, Germany,
is an internationally operating, premium-segment manufacturer of
cameras and sport optics products. The legendary status of the Leica
brand is founded on a long tradition of excellence in the supreme
quality and performance of cameras and lenses, and the iconic images
that artists and photojournalists everywhere captured with them. For
more information about Leica visit www.leicacamerausa.com,
Designs for Different Futures is organized by the Philadelphia Museum of Art, the Walker Art Center, and the Art Institute of Chicago.
role of designers in shaping how we think about the future is the
subject of a major exhibition that will premiere at the Philadelphia
Museum of Art this fall. Designs for Different Futures
(October 22, 2019–March 8, 2020) brings together some 80
works that address the challenges and opportunities that humans may
encounter in the years, decades, and centuries ahead. Organized by
the Philadelphia Museum of Art, theWalker
Art Center, Minneapolis,
and the Art Institute of Chicago,
Designs for Different Futures will be presented at the Walker
(September 12, 2020–January 3, 2021) and the Art Institute
of Chicago (February 6–May 16, 2021) following its
presentation in Philadelphia.
the questions today’s designers seek to answer are: What role
can technology play in augmenting or replacing a broad range of human
activities?Can intimacy be maintained at a distance? How can
we negotiate privacy in a world in which the sharing and use of
personal information has blurred traditional boundaries? How might we
use design to help heal or transform ourselves, bodily and
psychologically? How will we feed an ever-growing population?
no one can precisely predict the shape of things to come, the works
in the exhibition are firmly fixed on the future, providing design
solutions for a number of speculative scenarios. In some instances,
these proposals are borne of a sense of anxiety, and in others of a
sense of excitement over the possibilities that can be created
through the use of innovative materials, new technologies, and, most
importantly, fresh ideas.
Rub, the George D. Widener Director and Chief Executive Officer of
the Philadelphia Museum of Art, stated: “We often think of
art museums as places that foster a dialogue between the past and the
present, but they also can and should be places that inspire us to
think about the future and to ask how artists and designers can help
us think creatively about it. We are delighted to be able to
collaborate with the Walker Art Center and the Art Institute of
Chicago on this engaging project, which will offer our visitors an
opportunity to understand not only how designers are imagining—and
responding to—different visions of the futures, but also to
understand just how profoundly forward-looking design contributes in
our own time to shaping the world that we occupy and will bequeath as
a legacy to future generations.”
about the future has always been part of the human condition. It has
also been a perennial field of inquiry for designers and architects
whose speculations on this subject—ranging from the concrete to the
whimsical—can profoundly affect how we imagine what is to come.
Among the many forward-looking projects on view, visitors to Designs
for Different Futures will encounter lab-grown food, robotic
companions, family leave policy proposals, and textiles made of
of these possibilities will come to fruition, while others will
remain dreams or even threats,” said Kathryn Hiesinger,
the J. Mahlon Buck, Jr. Family Senior Curator of European Decorative
Arts after 1700, who coordinated the exhibition in Philadelphia with
former assistant curator Michelle Millar Fisher. “We’d like
visitors to join us as we present designs that consider the possible,
debate the inevitable, and weigh the alternatives. This exhibition
explores how design—understood expansively—can help us all
grapple with what might be on the horizon and allows our imaginations
to take flight.”
exhibition is divided into 11 thematic sections. In Resources,
visitors will encounter an inflatable pod measuring 15 feet in
diameter, part of the work Another Generosity first created in
2018 by Finnish architect Eero Lundén and designed in this
incarnation in collaboration with Ron Aasholm and Carmen
Lee. The pod slowly expands and contracts in the space,
responding to changing levels of carbon dioxide as visitors exhale
around it, and provoking questions about the ongoing effect of the
human footprint on the environment.
section titled Generations will explore ways in which the
choices we make today may contribute to the well-being or suffering
of those who come after us. Here, visitors will find a model of the
Svalbard Global Seed Vault, a repository that stores the
world’s largest collection of crop seeds. Located within a mountain
on a remote island near the Arctic Circle, the facility is designed
to withstand natural or human-made disasters. The Earths section
of the exhibition speculates on the challenges of extra-terrestrial
communication in Lisa Moura’s Alien Nations installation and
showcases typeface from the 2016 science-fiction film Arrival.
Bodies, designers grapple with choices about how our physical and
psychological selves might look, feel, and function in different
future scenarios. Featured here is one of the world’s lightest and
most advanced exoskeletons, designed to help people with mobility
challenges remain upright and active. Also notable is the CRISPR
Kit, an affordable and accessible gene-editing toolbox, which has
the potential to revolutionize biomedical research and open
opportunities for gene therapy and genetic engineering.
is a section that explores how technologies and online interfaces may
affect love, family, and community. Here, urban experiences of sex
and love are the focus of Andrés Jaque’s Intimate
Strangers, an audio-visual installation focusing on the gay
dating app. Through internet-enabled devices, designers explore the
possibility of digitally mediated love and sex, suggesting what
advanced digital networks hold for human sexuality.
contains projects that explore the future of the human diet.
Among them is a modular edible-insect farm, Cricket Shelter,
by Terreform ONE, which offers a ready source of protein for
impending food crises. A kitchen installation suggests how technology
and design may contribute to new modes of food production, including
an Ouroboros Steak made from human cells.
sections of the exhibition will focus on the future of Jobs and how
Cities will function and look 100 years from now—with
robotic baby feeders, driverless cars, and other
developments—affording a glimpse at how we might navigate living
beyond this planet. Shoes grown from sweat are among the innovations
visitors will find in a section devoted to Materials, while
Power will look at how design may affect our citizenship and
help us retain agency over such essentials as our DNA, our voices,
and our electronic communications in a future where the lines between
record-keeping, communication, and surveillance blur. Data
acknowledges and questions the different ways that information
might be collected and used, with all its inherent biases and
asymmetries, to shape different futures.
curatorial team is comprised of: at the Philadelphia
Museum of Art, Kathryn B.
Hiesinger, The J. Mahlon Buck, Jr. Family Senior
Curator of European Decorative Arts after 1700, and Michelle
Millar Fisher, formerly The Louis C. Madeira IV Assistant
Curator of European Decorative Arts after 1700; At the Walker
Art Center, Emmet Byrne,
Design Director and Associate Curator of Design; and at the Art
Institute of Chicago, Maite
Borjabad López-Pastor, Neville Bryan Assistant Curator of
Architecture and Design, and Zoë Ryan,
the John H. Bryan Chair and Curator of Architecture and Design.
Consulting curators are Andrew Blauvelt,
Director, Cranbrook Art Museum, Bloomfield
Hills, Michigan, and Curator-at-Large, Museum of Arts
and Design, New York; Colin Fanning,
Independent Scholar, Bard Graduate Center,
New York; and Orkan Telhan,
Associate Professor of Fine Arts (Emerging Design Practices),
University of Pennsylvania School of Design,
B. Hiesinger is the J. Mahlon Buck, Jr. Family Senior Curator of
European Decorative Arts after 1700 at the Philadelphia
Museum of Art. Her work focuses on decorative arts and
design from the mid-nineteenth century to the present and includes
the exhibitions and publications Zaha Hadid: Form in Motion
(2011), Out of the Ordinary: The Architecture and Design of
Robert Venturi, Denise Scott Brown and Associates (2001),
Japanese Design: A Survey since 1950 (1994) and Design
since 1945 (1983).
Millar Fisher is the Ronald C. and Anita L Wornick Curator of
Contemporary Decorative Arts at the Museum
of Fine Arts, Boston. She is a graduate of the University
of Glasgow, Scotland, and is currently completing her
doctorate in architectural history at the Graduate
Center of the City University of New York. She is the
co-author, with Paola Antonelli, of Items: Is Fashion
Byrne is the Design Director and Associate Curator of Design at
the Walker Art Center in
Minneapolis. He provides creative leadership and strategic direction
for the Walker in all areas of visual communication, branding,
publishing, while overseeing the award-winning in-house design
studio. He was one of the founders of the Task Newsletter in
2009 and is the creator of the Walker’s Intangibles platform.
Borjabad López-Pastor is the Neville Bryan Assistant Curator of
Architecture and Design at the Art Institute
of Chicago. She is an architect and curator educated at
the Universidad Politécnica de Madrid and Columbia
University, New York. She is the author and curator of
Scenographies of Power: From the State of Exception to the Spaces
of Exception (2017). Her work revolves around diverse forms of
critical spatial practices, operating across architecture, art, and
Ryan is the John H. Bryan Chair and Curator of Architecture and
Design at the Art Institute of Chicago.
She is the editor of As Seen: Exhibitions That Made Architecture
and Design History (2017) and curator of In a Cloud, in a
Wall, in a Chair: Six Modernists in Mexico at Midcentury (2019)
and the 2014 Istanbul Design Biennial, The Future is Not
What it Used to Be. Her projects explore the impact of
architecture and design on society.
on the innovative contemporary design objects, projects, and
speculations of the exhibition’s checklist, the accompanying volume
proposes design as a means through which to understand, question, and
negotiate individual and collective futures, giving provocative voice
to the most urgent issues of today. It asks readers to contemplate
the design context within broader historical, social, political, and
aesthetic spectrums. Designs for Different Futures addresses
futures near and far, exploring such issues as human-digital
interaction, climate change, political and social inequality,
resource scarcity, transportation, and infrastructure.
primary authors are Kathryn B. Hiesinger, Michelle Millar Fisher,
Emmet Byrne, Maite Borjabad López-Pastor, and Zoë Ryan,
with Andrew Blauvelt, Colin Fanning, Orkan Telhan, Juliana Rowen
Barton, and Maude de Schauensee. Additional contributions
include texts by V. Michael Bove Jr. and Nora Jackson,
Christina Cogdell, Marina Gorbis, Srećko Horvat, Bruno Latour,
Marisol LeBrón, Ezio Manzini, Chris Rapley, Danielle Wood, LinYee
Yuan, and Emma Yann Zhang; and interviews with Gabriella
Coleman, Formafantasma (Andrea Trimarchi and Simone
Farresin), Aimi Hamraie and Jillian Mercado, Francis
Kéré, David Kirby, Helen Kirkum, Alexandra Midal, Neri Oxman,
and Eyal Weizman.
for Different Futures will be distributed by Yale University
Press. The book was overseen by Philadelphia Museum of Art
publishing director Katie Reilly and editors Katie Brennan
and Kathleen Krattenmaker. It is designed by Ryan Gerald
Nelson, Senior Graphic Designer at the Walker Art Center, under the
direction of Walker design director Emmet Byrne.
part of the exhibition, visitors to the Philadelphia Museum of Art
galleries will also encounter a space for community meetups, public
programs, school visits, and self-directed activities. The Futures
Therapy Lab will weave personal connections between visitors and
the exhibition as part of a collaboration between the museum’s
Education Department and the curatorial team. Weekly programs,
many of which will occur on Pay-What-You-Wish Wednesday Nights,
will connect visitors with designers, artists, and locally based
creatives. The Futures Therapy Lab will contain a crowdsourced
Futures Library that includes everything from science-fiction
books to the exhibition catalogue. “Thinking about possible
futures is both exhilarating and anxiety-provoking,” said
Emily Schreiner, the Zoë and Dean Pappas Curator of Education,
Public Programs. “The Futures Therapy Lab is a place for
conversation, critique, and creativity in which visitors can imagine
their own hopes, fears and solutions for the future through
reflection, discussion, and art making.”
Philadelphia, this exhibition is generously supported by the
Annenberg Foundation Fund for Major Exhibitions, the Robert
Montgomery Scott Endowment for Exhibitions, the Kathleen C.
and John J.F. Sherrerd Fund for Exhibitions,Lisa Roberts and
David Seltzer in Honor of Collab’s 50th Anniversary, the Women’s
Committee of the Philadelphia Museum of Art, the Laura and
William C. Buck Endowment for Exhibitions, the Harriet and
Ronald Lassin Fund for Special Exhibitions, the Jill and
Sheldon Bonovitz Exhibition Fund, and an anonymous donor.
Futures Therapy Lab will host a series of weekly happenings:
in the Lab
and designers share their work through talks, demonstrations, and
workshops. Wednesday Nights, 5:00–8:45 p.m.
Designer is In
it out. One-on-one sessions with local designers offer new
perspectives on your everyday life. Thursdays & Saturdays,
readings that explore narratives of the future. Select Sundays,
This fall, the Philadelphia Museum of Artpresents Off the Wall: American Art to Wear, (November 10, 2019 – May 17, 2020) a major exhibition that highlights a distinctive American art movement that emerged in the late 1960s and flourished during the following decades. It examines a generation of pioneering artists who used body-related forms to express a personal vision and frames their work in relation to the cultural, historical and social concerns of their time. Focusing on iconic works made during the three decades between 1967 and 1997, the exhibition features over 130 one-of-a-kind works by more than sixty artists. Comprised primarily of selections from a promised gift of Julie Schafler Dale, it will also include works from the museum’s collection and loans from private collections. Off the Wall: American Art to Wear is accompanied by a new publication of the same title, co-published by the Philadelphia Museum of Art and Yale University Press.
Rub, the George D. Widener Director and CEO, said: “This
exhibition will introduce to our visitors an exceptionally creative
and adventurous aspect of American art which took the body as a
vehicle for its expression. We are not only deeply grateful to Julie
Dale for her extraordinary gifts and support of the museum but also
see this as an opportunity to acknowledge the dynamic role she played
in nurturing the growth and development of this movement.”
champions of Art to Wear during the early years were a
few forward-thinking museums, among them New York’s Museum of
Contemporary Crafts (Museum of Art and Design), collectors, and
galleries such as Sandra Sakata’s Obiko, founded in
1972 in San Francisco, and Julie Schafler Dale’s Julie:
Artisans Gallery, which opened the following year on Madison
Avenue in New York. For over 40 years, Dale’s gallery was a premier
destination for presenting one-of-a-kind wearable works by American
artists. Through her gallery installations and rotating window
displays, she gave visibility to the Art to Wear movement. In 1986,
she brought further recognition to the art form by publishing the
seminal book Art to Wear—from which the title of this
exhibition is taken—which provided in-depth profiles of artists
alongside photographs by Brazilian fashion photographer Otta
Stupakoff. Dale’s gallery closed in 2013.
the Wall is arranged in nine sections; the titles of some are
derived from popular music of the ‘60s and ‘70s to suggest the
wide-ranging concerns of the artists. The introductory section, The
Times They Are A Changin’ (Bob Dylan, 1964), contains works by
Lenore Tawney, Dorian Zachai, Claire Zeisler, Ed Rossbach, and
Debra Rapoport to illustrate how textile artists in the late
‘50s and ‘60s liberated tapestry weaving from the wall, adapting
it to three-dimensional sculptural forms inspired by pre-Columbian
1969, a group of five students at Pratt Institute studying
painting, sculpture, industrial design, multimedia, and graphic
design taught each other how to crochet, leading to remarkable
outcomes. Janet Lipkin, Jean Cacicedo, Marika Contompasis, Sharron
Hedges, and Dina Knapp all created clothing-related forms
that they would describe as wearable sculpture, thus establishing a
cornerstone of the Art to Wear movement. A highlight in this
section is a wool crochet and knit Samurai Top, 1972, by
Sharron Hedges, modeled by the young Julie Dale for the book
Creative Crochet, authored by two of the artist’s friends,
Nicki Hitz Edson and Arlene Stimmel.
next section, Good Vibrations (Beach Boys, 1966), traces the
migration of many of these young artists from the East Coast to the
West Coast where they joined California’s vibrant artistic
community and connected with Sandra Sakata’s Obiko. A pair
of colorful denim hand-embroidered mini shorts by Anna VA Polesny
embroidered while traveling conveys this new youthful spirit.
Pacific Rim influences are evident in the Japanese kimono form as a
blank canvas offering infinite possibilities for pattern and design.
Katherine Westpahl’s indigo blue resist-dyed cotton work, A
Fantasy Meeting of Santa Claus with Big Julie and Tyrone at
McDonald’s, 1978, and Janet Lipkin’s Mexico at
Midday, a coat made in 1988 are exceptional examples. A range of
counter-culture influences, evoking ceremony and spirituality,
pervade this section.
Together (The Beatles, 1969) responds to the popular use of
assemblage in art-making, especially the use of nontraditional
materials. It also looks at the art of performance, reflected in Ben
Compton and Marian Clayden’s Nocturnal Moth, 1974,
inspired by Federico Fellini’s film La Dolce Vita
(1960). “Mother Earth,” a nod to the publication Mother
Earth News Magazine, looks to nature and environmental concerns
while This Land is Your Land (Woodie Guthrie, 1940) explores
iconic American imagery including reference to the American West and
Native American cultures. Examples in this section include Joan
Ann Jablow’s Big Bird cape, 1977, made entirely of
recycled bird feathers, and Joan Steiner’s Manhattan
Collar, 1979, which reimagines New York’s skyline in miniature.
Worlds explores fantasy and science fiction, two genres that
offered young people an escape from the period’s cultural and
political upheavals. Noteworthy here are works by Jean Cacicedo
and Nina Huryn, both of whom riff on one of the most widely
read English language books at the time, J.R.R. Tolkien’s
trilogy Lord of the Rings (1965). Cacicedo responded with a
portrait of Treebeard, 1973, a Tolkien character, while Huryn
created her own fantasy world in Tree Outfit, with its flowing pants,
loose shirt and leather sleeveless jacket containing forest and
folklore imagery, a work made especially for Julie: Artisans
Gallery in 1976. Other artists turned to dreams, such as Susanna
Lewis, who created Moth Cape, 1979, in response to a
nightmare that she had of a giant moth enveloping her body.
section called I Am Woman (Helen Reddy, 1971) underscores the
ways in which artists invoked feminism directly and indirectly in Art
to Wear. Janet Lipkin, for example, invested her works
with symbols of freedom while searching for new directions in her
life, as seen in Bird Coat, 1972, Flamingo, 1982, and
Transforming Woman, 1992. Other works like Combat Vest,
1985, by Sheila Perez, feature plastic toy soldiers as
protective armor for the chest area, while Nicki Hitz Edson’s
Medusa Mask, 1975, is a wild expression of fraught emotions
surrounding the breakup of her marriage.
My World (Chicago, 1970) reflects the buoyant rainbow color
spectrum that was ubiquitous during this era. Recently published
works on color theory by Johannes Itten and Josef Albers
provided a cornerstone of the new art education. For Linda
Mendelson, color, typography, and text became inseparable. She
adapted Albers’s ideas relating to after-images in Big Red,
and linked color progression with lines from a poem titled Coat by
William Butler Yeats from which she drew inspiration. Other
artists such as Tim Harding created an effect similar to
impressionist brush strokes by slashing and fraying dyed fabrics, as
seen in his colorful coat Garden: Field of Flowers, 1991.
final section Everybody’s Talkin’ (Harry Nilsson, 1969)
explores the use of text in Art to Wear. JoEllen Trilling
engages in visual word play using common prepositions on a
jacket, while Jean Cacicedo channels her grief over her
father’s death using words taken from the bible that celebrated his
life in My Father’s House, 1994.
Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costumes
and Textiles, who organized the exhibition, said: “We are
looking back at this period with a fresh lens through which to
consider a uniquely American art form that continues to have a
worldwide influence. With roots and connections in fine arts, fiber
art, craft, performance and fashion, there are so many important
artists to appreciate. For this reason I am delighted by the
opportunity to cast a light on such extraordinary talents, including
so many adventurous women who deserve much greater recognition.”
the Wall: American Art to Wear is accompanied by a new
publication of the same name co-published the Philadelphia Museum of
Art and Yale University Press, co-authored by exhibition curators
Dilys E. Blum, The Jack M. and Annette Y. Friedland Senior
Curator of Costumes and Textiles at the Philadelphia Museum of Art,
and independent textile scholar and curator Mary Schoeser,
with a contribution written by Julie Schafler Dale. The volume
provides the social, political, and artistic context for Art to
Wear. ISBN 9780876332917.
Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of
Costume and Textiles and Mary Schoeser, Independent Textile Historian
exhibition has been made possible by Julie Schafler Dale, PNC, The
Coby Foundation, the Arlin and Neysa Adams Endowment Fund, Catherine
and Laurence Altman, the Center for American Art at the Philadelphia
Museum of Art, and other generous donors.
The Museum of Modern Art will inaugurate its latest transformation on New York City’s Wesr 53rd Street with Surrounds: 11 Installations, opening in The Steven and Alexandra Cohen Center for Special Exhibitions, in The Peggy and David Rockefeller building, on October 21, 2019. The presentation, spanning the entire sixth floor, presents 11 watershed installations by living artists from the past two decades, all drawn from the Museum’s collection and on view at MoMA for the first time. Each installation will occupy its own gallery, providing an individualized, immersive experience.
is organized by Quentin Bajac, former Joel and Anne Ehrenkranz
Chief Curator of Photography, Christian Rattemeyer, Harvey S.
Shipley Miller Associate Curator for Drawings and Prints, Yasmil
Raymond, Associate Curator, Department of Painting and Sculpture,
Sean Anderson, Associate Curator, Department of Architecture
and Design, and Joshua Siegel, Curator, Department of Film,
with the assistance of Lucy Gallun, Associate Curator,
Department of Photography, Erica Papernik-Shimizu, Associate
Curator, Department of Media and Performance, Arièle
Dionne-Krosnick, Curatorial Assistant, Department of Architecture
and Design, and Taylor Walsh, Curatorial Assistant, Department
of Drawings and Prints.
includes work by Jennifer Allora (American, b. 1974) and
Guillermo Calzadilla (Cuban, b. 1971), Sadie Benning
(American, b. 1973), Janet Cardiff (Canadian, b. 1957) and
George Bures Miller (Canadian, b. 1960), Sou Fujimoto
(Japanese, b. 1971), Sheila Hicks (American, b. 1934), Arthur
Jafa (American, b. 1960), Mark Manders (Dutch, b. 1968),
Rivane Neuenschwander (Brazilian, b. 1967), Dayanita Singh
(Indian, b. 1961), Hito Steyerl (German, b. 1966), and Sarah
Sze (American, b. 1969).
work included in the exhibition was conceived out of different
individual circumstances—as a contribution to a biennial, as an
element of a larger ongoing body of work, as a response to a classic
work of art history, or as a stand-alone work unrelated to others—but
the installations are united in their ambition and scope, marking
decisive shifts in the careers of their makers and the broader field
of contemporary art.
exhibition is made possible by Bank of America, MoMA’s
funding is provided by Agnes Gund.
contributions to the Annual Exhibition Fund, in support of the
Museum’s collection and collection exhibitions, are generously
provided by the Kate W. Cassidy Foundation, Sue and Edgar
Wachenheim III, Mimi and Peter Haas Fund, Jerry I.
Speyer and Katherine G. Farley, Eva and Glenn Dubin, The
Sandra and Tony Tamer Exhibition Fund, Alice and Tom Tisch,
The David Rockefeller Council, Anne Dias, Kathy and Richard S. Fuld,
Jr., Kenneth C. Griffin, Marie-Josée and Henry R. Kravis, Jo Carole
and Ronald S. Lauder, Anna Marie and Robert F. Shapiro, The Keith
Haring Foundation, and The Contemporary Arts Council of The
Museum of Modern Art.
contributions to the Annual Exhibition Fund are provided by
the Estate of Ralph L. Riehle, Emily Rauh Pulitzer, Brett and
Daniel Sundheim, Karen and Gary Winnick, The Marella and Giovanni
Agnelli Fund for Exhibitions, Clarissa Alcock and Edgar Bronfman,
Jr., Agnes Gund, and Oya and Bülent Eczacıbaşı.
Audio is supported by Bloomberg Philanthropies.