Culturezine:I Don’t Do’s Black Restaurant Month:Turn it Over

There is only one thing that’s ever changed things in this system and its DEVOTION….show yours to the cause of elevating black business in America by Buying at least 50% black if you can check out I dont do club’s campaign…..until we receive reparations…which i am sure we will in this century for building this great nation ..and i am certain we will in the form of free education for the amount of generations that were forced to suffer oppression in our racist system  …until then …we need to buy at least 50% black …and when we buy outside of our culture we should make demands as opposed to just giving the milk away to anybody …n’est pas???


Art:Tis the Fairest of the season’s…..get out and be you


sehii gallery



OCTOBER 13, 2015

Renowned South African artist William Kentridge returns to New York for the premiere of his new production of Alban Berg’s Lulu at the Metropolitan Opera. At the Museum, he joins master printer Andrew Hoyem to discuss the limited-edition letterpress volume of Lulu that the two are creating for Hoyem’s Arion Press of San Francisco. The multitalented artist and the master printer discuss how design and imagery aid human imagination, whether by enhancing words on a page or orchestral sound in a theater.

For further information, please visit the The Metropolitan Museum of Art website

Dan Flavin Corners, Barriers and Corridors

September 10 – October 24, 2015

Dan Flavin Corners, Barriers and Corridors

September 10 – October 24, 2015

Opening reception: Thursday, September 10, 6 – 8 PM
Press preview with Senior Partner Kristine Bell: Wednesday, September 9, 10 AM

Above: untitled (to a man, George McGovern) 2, 1972. Warm white fluorescent light, 10 ft. (305 cm) high, 10 ft. (305 cm) wide. CL no. 303. © 2015 Stephen Flavin/Artists Rights Society (ARS), New York

Cinema:The Black Panthers:Vangaurd of a Revolution /Stanley Nelson/Film ForumSept 2-sept17th


a lot is left un-examined in The Black Panthers:Vangaurd of the Revolution…only the surface of the Panther mythology is illuminated  from its meteoiric rise to its seemingly inevitable demise….its really a documentary for those who have never heard of Huey and Edger and J Edger Hoover….however its a useful summary of a great piece of American ourstory


#1 Women drilling with Panther flags. Photo courtesy of Pirkle Jones and Ruth-Marion Baruch.

Art:Yaon Capote@Jack Shainman Gallery /”Collective Unconscious”May 28-July10,2015

Yaon capote@jackshainman .com
Yoan Capote uses sculpture, painting, installation, photography, and video to create analogies between the visual poetry of inanimate objects and the intangible world of the mind. He merges incongruous items, such as human organs and mundane objects, to plumb ideas of humanity. His work deals with the intimate and the personal, while investigating constructions that are based in power and difference. In a 2010 ARTINFO interview with Scott Indrisek, Capote said “Over-representation is not an issue for me; it’s actually a characteristic of pop culture that I’m intrigued by. In my case, I consider my use of iconic images a sort of Neuro-Pop, because my approach to the images is conceptual first and foremost. The common thread in all my work is that it is weighted in the condition of the human psyche.”

In Art in America 2006, Eleanor Heartney wrote of Capote’s work, “He creates paradoxical images with political and psychological overtones. In sculptures and beautifully crafted academic drawings, he rearranges the human body and reinvents the purposes of everyday things… Capote’s work is both thought provoking and humorous. He brings to mind the absurdist impossibilities of Rene Magritte, overlaid with a sense of nostalgia for physical experience in an increasingly digital world.”

Capote was born in Havana, Cuba in 1977, where he lives and works. The unique experience of being Cuban, influences his work, which often deals with themes of migration or government that reference Cuban identity yet is universally accessible. He studied at the Provincial School of Art in Pinar del Rio, Cuba (1988–1991), the National School of Art in Havana (1991–1995), and the Higher Institute of Art in Havana (1996–2001).

Capote has exhibited extensively, including in Portugal, Spain, Switzerland, France, England, Panama, Cuba and the United States. Capote represented Cuba at the (2011) Venice Biennale along with three other artists in Cuba Mon Amour. He installed his thirty-foot tall monumental sculpture Stress in both the (2012) 11th Havana Biennial and in Portugal Arte 10 EDP in Lisbon in (2010). A group of outdoor sculptures was exhibited recently at LongHouse Reserve in Easthampton, New York.

Capote’s work is included in many public collections including 21c Museum Hotel, Louisville, Kentucky, the Kadist Art Foundation, Paris and San Francisco, the Pizzuti Collection, Columbus, Ohio and Daros Latin America, Zurich, Switzerland. He has been the recipient of numerous awards including International Fellowship Grant from the Guggenheim Foundation (2006), a UNESCO Prize (2000), a Pollock-Krasner Foundation Grant (2006), a Vermont Studio Center Fellowship (2002) and a residency at the Brownstone Foundation in Paris (2003).

Jack Shainman Gallery has represented Capote since 2010. Solo exhibitions at the gallery include Mental States (2010), and the upcoming Collective Unconscious opening May 28 – July 10, 2015.


ART:Tina Barney :”4 Decades”@Paul Kasmin May7th-june20th

Tina Barney was born in New York City in 1945. She currently lives and works in New York City and Westerly, Rhode Island. 

The artist’s photography career began in the mid 1970s while living in Sun Valley, Idaho. Barney began photographing in color with a large format view camera just before returning to New York in 1983. Her iconic tableauxs portraying the daily life of the social elite are in the permanent collections of numerous institutions including the the Museum of Modern Art, the Whitney Museum of American Art, Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston, among many others. Barney’s works were included in the 1987 Whitney Biennial, and recent solo exhibitions include The Europeans at the Frist Center in Nashville, TN and The Europeans at the Barbican Art Gallery, London, UK, which traveled to the Museum of Art, Salzburg, Austria.


Art:Theaster Gates in the UK @ Whitecube ,Bermondsey until july 5th

theastergates at white cube

South Gallery I: 1 / 2

Cinema:”Forbidden Films”:The Hidden Legacy of Nazi Film /Felix Moeller/@Film Forum

A scene from Felix Moeller’s FORBIDDEN FILMS: THE HIDDEN LEGAC

The Hidden Legacy of Nazi Film


Wednesday, May 13 – Tuesday, May 19


From filmmaker/film historian Felix Moeller (director of HARLAN – IN THE SHADOW OF THE JEW SÜSS) comes this thoughtful, provocative analysis of the 40 Nazi-produced movies still banned from broadcast or public screening in Germany (except in a scholarly context) because they are considered too inflammatory or offensive. The Third Reich’s anti-Semitic films are well-known (among them THE ETERNAL JEW, THE ROTHSCHILDS, JEW SÜSS), but less famed are their anti-British and anti-Polish dramas, featuring heroic young Germans, mercilessly bullied by greedy, deranged foreigners. Nearly 70 years after the demise of the Nazis, do Joseph Goebbels’s notorious propaganda movies still pose a threat to civil society? See this galvanizing documentary and judge for yourself. .

All Tickets Free of Charge.

Presented with generous support from the Ostrovsky Family Foundation
and the Joan S. Constantiner Fund for Jewish and Holocaust Films.



“FASCINATING.  MUST-SEE VIEWING for cinephiles of all persuasions.” 
– Ronnie Scheib, Variety

“COMPELLING.  FASCINATING viewing for both film and history buffs.” 
– Frank Scheck, The Hollywood Reporter



Art:”Book for Architects” Wolgang Tilman @ the Met /Jan26th -July25th ,2015

He is a modern visual poet . Revealing our obvious lost of a certain romanticism just through his use of a basically unromantic medium(that being photography) and his fluid embrace  and use of thoroughly early- modernist points of departure…his frame  is often reminiscent of the early Constructivist…Rodchenko in particular and seems equally informed by  post seventies photo-journalism as it is by Post-modern Contemporaries like Nan Golden for example  ..and yet the feeling I get from Mr .Tilman’s work is one of looking at a Monet or a Manet …he views the everyday in a very Romantic ,eloquent and yet banal way .What’s more a Tilman show is always a delight because the artist uses the gallery space like Brodovitch  would have used a page in Vogue …The space becomes integral to the Narrative ..lets hope he does the same at   The Metoi

Wolfgang Tillmans’s installation Book for Architects (2014) is on view at the Metropolitan Museum for the first time since its debut at the 2014 Venice Architecture Biennale. Over a period of ten years, Tillmans (German, born 1968) photographed buildings in thirty-seven countries on five continents to produce Book for Architects. The 450 photographs are presented in a site-specific, two-channel video installation projected onto perpendicular walls. Book for Architects shows architecture through the eyes of the artist. Tillmans seeks to express the complexity, irrationality, madness, and beauty found in quotidian buildings, street patterns, and fragments of spaces. He achieves this from a technical standpoint by using standard lenses, which most closely approximate the perspective of the naked eye. Additionally, Tillmans designs the experience of the exhibition in the installation space itself—from the proximity and arrangement of the projected images to the seating, which is designed in a bleacher-like arrangement to enable a range of perspectives and views of the work. Through this cyclic series of photographs of largely anonymous building exteriors, interiors, city shots, and street views, Tillmans presents a personal portrait of contemporary architecture that will be familiar to everyone.

Art: The Master artist Lawrence Jacob @ MOMA/April 3d -Sept07th/

lawrence jacobs @moma

In 1941, Jacob Lawrence, then just 23 years old, completed a series of 60 small tempera paintings with text captions about the Great Migration, the multi-decade mass movement of African Americans from the rural South to the urban North that started around 1915. Within months of its making, the series entered the collections of The Museum of Modern Art and the Phillips Memorial Gallery (today The Phillips Collection), with each institution acquiring half of the panels. Lawrence’s work is now an icon in both collections, a landmark in the history of modern art, and a key example of the way that history painting was radically reimagined in the modern era. One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North reunites all 60 panels for the first time at MoMA in 20 years.

Along with Lawrence’s series, the exhibition includes other accounts of the Migration from the era, including novels and poems by writers such as Langston Hughes, Claude McKay, and Richard Wright; music by Josh White, Duke Ellington, and Billie Holiday; photographs by Dorothea Lange, Ben Shahn, Gordon Parks, and Robert McNeill; sociological tracts by Carter Woodson, Charles Johnson, Emmett Scott, and Walter White; and paintings by Charles Alston, Romare Bearden, and Charles White. The range of works in the exhibition sheds light on the ways in which Lawrence drew upon and transformed contemporary models for representing the Afro- American experience.

The exhibition is accompanied by a book, Jacob Lawrence: The Migration Series, copublished with The Phillips Collection, Washington D.C. With the opening of the exhibition, MoMA has created a rich multimedia website that explores each of Lawrence’s Migration panels, accompanied by a range of visual, auditory, literary, and documentary materials. The exhibition is also accompanied by a film series in MoMA’s theaters in June. Download a brochure of related programming. (Adobe Acrobat Reader required)


Art:Gordon Parks “Segregation”@ Adamson Gallery ,Washington DC/April 11th till June 27th,2015

gordon parks                   segregation

gordon parks 2                   segregation2Adamson Gallery 

GORDON PARKS: Segregation Story


Adamson Gallery is proud to present an exhibit of photography by Gordon Parks, one of the twentieth century’s foremost documentarians of American life. This exhibition features a selection of images from Segregation Story, Parks’s powerful 1956 photographic series, which documented an extended African American family in segregated Alabama. Originally commissioned for a September 1956 issue of Life Magazine, this series is an intimate portrayal of one family’s perseverance through racial and economic subjugation in the Jim Crow South.

This exhibition will be on view from Aprill 11th through June 27th, 2015.

Art:Laylah Ali’s “The Acephalous Series”March25th-April25th @ Paul Kasmin Gallery

In anthropology, an acephalous society (from the Greek ἀκέφαλος “headless”) is a society which lacks political leaders or hierarchies. Such groups are also known as egalitarian or non-stratified societies. Typically these societies are small-scale, organized into bands or tribes that make decisions through consensus decision making rather than appointing permanent chiefs or kings. Most foraging or hunter-gatherer societies are acephalous.

In scientific literature covering native African societies and the effect of European colonialism on them the term is often used to describe groups of people living in a settlement with “no government in the sense of a group able to exercise effecitve control over both the people and their territory”.[1] In this respect the term is also often used as synonymous to “stateless Society”.[2] Such societies are described as consensus-democratic in opposition to the majority-democratic systems of the West.[3]

The Igbo Nation in West Africa is alleged to be an acephalous or egalitarian society.

Laylah Ali

Layla Ali@PaulKasmin

Art:the Trenton Doyle Hancock survey @Studio Museum in Harlem until June 28th


Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing chronicles the foundation and evolution of Hancock’s prolific career. The exhibition is the first in-depth examination of the artist’s extensive body of drawings, collages and works on paper. For over two decades, Hancock has immersed himself in drawing, testing the elasticity of the medium with a keen sense of humor. Hancock was born in 1974 in Oklahoma City, Oklahoma. He lives and works in Houston, Texas. In 2007, Hancock was the recipient of The Studio Museum in Harlem’s Joyce Alexander Wein Artist Prize. Organized by the Contemporary Arts Museum Houston (CAMH), Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is curated by Valerie Cassel Oliver, Senior Curator. The Studio Museum’s presentation is organized by Lauren Haynes, Associate Curator, Permanent Collection.

Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is supported by a generous grant from the National Endowment for the Arts and other supporters of CAMH.


Art:Orin Vadney

Miami:Feb26th -May 31st Victoria Gitmans “Design Eye ” exhibition of obsessive  little oil’s that look like commercial jewelry ads  or Ingres drawings…raises  a few questions about our modern romance with things  at The Perez

New York:Picasso’s curtain for Le  Ballet Russe ‘s ‘The Ballet found its new home at the New York Historical Society  from May 22nd on

Raising the Curtain: Picasso’s Painting for the Ballet Le Tricorne
May 22, 2015- Summer 2015

In Spring 2015, the New-York Historical Society will display its newly acquired and conserved Picasso in the exhibition Raising the Curtain: Picasso’s Painting for the Ballet Le Tricorne. It is the first work by Picasso, and one with great wall power and a New York history, to enter New-York Historical’s collection.

Pablo Picasso, Painting for the Ballet Le Tricorne, 1919. New-York Historical Society. Gift of New York Landmarks Conservancy, Courtesy of Vivendi Universal. © 2015 Estate of Pablo Picasso / Artists Rights Society (ARS) New York

Pablo Picasso painted the stage curtain for the two-act ballet The Three-Cornered Hat (“El sombrero de tres picos” or “Le tricorne”). The ballet and curtain were commissioned by the impresario Sergei Diaghilev for his avant-garde, Paris-based Ballets Russes, the most influential ballet company of the twentieth-century. The ballet was choreographed by Léonide Massine with music by the Spanish composer Manuel de Falla. It premiered on July 22, 1919, at the Alhambra Theatre in London with sets, costume designs, and the monumental stage curtain created by Picasso. Picasso biographer John Richardson once called “Le Tricorne” the artist’s “supreme theatrical achievement.” The production, which was conceived by Diaghilev and Massine during a trip to Spain, was enhanced by its many Spanish collaborators, including Picasso who also designed the costumes and set for the ballet.

Measuring roughly 20 feet square, the curtain depicts a scene with a bullring and celebratory spectators. Picasso painted it as an illusionistic window in a larger curtain that functioned as a backdrop setting the scene for the ballet. At some point before 1956 Diaghilev cut it from its larger context. For more than half a century the curtain, believed to be the largest Picasso painting in the world, has hung in the hallway of the Four Seasons Restaurant, in the landmarked Seagram Building, designed by Ludwig Mies van der Rohe, on Park Avenue and Fifty-second Street in New York City. Vivendi, the company that once owned the Seagram Building, gave the Picasso curtain to the New York Landmarks Conservancy in 2005 as a “Gift to the City.”

The show will position Picasso’s curtain in a dialogue with other N-YHS objects, including paintings from the European tradition that provide background to the artist‘s work as well as to the traditions against which the revolutionary artist rebelled. Other thematic threads pivot around dance subjects and explore roughly contemporary American paintings, sculpture, posters, and watercolors. Among the works included will be examples by William Adolphe Bouguereau, Will H. Bradley, Philippe de Champaigne, Jean-Léon Gérôme, Childe Hassam, Malvina Hoffman, Ricardo de Madrazo y Garreta, Elie Nadelman, Edward Penfield, Maurice Prendergast, John Sloan, and Adriaen van Utrecht.


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