While in Think café on 8th ave and 14th st. my eyes begin to pan the rooms walls, I note a series of rather poetic canvases.. small but ringing with both a tranquility and a boldness I found fascinating all signed by artist Keshida Layone …Layone is by nature a visionary …you see it in his work and feel it in his presence …a certain calm and laid back meditative tone is central to his work and being .well I got a chance to interview him by e-mail and to find out a bit more about the man behind the art ..the exhibition is up untilQ:Do u attribute or appoint certain narratives to colors?A: I push and pull my triumphs and failures to light on canvas or to anything that will hold it .. when painting I try to expose it in the wide spectrum of colors, But I usually stay in the warm family and sometimes go cool with colors.. I see yelllows and Oranges as a place I always want to be / stay at.. it tends to make me feel better and pinks and blues are flirty and fun but can also be bold and serious depending on how I apply my mediums.Q:Your palette has softened and so has your focal point ..why do you choose the colors you do now???A: I have gone through a lot this year.. some of my pieces in ” Earth- Up Close” are me coming to a calm place in my life and listening to life speak back at me.. I wantedthese colors to make the naked eye touch the heart of the watcher .. to feel a moment of peace and solitude.Q:Is painting meditative for you …do you ever struggle with the medium?A: Yes painting is very meditative for me.. It’s not something I do daily as I have other ways to slow down writing is one of my other ways to release.. Painting usually starts in this process in my mind first as I write or drift off in deep thoughts.. By the time the paint brush is in my hand it’s like the story is just waiting to unfold.. My mind is on a high and I’m releasing my heart to your heart.
Q:Are you one of those people who hear colors and see melodies??A: Great question.. I guess I never thought of it that way but I hear music in all my work.. I am infatuated with the flute. Mostly when played slowly accompanied with any instrument. It tends to make me paint in very vibrant and brilliant colors..
Q:Give your audience an idea of your creative background family wise??A: I wasn’t really close to my dad but he was an amazing drummer, My mother a born poet and writer and forever love of all things connected to nature.. I have a slew of aunts that are artists in that of illustrators, actress, and the list goes on. art and creativity has been in my bloodline for decades..Q:what is the single most important idea for you right now in your life???A: To connect the worlds of reality and fantasy together.. People forget that life is a gift… who made you and how they were made were all part of plan that was once a fantasy to have a life be born. We have surpassed that fantasy and people forget the delicateness of emotions and life’s experiences. These are the things that mold people and make them sometimes forget their world of reality . I want to bring love or give back emotion to those who feel no love or who feel to share with others that you can have both reality and fantasy in your life.. Images and words can be someone’s fantasy or it can save someone’s life and be a reality.“a peace of light “Keshida Layone
Sam Colby’s photo’s
then I met Sam Colby who is a relatively young but good photographer not afraid to challenge photography with new angles
If you have time get over to one of the few truly committed galleries left in New York …Ronald Feldman is determined not to insult the intelligence of its audience by consistently curating shows that are insightful and provocative beyond sensationalismNYC@Ronald Feldman Gallery:Deimut StrebeFree Radicals:Sugababe & Other WorksNov7-Dec5th,2015
Social Sculpture: The Scent of Joseph Beuys | 2015
Beuys’ famous performance, I Like America and America Likes Me, which took place in May 1974 in the Rene Block Gallery in New York, is compressed to its scent components and the synthetic construction of the entire olfactoric experience.
Scent is maybe the most ephemeral sensual experience in life, almost nothing in terms of matter, but is perhaps the most real experience as a subconscious trigger of recognition, memory, and imagination.
The scent show is an ultralight monument to Beuys and parallels the temporality and spirituality found in his work.
The scents are made by International Flavors & Fragrances Inc. (IFF), a New York-based leading global creator of scents & tastes. The IFF trio – Research Perfumer Penelope Bigelow, Senior Perfumer Bruno Jovanovic, and producer Anahita Mekanik – in collaboration with the artist, took a scientific approach, re-modeling data from the olfactory molecules collected via proprietary Headspace Technology or Solvent Extraction, from partly original historical sources from Beuys, provided by Lucrezia De Domizio Durini.
Viewers can experience the seven scents: Felt, Ambulance Car, Gallery, Wall Street Journals, Coyote, Body Odor, and Synthesis, as released in a system that relates to another well-known work of Joseph Beuys: “Loch”.
Installation view “Social Sculpture: The Scent of Joseph Beuys” at Ron Feldman’s Gallery, NY, NOV 2015
“SunSplashed” Nari Ward’s major survey @ Perez Museum in MiamiThe Port: Major Survey of Artist Nari Ward to Open at Pamm
“We’re pleased to mount this important mid-career survey of Nari Ward’s work as part of our commitment to bringing internationally influential contemporary artists to PAMM. In our local context, it’s especially interesting to draw out the aspects of Ward’s practice that reference his native Jamaica, the politics of immigration, and the search for cultural identity—issues of particular relevance to the city of Miami,” said Diana Nawi, the exhibition’s curator and associate curator at PAMM. “Sun Splashed is an overdue opportunity for a close consideration of Ward’s diverse and experimental production that has pushed the boundaries of sculpture.”
Emerging alongside a notable group of African-American artists who rose to prominence in the 1990s, Nari Ward’s massive and tactile approach to art-making has expanded contemporary definitions of installation, assemblage, and site-specificity. His deft use of found objects imbues his work with a visceral relationship to history and the real world, allowing him to challenge viewers’ perceptions of familiar objects and experiences. Ward’s innovative approach has earned him numerous prestigious awards, including the Rome Prize and a Guggenheim Fellowship. The catalog for Sun Splashed will feature crucial scholarship on his singular practice, with essays by Naomi Beckwith, Ralph Lemon, Erica Moiah James, and Philippe Vergne.
“Staying in the Shoebox”
Sanford Biggers: Matter
Xaviera Simmons: Index SevenDecember 1, 2015 – January 31, 2016
Opening Reception, Saturday, December 5th, 7-10PM
David Castillo Gallery is proud to present two solo exhibitions- Sanford Biggers:Matter and Xaviera Simmons:Index Seven. The two shows work across sculpture and photography.Sanford Biggers’ Matter collaborates with the cultural legacy of Laocoon, occupying the floor of David Castillo Gallery with this sculptural installation. The work is rendered in vinyl and lays partially deflated on his generous belly, arms at his sides, rump in the air, and head turned with one ear pressed to the earth. Like Laocoon’s multiple and often contradictory stories from classical literature, the present work speaks to death, character assassination, and a general loss in trust.
Another formidable artwork in Matter constitutes a mounted 10-foot quilt inscribed with the word “MATTER.” The quilt posits a direct connection to the Black Lives Matter movement. The quilt- itself sewn from several antique quilts that signal the role this medium played in antebellum folk art and in Underground Railroad communication networks- lends trans-historical perspective to #blacklivesmatter and the ways in which racism, nationalism, and capitalism have failed that mattering. The materiality of the quilt emphasizes the matter in mattering. Biggers reminds the viewer how terribly powerful it is to have a body, be embodied, be subjected to form. These works also remind us how terribly dangerous that subject-hood and subjectivity are, so intimate and intimately produced by bodies physical, historical, geographical, cultural, semiotic.In Xaviera Simmons’ Index Composition photographs, signifier and signified are partitioned on these expressive figures by a bolt of fabric sheathing their upper halves, creating the sensation of two continents. In Simmons’ figures, objects and images found, borrowed, and possessed by the artist accumulate with the sculptural density of forest canopies: totems and trophies; raffia and lace; Polaroids and clippings; rings and clothespins; dried kelp and coconut skin; feathers and reeds; fruits and fetishes; gourds, nets, baskets, braids.The subaltern speaking from the photographic documentation of Index Seven advocates accountability to public histories, social relations, and the production of difference. This body of work constructs sculptures inside of photographs, using the language of sculpture in an image and creating a cinematic landscape inside of the image.If Laocoon invites meditation on the entropy of identity- perhaps under the weight of hegemony, perhaps under localized contestations, perhaps in preparation for rebirth- Simmons’ interventions upon full portraiture stand upright like architectural columns, the other in a nuanced movement toward orientating attention outside of consumption and appropriation. As imminent fictions, a carte blanche, Matter and Index Seven stand in the dividual, the diaspora, the vibrations that move all matter, the vibrations that matter.Sanford Biggers’ many solo exhibitions both nationally and internationally, include the Brooklyn Museum, SculptureCenter and MASS MoCA. Among his upcoming solo exhibitions are Subjective Cosmology at MOCAD, Detroit (2016) and Massimo de Carlo Gallery, Milan (2016) and group exhibitions including School of the Art Institute, Chicago’s 150th Anniversary Show and The Freedom Principle curated by Naomi Beckwith and Dieter Roelstraete, now traveling to the ICA Philadelphia (2016). Biggers will participate in a Conversations panel at Art Basel Miami Beach this December. His work has been included in venues worldwide including Tate Britain and Tate Modern in London, the Whitney Museum and Studio Museum in Harlem, and the Yerba Buena Center for the Arts in San Francisco, as well as institutions in China, Germany, Hungary, Japan, Poland and Russia. The artist’s works have been included in notable exhibitions such as: Prospect 1 New Orleans Biennial, Illuminations at the Tate Modern, Performa 07 in NY, The Whitney Biennial, and Freestyle at the Studio Museum in Harlem. His works are included in the collections of the Museum of Modern Art, Walker Art Center, Whitney Museum, Brooklyn Museum and Bronx Museum, among many others.
Xaviera Simmons’ work will be on view in the upcoming NO MAN’S LAND: Women Artists from the Rubell Family Collection as well as in the UBS Lounge at Art Basel Miami Beach. Among her many group exhibitions currently on view are Reality of My Surroundings: The Contemporary Collection at the Nasher, Durham and Philodendron: From Pan-Latin Exotic to American Modern at the Wolfsonian Museum, Miami Beach. The artist received her BFA from Bard College (2004) after spending two years on a walking pilgrimage retracing the Trans Atlantic Slave Trade with Buddhist Monks. She completed the Whitney Museum’s Independent Study Program in Studio Art (2005) while simultaneously completing a two-year actor-training conservatory with The Maggie Flanigan Studio. Simmons has exhibited nationally and internationally where major exhibitions and performances include: The Museum of Modern Art, MoMA PS1, The Studio Museum In Harlem, The Contemporary Arts Museum Houston, The Public Art Fund, and The Sculpture Center. Selected solo and group exhibitions include Archive As Impetus at The Museum Of Modern Art; Underscore at The Aldrich Contemporary Art Museum; and Radical Presence at The Studio Museum in Harlem among many others. Her works are in major museum and private collections including Deutsche Bank, UBS, The Guggenheim Museum, The Agnes Gund Art Collection, The Museum of Contemporary Art Chicago, The Studio Museum in Harlem, ICA Miami, and Perez Art Museum Miami.
About David Castillo Gallery
David Castillo Gallery+1 305 573 8110 Telephone
420 Lincoln Road
Miami Beach, Florida 33139
photo by :Maurice Speights
Ariana Soleil is a stylist …she got a something that’s quite unique …..she fearless and she spirited !Bleu ,Numero and I-d should get with miss.
Dami Oyetade has quickly established himself as a London based fashion, editorial and beauty image-maker.
After studies in Photography, Graphic Image-making and a BA (Hons) in Multimedia Design, he made the
decision to pursue design and photography, concentrating on fashion. He set up the idezign Studio where
he began to shoot editorials that blur the boundariesof expression and creativity, with a strong attention to
detail, colour and design.
Vogue, Elle, Sicky Magazine, Noctis, Rough Online, Seven Tribes, Huf, New African Woman
Ciroc Vodka, Criminal Damage, Boy London, ITV, Sky News
Storm, Models 1, MandP, Nevs, Profile
Unit 10 idezignStudios
TGEC Townhall Approach Road
Seven Sisters, London N15 4RX
For further inquiries, please contact:
+44 (0) 7955 858 688
International commissions available.
Since distinguishing himself as the youngest artist in Freestyle, the landmark 2001 exhibition at the Studio Museum in Harlem, Johnson has established himself as one of the preeminent artists of his generation. Invoking such varied themes as the black experience in America, the dialogue between abstraction and figuration, and the relationship between art and personal identity, Johnson has been discussed within the context of contemporary painting, photography, sculpture, video, installation art, and even performance. Now, with the Anxious Men, drawing enters that list.
Universally accessible and employing common visual tropes such as the monochrome and the grid, Johnson’s work is also self-referential making specific allusion to his upbringing in Chicago and the Afro-centric values of his parents. In Rashid Johnson: Anxious Men, the artist creates a site-specific installation in the Drawing Room gallery. The core of the exhibition is a new series of black-soap-and-wax-on-tile portraits that Johnson calls his “anxious men.” Executed by digging into a waxy surface, they enact a kind of drawing through erasure and represent the first time Johnson has worked figuratively outside of photography or film, and on such a small scale. Whereas Johnson’s previous work has taken a more cerebral approach to questions of race and political identity, the drawn portraits confront the viewer with a visceral immediacy. The portraits will be set within a multi-sensory environment that includes wallpaper featuring a photograph of the artist’s father from the year Johnson was born, and an audio sound track comprised of Melvin Van Peebles’s “Love, That’s America,” a song that originally appeared in Peebles’s 1970 film Watermelon Man and that was recently pressed into service by the Occupy Wall Street movement. In this way, the exhibition will create an immersive space that implicates not only the artist but also the viewer in its interrogation of selfhood and identity.
Curated by Claire Gilman, Senior Curator.
Lead support for Rashid Johnson: Anxious Men is provided by Joseph G. Mizzi. Additional support is provided by Jeffrey A. Hirsch, John and Amy Phelan, Erica Samuels, and Melva Bucksbaum and Raymond J. Learsy. Special thanks to Hauser and Wirth.
Image: Rashid Johnson, Untitled Anxious Men, 2015. White ceramic tile, black soap, wax, 73 x 47 x 2 inches, © Rashid Johnson, Courtesy the artist and Hauser & Wirth. Photo by Martin Parsekian.
Pyer Moss was started in 2013 by Kerby Jean-Raymond.
Born and raised in New York City, Kerby began his career in 2001 while still attending The High School of Fashion Industries in Manhattan. In 2001, at 14 years old, Kerby was assigned an apprenticeship under Kay Unger at her eponymous label and later worked with Georgina Chapman and Keren Craig at Marchesa focusing mainly on creating womenswear early in his career.
Pyer Moss began as a project to reinvent classic athletic gear and uniforms by adding opulent cues and refining the fit. Pyer Moss uses high-end materials, masculine form, unique pattern making, and modern tailoring to create luxury sportswear. The Pyer Moss collection is produced in New York City.
Since it’s debut, Pyer Moss has amassed huge support internationally from press such as GQ, Nylon, Style.com, WWD, V Magazine, Vogue and many more. The debut collection was picked up by Browns of London and has since grown to include many international retailers and boutiques including SSENSE and Harvey Nichols.
In 2014, Kerby won the coveted FGI Rising Star Award in the menswear category for Pyer Moss and was also a finalist in the debut DHL Exported Prize presented by IMG Worldwide.
Named after Kerby’s late mother, Vania Moss Pierre; Pyer Moss continues to innovate and re-imagine menswear every season.
Please join us on Friday, October 16th for a viewing of new work from WOMEN: new drawings by Derek Jackson. Courtney McIsaac of Maine Lobster Bake Company is thrilled to present this informal exhibition at our warehouse located in the Portland Yacht Services complex. The reception will be followed by our season closing party so stick around and dance after you see the art! The event is BYOB so please feel free to bring any snacks or drinks you’d like to share.
Kelly Heaton: Pollination
September 12 – October 24, 2015
OI-I just love this show in its offbeat sincerity and in the artists commitment to nature …its obsessive ..fraught with archaic ideas of nature and just really noble in the artists honest wish to communicate consciousness to her audience …never stop Kelly Heaton …keep on -OI
Sculptor, seer, scientist, spiritualist Kelly Heaton allows us to glimpse the ghost in the machine….Heaton replicates the world while seeming to tap into the cosmic mainframe. Jerry Saltz, New York Magazine, 2012
Ronald Feldman Fine Arts announces the premiere of Kelly Heaton’s new work in an exhibition entitled Pollination, a tour de force of sculpture, electronics, perfume, and mixed media art. Images of real and supernatural bees invite the viewer into a fertile exchange involving not only plants, but our very identity as human beings.
Dominating the exhibition is The Beekeeper, a floor to ceiling kinetic sculpture. Heaton built her eight primary chakras (centers of spiritual power in the body) to create what she refers to as “an energetic self-portrait.” At the heart of the sculpture, bees fly around an illuminated honeycomb rooted in a landscape of floral electronics. A reflective mind and crystalline third eye spiral up to a radiant sun of hands.
Heaton also created eight exquisite perfumes to correspond with her chakras. Bee The Flower is a limited edition artist’s toolbox for painting your body with perfume and “pollen.” Art supplies crafted by the artist support a luxurious experience that is visual, tactile, and olfactory. Two additional fragrances seduce the audience to experience Pollination through scent: Smells Like Weeds (The Queen of Hungry Spirits), a rare perfume made by Heaton using bee-friendly plants; and Smells Like Money (Hungry Spirits), a delicate perfume extracted from hundreds of dollar bills using the labor-intensive method of cold enfleurage. Perfume samples will be available for visitors to smell.
The muse for Pollination appears in a large mixed media work, Shamanic Bee. This visionary messenger begs for human attention to the plight of insect pollinators. Other works that urge our respect for nature include Weeds, a vitrine of exquisite silk flowers; Colony Collapse Disorder, an engineer’s interpretation of the honeybee epidemic; Emergency Queen Cell, a brass hive with an inverted Virgin Mary; The Monsanto Series, agricultural landscapes invaded by manmade devices; and This is the Problem, Not the Solution, a crossword puzzle of endangered pollinators and threats to their existence. Diseases of the Hive cautions against our own infestation by electronics.
The tone is not all ominous. Heaton presents whimsical kinetic sculptures that mimic flying bees. The largest of these, The Wedding Tree, is a pastel landscape enlivened by buzzing, motorized insects.
To complement the show, the artist has written Pollination, a book documenting these works and the story of their creation. It will be for sale through the gallery as well as Amazon.
Heaton’s previous exhibitions at Ronald Feldman Fine Arts include Live Pelt (2003) and The Parallel Series (2012). She received her Bachelor of Arts from Yale University (1994) and her Master of Science from the Massachusetts Institute of Technology (2000).
A press kit with more information can be found at: http://bit.ly/1TVNEay
Reception on Saturday, September 12, 6-8. Gallery hours are Tuesday-Saturday, 10-6. Monday by appointment. For information, contact Casey Dorobek (212) 226-3232 or firstname.lastname@example.org
celia paul’s”st.Brigid’s vision”
Njideka Akunyili Crosby · Verne Dawson · Peter Doig · NS Harsha · Alice Neel · Chris Ofili · Celia Paul · Tal R · Sarah Sze · Kara Walker · Francesca Woodman
Now Yall know i dont like the word Queer associated with being same sex loving but hey these kids nowdayz use it… lets show out and see what they gots Verge
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???
real luxury is when no one else has what you have …is when you know time and craftsmanship went into making what you are wearing…when every off little thing distinguishes the item as unique..bespoke ..individual
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
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
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
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.
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.
artist Chao Lu/rosenfeld porcini.com
South Galleries and 9 x 9 x 9, Bermondsey
White Cube is pleased to present an exhibition of new work by Theaster Gates. Gates’ practice is wide-ranging and polysemous, attempting to bridge the gap between art and life and catalyse social and economic change through direct artistic agency. For this exhibition, entitled ‘Freedom of Assembly’, Gates explores the theme of assembly in its widest sense, enmeshing ideas of an autonomous art object with notions of individual freedom and the empowerment of place. In particular, Gates refers to the First Amendment of the United States Constitution, which protects freedom of speech, the right to peaceably assemble, and the free exercise of religion.
‘Freedom of Assembly’ includes several new series of sculptures, a large-scale presentation of tar paintings and a body of work that foregrounds, for the first time, Gates’ long-term involvement with clay production. Notions of assembly become evident in works that draw on personal memory, politics, and the history and resonance of material objects within our culture.
These themes are syncopated in works that transform materials culled from disused buildings in the artist’s own neighbourhood in the South Side of Chicago. A series of wooden vitrines combine various elements obtained from a closed-down hardware store – a cornerstone of the community that ceased trading in the face of conglomerate competition – alongside lamps, pots, glass and sculptural objects. These colourful visual assemblages attempt to transmute the presence of a place and site now disbanded, while exuding a sense of loss and reduction. In Ground Rules (2015), Gates invokes the narrative of art through his interrogation of painting, and, in particular, the history of modernist abstraction. These works transform strips of a wooden gym-floor into delicate, minimal compositions. Like his earlier ‘Civil Rights Tapestries’ which repurposed old fire hose into pastel-hued fabric works, these sculptures reignite the significance and poetry of found materials through a process of reassembly and re-composition.
Personal and political themes are explored in a new series of large-scale tar paintings, where rubber and tar is applied to wood panels creating monochrome, textural compositions. In these works, Gates makes his decisions based on the procedure of roofing, not painting, a process the artist describes as: ‘borrowing good roofing strategies, through formal engagement with it, to arrive at painting or at least to get to the essence of roofing’. With their thick impasto and shiny reflective surface, the tar creates a surface that visibly reflects the movement of the hand across the canvas, linking these works to Japanese calligraphy as well as to a history of gestural abstraction. In other works, sections of flat roofing are displayed like shaped two-dimensional canvases, covered with delicate wooden feather-like tiles. Conceived as an index of roofs – rather than as individual paintings – these works suggest a collective presence and relate strongly to Gates’, whose father tarred roofs for a trade.
Gates furthers these ideas in a collection of clay works that include a group of small figures, stacks of ceramic bricks, and pots that combine clay with tar and other materials from the roofing canon. In these poetic sculptures, Gates’ history with clay is married to his history with labour to create an inspired new body of work.
Alongside his presentation at White Cube Bermondsey, Theaster Gates will exhibit a new body of work in the Arsenale at the 56th Venice Biennale from 9 May – 22 November 2015.
Wednesday, May 13 – Tuesday, May 19
WRITTEN AND DIRECTED BY FELIX MOELLER
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.
GERMANY • 2014 • 94 MINS. • IN GERMAN WITH ENGLISH SUBTITLES • ZEITGEIST 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
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 Met–oi
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)
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.
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”. In this respect the term is also often used as synonymous to “stateless Society”. Such societies are described as consensus-democratic in opposition to the majority-democratic systems of the West.
The Igbo Nation in West Africa is alleged to be an acephalous or egalitarian society.
image:by Kwame Brimpong